nwo333
01-02-2009, 03:35 PM
Hi, my name is Maurice Brown. I'm a former William Morris Agent and now Manager. I'm looking for writers to manage who want to produce their own scripts. I am interested in reading your scripts to consider managing your entertainment career closely. Please email a one page synopsis, 10 page treatment and the script in Final Draft file and pdf file.
I work with writers who want to take an active role as a "producer" on their film project. I DO NOT represents writers seeking to option or "sell-off" their screenplay property. These are services provided by Literary Agents. I am classified as film distribution and finance agent/manager.
Assuming the writer is the lifetime owner of the rights to the property, all licensing rights to the completed film never negate the fact that the "writer/producer" is the titled owner of the story & subsequent film for life. The writer/producer maintains creative control over all decisions pertaining to the production including casting, crew attachments, budgets, locations, etc.
In addition to the various incomes generated from theatrical, TV, Cable, and other forms of exploitation and distribution, normally the "writer/producer" builds in to the budget a salary for his/her services as the writer and producer of the film. This method provides potential for the writer to receive incomes far beyond what would be expected from an out right sale of the screenplay.
I currently have an estimated 97% turndown rate on the projects I review. Since I work entirely on commissions generated from the financing and distribution agreements secured for the film, my confidence in a project is evident by the amount of non-compensated time spent with my writers/producers clients in the development phase of a project.
The screenplay is like the project’s blueprint. In addition to the story, a well-written synopsis, treatment, character breakdowns and talent "wish list" all come from the writer with the assistance of me.
The elements of professional coverage reports, top-sheet budgets, schedules and other initial documentation required to "pitch" the project to distributors and production entities is outsourced through ME to the well-respected line producers.
Once all the preliminary elements are in place, the "package" is now ready for viewing by prospective "buyers" or worldwide distributors. I use a variety of methods to promote each project including participations at major film markets, (AFM, MIFED, CANNES, ETC.) mail outs, in-person meetings, etc. All with the purpose of securing adequate pre-sale or distributor guarantees that secure bankable financing for the production.
ELEMENTS YOUR PROJECT WILL REQUIRE
Professional editor-coverage reports on the screenplay from a script analysis.
Synopsis, treatment and final-draft screenplay in proper formats from the writer.
Initial full-budget on the film from an accredited line producer (Movie Magic)
Principle character breakdowns & talent suggestions or endorsements, if available.
Identification of proposed locations, post services, music, etc.
The above elements are the basic requirements that I need to properly promote a film project. Once the client has all of the elements in place, the project moves from the DEVELOPMENT PHASE to the Distribution phase. Again, I am your sounding board and resource to assist you with all aspects of the development phase. You won’t be doing this on your own.
PRE-SALE AGREEMENTS
In a pre-sale agreement, a buyer licenses or pre-buys movie distribution rights for a territory before the film has been produced. The deal works something like this: the writer/producer’s agent/manager (Maurice Brown) approaches a Distributor to sign a contract to buy the right to distribute the film in a specified territory. (All domestic, all international or a specific region or country) There are literally hundreds of film distributors, worldwide.
Naturally, buyers will want to review MORE THAN A SCRIPT. The typical elements presented to potential buyers include a dynamic synopsis, final draft script, first-draft budgets & schedules, talent endorsements, crew attachments, post-production considerations, music, etc. Often, the elements are summarized and visually presented in a one-sheet or graphic "poster" of the soon-to-be film.
By buying distribution rights to the film now, the Distributor is obtaining an advantage over competitors who might bid for it at a higher dollar value when the film is completed and available for screening. The Distributor most likely pays only a deposit against the contract and pays the balance upon delivery of the completed film. Contracts, from reputable Distributors, are considered to be "bankable pre-sale agreements."
Based on the budget, the sales agent/manager (Maurice Brown) initiates pre-sale contracts equal to the total amount of the production budget. It is standard practice to withhold the licensing rights for major markets until after the film is available for screening. Often, a bidding war for these rights ensues when the film screens as a potential success.
PRODUCTION FINANCING
With the distribution contracts as collateral, the writer/producer’s agent/manager (Maurice Brown) now takes these contracts to a film finance bank to secure a production loan for the total costs of production. ("Banking the paper") I often work with foreign banks associated for years with independent film financing.
Through a reputable and accredited production company, the movie is produced, completed, and delivered to the various companies that have already licensed it. They in turn pay their license fees directly to the bank to retire the production loan. The bank receives repayment of its loan plus interest. The buyers receive the right to distribute the film in their territory for a specific period of time. The remaining licenses (usually domestic theatrical, T.V., cable, etc.) are sold for writer/producer profits.
Standard policy, when securing distribution, is to recruit agreements that provide for an on-delivery payment of the agreed "licensing rights" advance for the given market. In addition, the distributor should advance all costs of advertising and will recoup those dollars from the gross receipts of exploitation or distribution of the film. In addition, from these gross receipts, the distributor is entitled to a set percentage of the gross with the balance of monies being due the production company. (Writer/producer’s entity)
THE COMPLETION BOND (Insurance)
The bank will insist on a completion bond to ensure that the filmmaker has sufficient funds to finish the film, guarantee any overage on the budget or protect the bank’s monies in the event illness or other unknown factors prevent the completion of the project. This "insurance" protects the bank in the event the film is not completed for delivery to the pre-sale distributors.
Before issuing a policy, a completion guarantor will carefully review the proposed budget and the track record of key production personnel recruited by the writer/producer of the film. Unless the completion guarantor is confident that the film can be brought in on budget, no policy will issue. These policies are called completion bonds.
I will routinely request the primary bond agents to provide a Letter of Intent to insure the project based on the initial package elements prepared on the project during the development phase. In most all cases, this document is secured without complication once the initial script and budget become available.
IT’S YOUR OPTION
Some writers prefer to simply write. Others want to maximize their incomes from a project by wearing both the hat of the writer and that of a principle producer of the project.
With some 60,000 scripts on the market each year for option, experienced writers know that to get their projects on the screen and receive their maximum financial rewards, the minimal costs associated with obtaining coverage reports and budgets on the screenplay are well worth the time and effort.
If your option is to retain ownership, maximize profits and have a hands-on approach to every aspect of your project – give me a call for more information. I welcome the opportunity to review your project and provide my suggestions as to how to proceed with your endeavors.
My commission rates are: 3% commission on the gross-value of all distribution and pre-sale agreements secured for the project and 2% commission on the total amount of production or gap financing loans secured for the project.
I do not participate or otherwise recruit private placement financing, loans or equity investments for film or television projects. All of my funding is secured by distribution/pre-sale agreements and placed through film finance banks both in the U.S. and overseas. I do offer additional services relevant to product placement campaigns and film subsidies such as Film Canada, Film UK and more.
As a consultant to America’s leading film partnerships, writers and producers – one call to me will display the expertise and "behind-the-scenes" know how available to you from me for your next film or television project.
I charge 2,000$ per script upfront. If I'm not able to provide you with any contacts after 12 months have passed I will refund your money back to you. I will provide you with legal documents you can sign that lets you know you will recieve your money back if I can not deliver on my end.
IF YOU'RE SERIOUS ABOUT THIS BUSINESS, YOU WILL MAKE A VERY GOOD LIVING. PLEASE DON'T CONTACT ME UNLESS YOU'RE SERIOUS ABOUT THIS BUSINESS.
For more info on me go to my site: http://www.linkedin.com/in/thecreativeliberalagency
My email: thecreativeliberalagency@yahoo.com
I work with writers who want to take an active role as a "producer" on their film project. I DO NOT represents writers seeking to option or "sell-off" their screenplay property. These are services provided by Literary Agents. I am classified as film distribution and finance agent/manager.
Assuming the writer is the lifetime owner of the rights to the property, all licensing rights to the completed film never negate the fact that the "writer/producer" is the titled owner of the story & subsequent film for life. The writer/producer maintains creative control over all decisions pertaining to the production including casting, crew attachments, budgets, locations, etc.
In addition to the various incomes generated from theatrical, TV, Cable, and other forms of exploitation and distribution, normally the "writer/producer" builds in to the budget a salary for his/her services as the writer and producer of the film. This method provides potential for the writer to receive incomes far beyond what would be expected from an out right sale of the screenplay.
I currently have an estimated 97% turndown rate on the projects I review. Since I work entirely on commissions generated from the financing and distribution agreements secured for the film, my confidence in a project is evident by the amount of non-compensated time spent with my writers/producers clients in the development phase of a project.
The screenplay is like the project’s blueprint. In addition to the story, a well-written synopsis, treatment, character breakdowns and talent "wish list" all come from the writer with the assistance of me.
The elements of professional coverage reports, top-sheet budgets, schedules and other initial documentation required to "pitch" the project to distributors and production entities is outsourced through ME to the well-respected line producers.
Once all the preliminary elements are in place, the "package" is now ready for viewing by prospective "buyers" or worldwide distributors. I use a variety of methods to promote each project including participations at major film markets, (AFM, MIFED, CANNES, ETC.) mail outs, in-person meetings, etc. All with the purpose of securing adequate pre-sale or distributor guarantees that secure bankable financing for the production.
ELEMENTS YOUR PROJECT WILL REQUIRE
Professional editor-coverage reports on the screenplay from a script analysis.
Synopsis, treatment and final-draft screenplay in proper formats from the writer.
Initial full-budget on the film from an accredited line producer (Movie Magic)
Principle character breakdowns & talent suggestions or endorsements, if available.
Identification of proposed locations, post services, music, etc.
The above elements are the basic requirements that I need to properly promote a film project. Once the client has all of the elements in place, the project moves from the DEVELOPMENT PHASE to the Distribution phase. Again, I am your sounding board and resource to assist you with all aspects of the development phase. You won’t be doing this on your own.
PRE-SALE AGREEMENTS
In a pre-sale agreement, a buyer licenses or pre-buys movie distribution rights for a territory before the film has been produced. The deal works something like this: the writer/producer’s agent/manager (Maurice Brown) approaches a Distributor to sign a contract to buy the right to distribute the film in a specified territory. (All domestic, all international or a specific region or country) There are literally hundreds of film distributors, worldwide.
Naturally, buyers will want to review MORE THAN A SCRIPT. The typical elements presented to potential buyers include a dynamic synopsis, final draft script, first-draft budgets & schedules, talent endorsements, crew attachments, post-production considerations, music, etc. Often, the elements are summarized and visually presented in a one-sheet or graphic "poster" of the soon-to-be film.
By buying distribution rights to the film now, the Distributor is obtaining an advantage over competitors who might bid for it at a higher dollar value when the film is completed and available for screening. The Distributor most likely pays only a deposit against the contract and pays the balance upon delivery of the completed film. Contracts, from reputable Distributors, are considered to be "bankable pre-sale agreements."
Based on the budget, the sales agent/manager (Maurice Brown) initiates pre-sale contracts equal to the total amount of the production budget. It is standard practice to withhold the licensing rights for major markets until after the film is available for screening. Often, a bidding war for these rights ensues when the film screens as a potential success.
PRODUCTION FINANCING
With the distribution contracts as collateral, the writer/producer’s agent/manager (Maurice Brown) now takes these contracts to a film finance bank to secure a production loan for the total costs of production. ("Banking the paper") I often work with foreign banks associated for years with independent film financing.
Through a reputable and accredited production company, the movie is produced, completed, and delivered to the various companies that have already licensed it. They in turn pay their license fees directly to the bank to retire the production loan. The bank receives repayment of its loan plus interest. The buyers receive the right to distribute the film in their territory for a specific period of time. The remaining licenses (usually domestic theatrical, T.V., cable, etc.) are sold for writer/producer profits.
Standard policy, when securing distribution, is to recruit agreements that provide for an on-delivery payment of the agreed "licensing rights" advance for the given market. In addition, the distributor should advance all costs of advertising and will recoup those dollars from the gross receipts of exploitation or distribution of the film. In addition, from these gross receipts, the distributor is entitled to a set percentage of the gross with the balance of monies being due the production company. (Writer/producer’s entity)
THE COMPLETION BOND (Insurance)
The bank will insist on a completion bond to ensure that the filmmaker has sufficient funds to finish the film, guarantee any overage on the budget or protect the bank’s monies in the event illness or other unknown factors prevent the completion of the project. This "insurance" protects the bank in the event the film is not completed for delivery to the pre-sale distributors.
Before issuing a policy, a completion guarantor will carefully review the proposed budget and the track record of key production personnel recruited by the writer/producer of the film. Unless the completion guarantor is confident that the film can be brought in on budget, no policy will issue. These policies are called completion bonds.
I will routinely request the primary bond agents to provide a Letter of Intent to insure the project based on the initial package elements prepared on the project during the development phase. In most all cases, this document is secured without complication once the initial script and budget become available.
IT’S YOUR OPTION
Some writers prefer to simply write. Others want to maximize their incomes from a project by wearing both the hat of the writer and that of a principle producer of the project.
With some 60,000 scripts on the market each year for option, experienced writers know that to get their projects on the screen and receive their maximum financial rewards, the minimal costs associated with obtaining coverage reports and budgets on the screenplay are well worth the time and effort.
If your option is to retain ownership, maximize profits and have a hands-on approach to every aspect of your project – give me a call for more information. I welcome the opportunity to review your project and provide my suggestions as to how to proceed with your endeavors.
My commission rates are: 3% commission on the gross-value of all distribution and pre-sale agreements secured for the project and 2% commission on the total amount of production or gap financing loans secured for the project.
I do not participate or otherwise recruit private placement financing, loans or equity investments for film or television projects. All of my funding is secured by distribution/pre-sale agreements and placed through film finance banks both in the U.S. and overseas. I do offer additional services relevant to product placement campaigns and film subsidies such as Film Canada, Film UK and more.
As a consultant to America’s leading film partnerships, writers and producers – one call to me will display the expertise and "behind-the-scenes" know how available to you from me for your next film or television project.
I charge 2,000$ per script upfront. If I'm not able to provide you with any contacts after 12 months have passed I will refund your money back to you. I will provide you with legal documents you can sign that lets you know you will recieve your money back if I can not deliver on my end.
IF YOU'RE SERIOUS ABOUT THIS BUSINESS, YOU WILL MAKE A VERY GOOD LIVING. PLEASE DON'T CONTACT ME UNLESS YOU'RE SERIOUS ABOUT THIS BUSINESS.
For more info on me go to my site: http://www.linkedin.com/in/thecreativeliberalagency
My email: thecreativeliberalagency@yahoo.com