Tao will trade read/critique for help on his film

[Taotropics310]

Hi guys,

This post is geared toward those of you who know me from this online community we have here - so I won't bother identifying myself or my credits. This is for those of you that know who I am and what I have to offer.

I am directing a short film in January in Los Angeles. As with most of these things, we are stretching our budget to its limits. I need help in many areas. Those of you who are writers who are interested in having me read and give a thorough critique of your script - I am offering a barter arrangement where I will do just that (within six weeks after completion of principal photography) in exchange for the following kinds of help on my film:

-if you donate or help me secure a needed location in L.A. (right now we need a beautiful downtown loft with rooftop access, a docked yacht, a fancy restaurant, a fancy production office, and access to a Metro station/Union station) - I would only be willing to trade on this one if your location is actually chosen and used in the film.
-If you have set experience and would work as a production assistant for at least three days of the five day shoot. And work HARD.
-if you have a company that would donate needed supplies such as HD tapes, water, food, equipment, facilities (I would barter depending on the extent of the donation and whether it's something the film needs).
-for those of you with SIGNIFICANT PROFESSIONAL experience in specialties like:

production designer
line producer
script supervisor
1st and 2nd AD
UPM
composers (please, only with a LOT of experience scoring films)
storyboard artists
post production supervisor
sound mixer
location manager

...please send me your resume. If we meet and I decide to work with you, obviously the benefits are not only that I will read and critique your script (or a script on a project you are attached to as director or producer that needs work), but that when I segue into directing features next year, we will have formed a relationship and perhaps could work together again.

Lastly, for those outside L.A, or with entrepreneurial zest (or stupidity/idealism) who still want to be involved, I would also trade critiquing and more extensive mentoring services in exchange for a financial investment in the film. Partners on this would also be considered investors in the film and treated/thanked/represented as such. This would be discussed and negotiated since I haven't done this before and I'm more comfortable trading services. But hey, films need money, and I've had many approach me to ask for this, so what the hell?

That's all guys. Dunno if anyone will be interested in this, but I figured it's worth a shot.

Interested parties send me a note at: wewheeler90405@yahoo.com

Or post something here (unless it contains info you don't want public.)

[Manilow in Blue]

Do you need a writer?

[Pencey]

Lemme see if I got this straight...

You want one of us to work 3 days on your film (Avg. 10 hrs a day = 30 hrs) and for this, you will read the script (2 hrs) and give a written critique of it (3 hrs) ( 2 + 3 = 5 hrs.)

How does the 30 hrs we're giving you equate to the 5 hrs you're giving one of us?

[sc111]

Sigh.

My boyfriend is a professional fine artist but we live in Florida. Storyboards are right up his alley . . . alas, we are geographically challened.

:(

[Taotropics310]

Pencey-

if you don't see value in the deal, then by all means, don't do it. That's why i directed this post towards people who know me and the value of what I can provide.

[PteranoDon]

How much financial commitment?

[Bill Marquardt]

As I am still in the clutches of Uncle Sam until Feb. 6, I shall most likely not be able to participate. Otherwise, I would gladly be your water boy, gratis.

Good luck with the film.

[Hassanchop2]

Hay Tao, I’m an SAG actor if you need any help in that department I’ll be more than happy to help out.

Just thought I mention it. 8)

[Taotropics310]

don and others who've emailed me re: the investment idea-

to be honest i put it in as an afterthought. i haven't ever "priced" my services like that before, and I want to make sure everyone would feel happy with the arrangement. i will call a few friends of mine in a similar career situation and ask them what their fee is for this kind of thing, and figure out some kind of fixed "lot" or "share" that would be the investment in the movie/payment for my critiquing/mentoring. then i need to work out with my producer and lawyer how to organize the arrangement re: the financial structure of the film, and standardize what the investor would be getting from me in terms of hours, assurance of contacts, whatever.

let me think about it.

[E J Pennypacker]

Tao --

This is an interesting proposition. And if the price is fair, I would seriously think about the the investment idea.

Kudos to you on being very resourceful. And let us all know on what your price is.

EJ

[seeb55]

My boyfriend is a professional fine artist but we live in Florida. Storyboards are right up his alley . . . alas, we are geographically challened.

sc11 has a boyfriend??? Get out of town.

[PteranoDon]

Here's a suggestion; incorporate your project.

That way, you can issue shares to anyone who donates time, material, or cash in any significant way. Your time can be rewarded by shares too. Maybe use a rough exchange of one share for $100 of value donated.

For example, the attorney that writes up your corporation application donates his time and gets 5 shares.

If I'm an investor, incorporating cuts my liability. Suppose I invest $10,000 in a shoot like this. If I'm a partner in a partnership, I have the same personal liability as any other partner. Obviously, if I have $10,000 to invest, I probably have significant other assets and I don't want them to be at risk if someone gets injured on your shoot. Incorporating provides a shield for my assets, so I will be more likely to invest.

Though no one expects to get rich, they do get a tangible connection to the fim--the actual paper share certificates. If, in the end, the only distribution is a DVD and a note of thanks, well, that's the indie biz. BUT, if the thing does ever make any money, the share holders benefit in proportion to the number of shares they hold.

Suppose a bunch of us DD's want to help out. We each buy a share at $100 and the corp sends us a cool looking certificate we can hang on the family room wall. Later we get a DVD in the mail with the finished product. Maybe the website for the film mentions our names. Meanwhile, we don't have to worry that the sheriff will someday auction our houses to pay a judgement.

Well, just a suggestion. Good luck with your project.

[E J Pennypacker]

I think this thread has the serious potential to de-rail.

So lets all keep it on the subject, huh. Tao's DEAL TO DONE DEAL...

EJ

[refriedwhiskey]

Methinks EJ is bucking for a promotion to moderator.

[E J Pennypacker]

Well there is that new board opening up soon...

EJ

[Denise Ohio]

I always do what EJ says...

Anyway, Tao, incorporating is not a bad idea, not because you'll entice investors (hello, can anyone say SEC?), but because it offers you liability protection. You're going to want that. One light falling on one head can spoil an indie moviemaker's bank account.

I don't know what the laws are where you live, but your attorney will be able to help you figure out which one fits your liability protection and tax needs best. S-Corp and LLC are pretty typical. And don't forget to budget for prod and rental insurance.

I'd also think about bringing in hair, makeup, and wardrobe people, as well as props. You also need some grips and gaffers, but your DP probably has crew he or she prefers to work with.

A good grip/gaffer is worth his or her weight in gold. Unfortunately, I don't know many who work for free. Still, many gaffers are trying to break in as DPs and will work for nothing to get material to build a DP reel. A lot of them are very good with a camera, but haven't had the opportunity. If that route doesn't work for you, you can always offer a Lighting Director credit to an experienced gaffer. It means sweet FA, but it sounds like a big deal.

For shooting HD, you may want a tech director or arrange for the tech from the rental house to come in to handle any settings your DP wants, esp. if you're bring a color box along. 99% of the time the HD cam will do what you need it to do right out of the case without a tech, but if someone has to do backfocus after changing lenses, you don't want someone who doesn't know how to do that trying to.

Or if the DP is really looking to do something unusual with the image---stretch the blacks or something---you may want to have someone there who can handle the camera set up. Again, though, sometimes the rental tech will do it for nothing if he or she thinks you're kinda cool.

You have a sound mixer listed, but I'm not sure what you mean here. You'll need someone to handle location audio, usually a location audio mixer and a boom op, sometimes an assistant to pull cable and get lattes. Sometimes you can have just one person handle mixing and boom, but either way, rarely do location audio people work for free if they have experience.

Anyway, my confusion is that in addition to the location audio mxier, you need post-audio mixing. Get your editor and post-audio people on board ASAP---they often can solves all sorts of problems and recommend people before you start. And it's not a bad idea to have the location audio mixer handle your post-audio as well---he or she knows where everything is and what was recorded and it saves time. Still, some post-audio people don't go on set, some set people don't go into post.

Music supervisor is the last one, though you may be thinking your post-prod supervisor will handle all that.

I'm not trying to cause you trouble---just trying to offer some other tasks that you may want to cover. Quite possibly you already have and I'm just being a pain in the ass.

Best of luck to you.

[Taotropics310]

Ah, the ever predictable, ever feisty DD.

So let me see if I understand this correctly...

The objection is that because (you presume) I "have money" to finance the film, it is exploitive of me to offer posters here that know me the opportunity to contribute to my production IN EXCHANGE for me reading and critiquing their scripts?

Are you aware that one A-list writer who considers me a peer, charges $25,000 to read scripts and give notes? And that individuals and companies line up to pay him for that service?

That according to Jeff Dowd, one of the foremost producers and sales reps in the indie world, ten percent of an independent film's budget should be on "dramaturgical advice"? That he advises offering produced, A-list writers $5,000 to read and critique their script as a pre-figured part of the budget? Why? Because the quality of the script is the most important part of the whole endeavour. And scripts are like foreign policy, car manufacturing or advertising campaigns: they don't improve significantly without expert opinions.

Now if you want to argue whether or not I'm an expert, that's a different debate, and a fair one, but note that I did not advertise my credits or background. This was for "people who know me", those who had a pre-formed opinion over whether or not my advice would be helpful. It obviously would be of no interest to anyone from outside DD who would happen onto the post. They'd be like "who the @#%$ does this guy think he is?"

What is so ironic about these rebukes is that part of my intent was to bring a democratization and sense of community to my filmmaking process. Nepotism rules in this town. You don't see this kind of offer on Craig's List. Hollywood is a completely closed circle of people. Ben Affleck and Matt Damon did a great thing with Project Greenlight and CE does a great thing with his groups - other than that, the kinds of "available to anyone" opportunities I see people paying for to improve their craft and get in the door are in the form of overpriced film schools (with few working professionals teaching there, as Young will attest) and overpriced seminars that give practically no individual attention and are basically cattle calls to see who can chase the Shapiro/Lichtman agent to the bathroom fast enough. When that agent can't get on the phone with the assistant of the assistant of the people that would sell their right arm for Scott Frank to owe them a favor. And do you think the seminar folks would accept labor/supply donations/barter in exchange for their seminar? Don't think so.


If you're worried about the money I'm making on my WB/Soderbergh project and the "morality" of what I might decide to do with it (clearly you exist in a socialist world of fantasy where pro screenwriters have magical bags of money to hurl simultaneously at every part of their lives) - has it occurred to you that offering you the opportunity through LABOR, not even money, to have your script read by someone working directly with the people I've worked with could be highly beneficial to you? A bargain, in fact? On this short project, other inquiries in other venues have yielded me many offers of free help WITHOUT me reading a script. These people just want to be where the action is. They want to come pitch in, learn and meet people, as I wanted to do the same when I was in their situation.

I'm proud to have made my offer, and I stand by it. And if the business details re: use of the word "investor" are opaque at this point it's because I floated the idea without knowing the fine points of how these things are structured. So call it a donation, a payment, a trade, whatever you want, the logic remains the same.

I don't pay for feedback because I am very lucky to know people that I can swap scripts with whose opinions I trust (and they ALWAYS catch me back - it's a barter arrangement). If I did not know those people, I'd be putting aside money out of every deal to pay really good writers to give me notes. If you have the same blessings, then peace be with you. If not, then I'm baffled as to why you'd attack my integrity for offering people the same option.

[Hamboogul]

If you guys don't want to get involved in the film, fine. For one thing, I doubt very much that there's much commercial potential of this short film project he is doing. And in most short films (student projects and/or otherwise), most people do it without any reward.

Now, if you don't believe that what Tao's offering is a fair value for your time, fine. Don't do it. I, for one, would love to crew this (time permitting, of course and without compensation) because I always learn a great deal from being on the set and there's something gratifying about working together as a team to make a film possible.

And as far as Tao's critique of work is concerned, I had the chance to have a script of mine (a very rough draft at the time) read by him and he gave me tremendously great notes that helped me for the rewrite. And he believed in the script enough to recommend it to a few people. Now what is that worth? Who knows? To me, the gesture alone was priceless. To date, it was the kindest singular gesture by anyone in this industry to me. (I mean, lunches with Unca Leo aside, that is)

[alipali]

Tao, nice gesture!

Best of luck with the film.

:D

[creativexec]

Thanks for the plug, Tao.

True story:

On a post here a long time ago, someone
asked us all to reveal personal info, including
our favorite screenwriters. I listed Steve
Zaillian and the name of an up-and-comer,
with one produced film to his credit.

Coincidentally, that writer posted on THIS
board. It was Tao.

I have read zillions of scripts from zillions
of writers - and Tao is CONSISTENTLY
good. He truly is one of this town's best
dramatic writers. He has a very promising
career ahead of him.

All in all, it wouldn't be a stupid move for
a new writer to work with Tao in exchange
for a script consultation.

Good luck in your endeavors, Tao! :D

[JSomm]

Tao -- if you need ANY help from NYC let me know! Best of luck!!

[PteranoDon]

Seriously, I wish I had the time to just drive out to CA and be part of this shoot.

Anyway, good luck Tao.

[Denise Ohio]

No offense intended, Tao. Just trying to help out. Sorry if I stepped on your toes.

I may know a location audio mixer/boom op who may consider giving your a price break. I'll drop him an email if you like. He doesn't handle post-audio tasks. I do, but I'm booked until next September and besides, I probably don't have the resume you're looking for and I'm way up here outside of Seattle. You can always try the Cinema Audio Society forum---I can't remember the URL. Great folks over there.

Also, I know you're not asking for recommends, but Walt McGuinn at Victory Studios, www.victorystudios.com, is a great and knowledgeable guy when it comes to HD. Victory rents cameras (F900 and F700, I don't know if they have the new F950 yet) as well as full online HD suites, and they may be willing to give you a nice rental/online price break, esp. if you're shooting in the off-season.

Then again, you and your producer may have that all lined up.

Also, I know you're not asking, but you can save yourself a buttload of money in post by going offline on DV or DVCAM using timecode burn DV or DVCAM tapes, cutting picture, then creating an EDL from which to online your HD master. HD suites are $500/hour (at least where I am), while a DV/DVCAM suite is considerably cheaper to rent and pretty inexpensive to just buy. A number of people are following this route (including me), but Walt would be able to walk you through the pitfalls, especially if you're shooting 24 fps.

I wish you the best and hope it all works out exactly as you hope. Again, apologies for offending you. Certainly didn't mean to. If I do mean to, I will put my comments in brackets, i.e., [your mother dresses you funny].

Good luck.

[Stinger]

Denise, I don't think Tao was ripping you a new one, his response was to another post, which appears to have evaporated. Must have already been deleted before you got here. As far as i could tell, your post was full of well-meant and informative advice, that I'm sure Tao is grateful for, even if he already knew some of it.

I'm with PteranoDon: if I didn't have family and financial impediments, I'd fly out just to be a gofer. Opportunities are thin on the ground where I live to a) spend time on set with a produced writer who's a regular here, b) get notes from that writer, c) hook up with a buncha DDers to boot.

I dunno, maybe Santa'll leave me a plane ticket under the tree.

[Taotropics310]

Denise,

on the contrary, i was grateful for your information. there were a couple of other wise guys that got me riled up. :)

tao

[AkDrifter]

Tao,

While I am in alaska (way the hell out in the boonies) and cannot make it to help in the phyiscal way I would diffently be willing to help in anyway that I can.

and as you say, when I get my rewite finished and exchange in you reading my script is all the better.

just tossing it out there .. so let me know how I can help out.

[MrDelaney]

"but Walt McGuinn at Victory Studios, www.victorystudios.com, is a great and knowledgeable guy when it comes to HD"


I'll second that.
I finished up offline/online post on a 24P HD feature earlier this year, and we did our online and color correction at Victory. Walt is a great guy, and ready to answer any and all questions you might have. Couldn't ask for nicer people to work with.

-mr d.

[YeahWrite]

Tao,

Hopefully you're getting a lot of e-mails with people wanting to jump into the fray because outside of the useful advice and congratulatory votes of confidence, you're not getting any bodies on this board.

I have produced and/or been involved with many a short film production. I currently have one short I produced airing on Showtime. I would be more than happy to pitch in and take you up on your offer.

There is one thing that you didn't mention, but you also may want to take a look at. Web designer. The Internet is a great place and the most cost effective way to build buzz on your project. Especially at short. As a matter of fact AP just did a piece on the "Spider-Man 2" trailer that talks about the importance of having an on-line presence (see story 'Spider-Man 2' Spins His Web on the Web (http://entertainment.iwon.com/article/id/87321|entertainment|12-11-2003::20:28|reuters.html)here). All this to say that along with Producing/Line Producing/UPM or wherever-you-need-me duties during production, I'm also volunteering my time to design your film's web site.

Let me know and good luck!

[Taotropics310]

those who've contacted me-

thank you sincerely for your interest and your offers. I am waiting for our key personnel to come together so I can more formally respond. Know that I have received your offers and suggestions and will respond in a detailed way when I'm prepared to - shouldn't be more than a week or two.

[phoenixwriting]

tao,

I'm between jobs at the moment, so if your budget will stretch to flying me out there from Sydney... I make great coffee.

:D

Is this your directorial debut? Best of luck with the shoot.

[Taotropics310]

Hi guys,

For those of you who have inquired about donation/shares/money in exchange for critique:

I've had discussions with my lawyer and producer about
bringing in individual investors, and the complexity
and liability of it has made it seem like not so good
an idea. So I'm financing the movie myself.

In the interests of shaking up some extra bread to put into my movie, I'm going to take on ten (actually nine - someone has already signed up) people for reading/mentoring - just trading money for services. It's a good time for me since I'm finishing my WB draft, and haven't accepted a new gig yet.

The cost is a thousand bucks. I would provide:

-extensive read and notes on draft and one revision of project 1
-extensive read and notes on draft and one revision of project 2
-mentoring (as described below)
-possible introductions to producers/agents ONLY if i
feel the material warrants it/is ready


caveat: i'm hard on material. Most times i will be so hard on the material you will wonder why you are paying me. my
offer here is not "by audition", i'm just taking on the
first nine people I hook up with that are interested. If you or your work are not in the ballpark (professionally speaking), that is what I'm going to tell you. So prepare for honesty in service of excellence. I will send you in big directions not just in the project but in terms of what I think it takes to be a serious writer. The advice will be yours to run with or not.

access re: mentoring will be back and forth -
sometimes i'm more available than others depending on deadlines etc. The period during my shooting and cutting of my movie will obviously be tight. March and April will be better. email can be whenever - and I'm available for phone calls or meetings once a month for story brainstorming or career advice for the
duration of four drafts of work. It will be first come first serve in terms of who I work with first.

If you haven't already gotten
some positive feedback from the world that you might
be able to do this for a living, i wouldn't advise
making this investment, because you'll find it
frustrating if you're not a capable writer.

If you ask around, you'll find i have given reads to some regulars here for free in the past. It depends on my mood and availability and developing a social relationship with someone. so it's not like that's impossible, it's just that this would circumvent that process and make it less "random" for whoever wants to do this.

Anyone who is interested, I'd be happy to email you a bio including my credits and collaborators and answer any questions you might have about my work process. I have been asked for and given script notes and critiques to A-list screenwriters, Pulitzer Prize winning playwrights, and Tony Award winning directors.

If it doesn't sound appealing for whatever reason,
I totally get it - no harm no foul.

This is the standard agreement i'll be offering DDealers who
inquire. I'm not taking on more than ten total - unless I like it in which case maybe I'll do it next year or something. And if less than ten sign up - more attention for the others.

Oh and boogul and ry are disqualified.

Email me at wewheeler90405@yahoo.com if you're interested.

all the best

tao

[Unca Leo]

But I still have no problem with nudity.

[AnconRanger]

unca made a similar barter type offer last year for one of his pet projects, but all he asked for was a dozen buckets of fried chicken and the unlimited use of a bulldozer for a critique.

[Hamboogul]

So when is this film shoot? And when are we getting mediocre sushi from Todai again?

[theartgirl]

Leo-:rollin

Tao-good luck with the project! I'd love to help on the artistic end but alas I have no experience in storyboard work. Now, if you need a painting--that i can help you with.

Coll:)

[Taotropics310]

UPDATE:

for those who have offered time on the set:

my sincerest thanks. Because of my producer and DP's preference to work with people they already know, we will need less of this kind of help than I previously thought. Those of you with experience that have offered help, please be patient as we sort through different crew options. those of you with no set experience that have offered help - I may call on you to be "extras". I have saved every email sent, and again am enormously grateful to everyone that has offered services. Some of them we can use, some we can't. If it doesn't work on this one, maybe we can work out a different kind of barter down the road.

best

tao

[PipeWriter]

Yo Tao. I can be an extra as long as you don't mind me phoning in my performance.

[Paris]

Hey Tao,
I am a professional digital still photographer. I can offer my services for promotional stills,advertising, box cover, and my favorite...crew memories from the shoot. (Each crewmember gets a cd with a slideshow of behind the scenes pictures.)

I would guess that you're getting over-extended on this offer of yours. While it would be great to have you read something, we can work something else out if need be. (I'm more in need of connections to the doorway, as it were, than a critique.)...[oh, the hutzpah of that guy!...]

Anyhow, good luck with the project!
:hat

[trilby1000]

Any news on how Tao's movie progress?