Breaking Into Hollywood – When Should I Just Shoot A Project Myself?
Breaking Into Hollywood – When Should I Just Shoot A Project Myself?
If you’re excited about your latest TV or film project and are hitting a pitching wall, you may be tempted to grab a camera, call in some favors and shoot the whole thing yourself! Is there ever a right time to do that? Well, yes. And there also are right times to not even consider it. Let’s talk about the truth and consequences behind shooting your own reels.
Presentation Reels
For filmmakers, you’ll often want to shoot a presentation reel to convince funders to come aboard. That actually is a terrific idea. But not always a necessary one. Start with a solid screenplay first. Shopping a screenplay is far easier and certainly wholly acceptable as a means to get financiers, key team members and even vendors on board. If you’re not getting any action from the script, put your next budget dollars towards a professional script
analysis. Make sure your script is truly shootable and worth shooting. It costs only a few hundred dollars for detailed development notes from The 1-3-5 System, for example (for info on this system, visit my website listed below). It will cost you a few thousand, at the least, to shoot a reel and hope you can do with pictures what you haven’t yet done with words.
EXCEPTIONS: The big exception here is when you have a challenging, non-CGI visual, setting or performance that repeatedly is questioned by script readers. If you keep hearing “Can that be done?,” it might be time for a presentation reel.
RULE: Once you commit to doing a reel, hire a professional staff and crew. A shoddy-looking reel may cost you credibility, while excellent production value can really boost it.
Sizzle Reels
For reality producers, your show’s
demo tape is called a “sizzle reel.” And your battle cry is all too often, “I’ll just produce the show myself!” Slow down. I had an interesting discussion last weekend with two major reality production and network execs, both of whom were happy to get sizzle reels since they feel reels help them sell an idea to others on their team. But I have often heard exactly the opposite from execs: “Sizzle reels can kill a deal.” One concern is that reels often don’t match the vision your pitch was building in an exec’s mind. Bye-bye sale. Another concern is that a good producer conforms a pitch to work with the brand of each partner s/he meets with. So a sizzle reel you shoot that satisfies one prod co’s brand may completely violate the mission of another company, etc. How many reels do you plan to shoot?
For more detailed dissection of when to sizzle or not, read my book,
The Show Starter Reality TV Made Simple System, Vol. 1: How to Create and Pitch a Sellable Reality Show (for info, visit my website listed below).
FYI, the general consensus at the end of last weekend’s debate was, if at all possible, be sure to ask the exec you plan to pitch how they feel about sizzle reels.
EXCEPTIONS: If something in your show is visually electrifying or conceptually challenging in words, a demo reel of just that portion of your show is a big help.
RULE: Don’t cheap out on the shoot! Make it look great; it’s also your calling card to show what you can do if they keep you attached to the show.
Performer Reels
No disagreement here. Any time you are presenting unknown talent to an executive, a reel that showcases their ability and brand is a winner. For fiction, that’s a casting tape; for
non-fiction, that’s a talent reel. For a casting tape, invest in real audio, and choose sides that sell your talent in his or her strongest part of the script. For a talent reel, you can include a brief personal introduction (interview set-up is fine), the talent in action in their natural environment and even testimonials. Whatever project you’re doing, light this reel beautifully and edit it professionally – this is the face of your project!
Professional Reel
If you are a director, producer, DP, editor or other B-T-S professional, you often will be asked for a demo reel of your work. Note that there is a huge difference between a professional reel…and a professional anthology. You don’t/shouldn’t/can’t put absolutely everything you’ve ever done onto a tape. Take the following advice – even though it challenges everything you believe in.
Make a branding statement with your demo reel. Choose shows and selects that all accent your point-of-view as a content creator. Or that highlight your particular visual style. Or that showcase your big league clientele. Decide what impression you want your reel to leave, what makes you special as a project hire, then play the rough cut for people and ask them to share their gut reaction. If their feedback doesn’t match the kind of projects you most want to get – get back in there and re-cut that reel.
All Reels
You have 5 minutes at the most for a reel, but know that an exec really will only look at the first 2-3 minutes. Don’t get carried away! If studios can get you to pay .00 for a film by showing only a 30-second trailer…well, you get the picture. Now go get that deal!
DMA is a former film story analyst, international runway model and stage performer who is now the executive producer of a new media and reality TV production company in Los Angeles. Learn more about how to sell a reality show from her book, “The Show Starter Reality TV Made Simple System: Ten Steps to Creating and Pitching a Sellable Reality Show.” She also offers reality production instruction seminars through her company’s Show Starter services.
For DMA’s national speaking schedule and more insider resources for breaking into Hollywood, please visit Planet DMA.
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