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YOU MADE A DECISION TO WRITE AND PRODUCE RATHER THAN JUST TO
WRITE SCREENPLAYS. WHY?
I'm an okay writer. But I am a very good producer, I think. I can think
of small details and take care of them. Also I am a people person, which
a producer has to be. You want to connect people together.
You are always networking. And if you want your script to be seen and
read, you need to network. But it takes more money upfront to be a producer.
You have to travel if you don't live in one of the film hubs, whereas
a writer can sit anywhere and do his craft. I think being the producer
of your own script gives you a better chance to get it made some day.
WHAT DO PRODUCERS DO, ANYWAY? HOW DOES A PRODUCER EVER GET PAID?
A producer gets paid if he can get someone to bankroll his project.
Then he has a fee attached. If he or she can bankroll the preproduction
themselves, then they may own part of the film. And if the film sells
for a large amount, then they will get a portion of that sale.
A producer is always on the edge of risk and bankruptcy. Or they could
make it big. Mostly they just work hard and have very little money.
A producer gets the whole project together. They get a money source
interested in making the film; they get the cast and crew together.
They work day to night on every detail of the project that needs to
be realized.
They make or know about every decision concerning the film. They do
a script breakdown and know every component needed for the filming to
be done--the locations, the set design, the equipment, the personnel,
etc., etc.
They support the director's creative vision every way possible. It is
an exhausting job.
PLEASE TELL OUR READERS ABOUT THE PROJECTS YOU HAVE IN DEVELOPMENT.
I have four projects of my own in development and am working on two
other projects as a producer's rep.
JOLIBA is an epic adventure story of the Scottish explorer of the Niger
River, Mungo Park. It is to be a big budget, Academy Award-winning sort
of thrilling adventure story.
FOR LOVE OR MONEY is a romantic comedy that is a bit less high-budget--but
with the right star cast, it could get expensive. It's a cute piece.
THE LADY NEXT DOOR is much lower budgeted. It could be shot on digital
in only a few locations. It is an intense drama.
And lastly, I am doing a documentary entitled THE NIGER RIVER TREK:
AN UNCOMMON ADVENTURE, about my husband as one of five men who trekked
down the West African Niger River for seven months.
I am also helping to produce two lovely, low-budget films: LIVES OF
THE SAINTS written and to be directed by Brian Hohlfeld, and ROMEOVILLE
by Brent Jaimes. All are out and about in the film community so we will
see if any of the projects ever get going.
YOU TRAVEL FROM YOUR HOME AND BUSINESS LOCATION IN ST. LOUIS, MISSOURI,
TO THE "BIG" FILM FESTIVALS, INCLUDING CANNES AND SUNDANCE. WHAT DO
YOU GAIN FROM BEING THERE?
You get to know the business--what makes it tick. You come to some startling
revelations that you're a very small part of a very big industry of
smart and talented people. You get to meet people and learn who the
players are. Then you recognize them at another festival and you can
talk.
It also puts you in an environment where you are a bit more equal with
them. Everyone is working. It's not a "fan" thing. You are in the industry
just like they are.
WHAT MARKETING STRATEGIES DO YOU EMPLOY TO GAIN ATTENTION TO YOUR PROJECTS?
Good loglines of one or two sentences are essential.
Business cards to hand out. Visuals of your project if you have them.
Contact as many people as you can BEFORE you go to a festival.
Never giving up is the most important. I get emails all the time from
folks who are pitching their scripts. And I am not interested because
I don't have a personal relationship with them. If they asked me to
read their script at a festival when I see them face to face, I probably
would read it. Breaking through to the personal is the best way.
HOW DID YOU LEARN TO COLLABORATE WITH OTHER WRITERS AND WITH OTHER FILM
ARTISTS AND TECHNICIANS?
You read the trade magazines, go to panels and discussion groups, learn
with whom you think alike. Learn, learn, learn.
My co-writer and I realized early on that we trusted each other. We
made some rules about writing together and when we could use the supreme
veto power. We respected each other. Volunteer to work on projects--this
is a way to learn about all kinds of people and if you fit with them
or not. Take risks.
HOW DO YOU GO ABOUT ATTACHING ELEMENTS TO THE FILMS YOU HAVE IN DEVELOPMENT?
I send out scripts to the agents of persons I want casted. Then be ready
to go forward if they say they are interested. I flew to England to
meet with Alex Kingston when she was interested in a project. I took
her to dinner and ended up with an attachment.
It cost me money to do that. But be willing to risk that to go forward.
Have confidence that your work is good and others will want to read
it.
DO YOU PLAN TO USE INDEPENDENT FILM AS A SPRINGBOARD TO WORKING WITH
THE MAJORS?
Yes, I want to sell screenplays to people that can pay me for my work.
Everyone wants that if they write.
YOU'VE DIRECTED THE NEW FILMMAKERS FORUM AT THE ST. LOUIS INTERNATIONAL
FILM FESTIVAL FOR SEVERAL YEARS. WHAT DO YOU GAIN FROM THAT EXPERIENCE?
The New Filmmakers Forum is a wonderful program. In doing that over
the last three years, I have literally seen 300 or more indie films
that most folks don't get to see. This is a real education. Also it
allows me to contact people for the program we produce. I have met a
lot of industry people this way.
And the seminars are wonderful for learning all kinds of things. I enjoy
it a lot.
WHAT WORDS OF ADVICE OR ENCOURAGEMENT WOULD YOU HAVE FOR NEW PRODUCERS
OF INDEPENDENT FILM?
Learn to market your product. Don't give up. Keep learning. Keep working.
It's not going to happen overnight.
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