Letter to the Film Industry
Jack Rooney
Jack Rooney
926 River Avenue
Indianapolis, IN 46221
(317) 634-9440
JackR...@worldnet.att.net
Http://Home.att.net/~JackRooney
To:
The Board of Directors of Corporations in the Motion Picture and Television
Industry, Casting, and Talent Agents.
I am presently employed in the Motion Picture and Television Industry as an
actor.
I have worked on a number of feature films with some of the world's most
renowned filmmakers and stars and I am committed to continuing my career in
the motion picture industry as a leader in the filmmaking community.
I have written, directed, and starred in several 35mm projection-format
features: "Pushed Too Far", "Deadly Discovery", and most recently,
"Lightburden" and "Forgive Me Father". I presently average one theatrical
released features per year (for the last several years), and all of them
have done well financially in the foreign theatrical and international video
markets and have received great reviews for films of their type -- these
films were all shot on low budgets, are typically character driven in the
action/suspense genera, and each have returned, or are projected to return,
10 to 20 times their cost of production. Long-term projections (20 to 30
years or more) are difficult to make. I have also released three music CD
albums over the last few years which are doing quite well - I sing and play
a variety of musical instruments.
In short, I star in the movies I make, or I star in movies produced by
others, and I sell them, or the producers arrange sales, in the foreign
market for theatrical release, on video, and for television broadcast. The
public seems to like the films. I can only judge by the fact that they buy
my films and music CDs and call for more, and if success can be judged by
financial stability, I have so far been very successful in showbusiness.
In an effort to expand the markets for my motion picture and music product,
I would like to work with a major studio or film production company
interested in distribution of my work. Pursuant to that end, I am seeking a
variety of joint ventures, financing, partnerships, contractual and other
business relationships to enhance the market penetration and increase the
profitability of the theatrical, radio, television, cable, satellite, video
and DVD and CD, internet, and direct e-commerce sales of my work.
Please visit my web site, http://home.att.net/~JackRooney, which contains my
full list of credits, biographical information, and streaming media samples
of my music and films set up for online viewing.
Please contact me directly by phone, email, or write to the above address. I
look forward to talking with you.
Thank you for your consideration.
Sincerely,
Jack Rooney
JackR...@att.net
http://home.att.net/~JackRooney
###
Engineer
people think that the entertainment industry is the most important business
in the world....guess what?....It ISN'T!!!
You ain't feeding the world pal....show us a website that ends hunger or
solves war and I'll look at it.
"Jack Rooney" <jackr...@worldnet.att.net> wrote in message
news:bHx58.63$0J6....@bgtnsc04-news.ops.worldnet.att.net...
A. Film Guy
Jack has possibly just added himself to the annals of Hollywood
career-suicide stories along with Dennis Woodruff, Angelyne and that
Hasselhoff-looking dude in San Diego that has the movie casting
website.
If you know who these people are, you'll get it.
If you don't, I'm not suprised.
Maybe you should take out some self-congratulatory ad space in the
Reporter or Variety. Billboards are cool too. How about some of those
billboard-trucks that drive up and down Sunset?
Good luck, bro. Go for broke.
Dennis's trailer has been parked by Gower Studios all week, and I
think he has space in front of him most nights. Get to town, what are
you waiting for?
Engineer
need of another career. Jack, get to the back of the lineup...there are
100,000 actors in LA willing to do the footwork without 'prostituting'
themselves on the net.
"A. Film Guy" <laci...@hotmail.com> wrote in message
news:b82d6932.02013...@posting.google.com...
Jack Rooney
solves war. Sorry.
--
Jack Rooney
Http://home.att.net/~JackRooney
"Engineer" <sjocl...@shaw.ca> wrote in message
news:uVH58.1780$Ku.4...@news1.calgary.shaw.ca...
Jack Rooney
"A. Film Guy" <laci...@hotmail.com> wrote in message
news:b82d6932.02013...@posting.google.com...
cK
> Jack has possibly just added himself to the annals of Hollywood
> career-suicide stories along with Dennis Woodruff, Angelyne and that
> Hasselhoff-looking dude in San Diego that has the movie casting
> website.
>
> If you know who these people are, you'll get it.
>
That just reminded me of a really funny Dennis story. I frequent this
very cool and artsy cafe type place in LA where an A-list
writer/director used to come to work on his new scripts. Dennis found
out and stalked him, until he met up with him there. He accosted him
one day with a demo real in this hand and a blitzkreig of "you need to
put me in your next movie because i'm the greatest actor you'll ever
get the chance to work with...." 30 minutes of this....the guy was
enamored with Dennis and also very afraid. The A-list director was so
horrified it took him a year to work up the courage to come back to
the cafe. That's a first hand story BTW.
Reminds me of this guy. He needs to move to Hollywood and paint up a
used volvo full of wierd nick nacks and trippy patterns. That's How
you'll REALLY get noticed.
Jack Rooney
those panel trucks and get back with me.
"cK" <ck...@yahoo.com> wrote in message
news:cf5b7246.0201...@posting.google.com...
Republican Engineer
--
The man who can right himself by a vote will seldom resort to a musket.
James Fenimore Cooper, , 1838
"Jack Rooney" <jackr...@worldnet.att.net> wrote in message
news:jhr68.4196$I5.3...@bgtnsc05-news.ops.worldnet.att.net...
Jack Rooney
(stills) with other cast members for the promo package and one sheet for my
new film "The Mysterious Man" On February 15th I begin principal photography
for 8 weeks. If you would have taken the time to look at my calendar at my
website you would have seen I am booked solid through August 2002 on feature
film work as an actor in starring roles in feature films. I thought I made
that clear in my original post of my cover letter to the film industry; uh,
yes I did, first sentence: "I am presently employed in the Motion Picture
and Television Industry as an
making tons of money making feature films in Indiana."? It's the truth. Why
should I want to come to LA and stand in the unemployment line with all the
wannabes struggling to make a living there. The market in LA is saturated
with too many actors, directors, writers, production personnel etc, who all
mistakenly believe the sun rises and sets on Hollywood's doorstep. Maybe at
one time in the not to distant past, but not anymore. Most of the films made
today are not shot in LA. You guys all appear to be locked into the
Hollywood mindset that says "come to LA and be a star". That is the absolute
worst thing an actor should do. I have never known anyone recently who moved
to LA and became a star. It just doesn't work that way anymore. I will come
to LA when the studios send the corporate Lear Jet to the Indianapolis
International Airport to pick me up and fly me in. Indianapolis was just
rated one of the top 12 cities in the United States to make movies. LA is
just going to be a big post-production house and distribution channel. I was
not asking Hollywood to give me a job as an actor; I already have more work
than I know what to do with; I make several features per year and that's
good enough for right now. I turn down more work than I accept. I am looking
for someone to handle the distribution aspect of my film product, not to
hire me as an actor or give me money to make a film; I already have the
money to make as many films as I want from sales of my past films. I just
want to grow my business and take it to the next level. But become an
employee of the Hollywood machine? Haaaaa Haaa Haaa. Never. I don't need It.
I am independent filmmaker actor and I plan to stay that way. I gave up on
any help putting the film in the can from Hollywood long ago. I also
maintain creative control of my own art, and I license distribution rights
as suits my interests, not Hollywood's. In short, we are in control of our
own movie making machine here in Indiana and it works for us. We can make
movies for one twentieth the cost to produce the same film in LA. We
manufacture and sell prints and copies to the foreign theatrical, video,
DVD, and broadcast markets. Anyone who wants a piece of my pie, give me a
call. Otherwise, see me on the big screen, and good luck with your Hollywood
careers....
best regards,
\--
Jack Rooney
Http://home.att.net/~JackRooney
"Republican Engineer" <sjocl...@shaw.ca> wrote in message
news:ods68.7984$cy1.3...@news1.calgary.shaw.ca...
Republican Engineer
If your so damned busy, how come you have to prostitute yourself here? I
have never heard of a truly successful actor outside on Hollywood. Where IS
it you say you live?....
--
The man who can right himself by a vote will seldom resort to a musket.
James Fenimore Cooper, , 1838
"Jack Rooney" <jackr...@worldnet.att.net> wrote in message
news:kbB68.5098$zT.3...@bgtnsc06-news.ops.worldnet.att.net...
Jack Rooney
> You expect me to READS all that self-promotional drivel?
Yes. I expect you to read every word.
> If your so damned busy, how come you have to prostitute yourself here?
Is this a trick question? The name of this newsgroup is
alt.movies.independent. This is an NG for people involved in the film
biz. So go figure... Now, I didn't catch the name of the major film
production company you own or film distribution company you represent??????
I
> have never heard of a truly successful actor outside on Hollywood.
I don't know that anyone can really define what "successful" or
"making it" really amounts to; are you doing what you want to do, are your
bills paid, are you working, are you happy? If your answer is yes to these
basic questions, then you have made it by definition. Everything else after
that is just pure fun. Regarding actors outside Hollywood who made it
without Hollywood, try Stalone, Billy Thorton, Steven Segal, Dennis Quaid,
not to mention all the great British and European actors like Olivier,
Guilgood, Rosolinni - all of whom were world renowned, accomplished
celebrities long before thy got to Hollywood. Hollywood is a possible means
to an end and not an ultimate end in itself.
Where IS
> it you say you live?....
The center of the universe, Indianapolis, Indiana:
http://www.mapquest.com/maps/map.adp?city=Indianapolis&state=In
None of the big stars actually live in Hollywood anymore, none of the top 20
A-list players actually reside there, they all live someplace else and work
in Hollywood only when it absolutely necessary, if ever. They go there for
screenings and awards, but they do not live there. Actors are smart.
Evander
Tell me the difference between getting "cast" in a movie and being an
"extra?"
Evan
KYLLRelite2v231
>without Hollywood, try Stalone, Billy Thorton, Steven Segal, Dennis Quaid,
None of these people "made it without Hollywood".
I thought...
Stallone: Theres a whole thread (too much for me to type here) in
Misc.Writing.Screenplays explaining the myth of "Rocky" and the career of
Stallone... not to mention 'Prisoner of 2nd(?) Avenue' and 'Lords of
Flatbush'.
Billy Bob Thornton: Long before "Slingblade" , he worked with Markie Post and
John Ritter in a sitcom called 'Hearts Afire', he was also in films (such as
'Out There', starring David Rasche). He lived and breathed "hollywood".
Steven Segal: Wasn't he a "hollywood personal trainer to the stars" before he
became an action hero. I'm positive he was.
Dennis Quaid: His brother, Randy ('The Last Picture Show') Quaid, was already
"in" hollywood when Dennis came about.
cK
> call. Otherwise, see me on the big screen, and good luck with your Hollywood careers....
Won't that be a bit hard since all of your films are at best straight
to video? Maybe you are on cable but I never stay up that late.
As for your proclamation that the LA film scene is dead. Well yes
alot of films aren't shot in this town, but they all originate here.
All the money comes from here and all the principle actors are cast
here. <I"m talking about films that you see in the theatres. Not
internet movies, and straight to video action, horror and soft core
porn those are shot in Indiana probabally> When they shoot in Canada
they get their star from LA and fly them to the tundra to shoot. You
would know this if you were a marketable talent.
I beleive what we were all getting at is that your original post
reaked of arrogance. You claim to be this "successful actor" but have
never carried a film that anyone has heard of let alone seen. There
are already enough undiscovered no-body actors in this town who think
they are god's gift to cinema. The last thing we need is to import
arrogant thespians from the midwest.
Jack Rooney
"Evander" <eva...@NOSPAMtelocity.com> wrote in message
news:3c5b97a3$1...@nopics.sjc...
Jack Rooney
backed or financed by the studios; the myth of Hollywood is that all star
talent comes from the studios, the reality is that most new stars who enter
Hollywood scene do so from independent films financed and produced by the
filmmakers themselves, not the studios. The studios grab these independently
produced films after they are made if they have a good showing at a film
festival, but generally, more and more, when you see the big studio name and
the studio logo at the front of the film (or mini-major name and logo) it is
because they bought distribution rights from the independent who produced
it, and not that they produced it themselves in the studio system. Yes, the
majors do still finance and produce their own films in-house, but they are
increasingly acquiring films from independents, along with the "stars" who
appear in them. Really, you have a better chance of hitting the lotto than
of being cast in a major or mini-major studio production unless you are an
established actor. LA is the absolute worst place in the world to attempt
to start an acting career unless you are Francis Ford Copula's nephew or one
of the kids of the old-timer Hollywood stars (nepotism). Which is okay I
guess, If my kid needed a job, I would try to help too, but my point is most
of the really juicy roles in Hollywood are already locked down to family and
friends of the producers and power barons in Hollywood and established
actors who are also progeny of the elitists running Hollywood. I am not
complaining about it, just saying that's reality. So knowing this can save
you a lot of time and grief. Don't try to play into the system set up to
keep outsiders out and insiders in. It's a waste of time. If you want to
make films, make films, but don't expect Hollywood to give you the money or
drool over your guineas. If you want to be a star, and you are not the son
of a mogul, make independent films and ignore the Hollywood system
completely. You may come up with a diamond in the ruff and it will get
picked up my the major or minor distributors; but even if they do not want
it, you can always manufacture and sell VHS and DVD media of the show, and
this is where the Hollywood myth works to the advantage of the independent
American filmmaker. The foreign market, which accounts for about half of
total US film revenues, doesn't distinguish between a film shot in
Indianapolis and a film shot in Hollywood. They don't care. It's an American
film and that means "Hollywood" in their mind. As long as you do a half way
respectable job at it and the film conforms to a generally close standard of
"the Hollywood style", high contrast lighting, Kodak film stock, good audio,
actors who are not complete rank amateurs, and a good story told well with
the camera, you can sell it even if the studios want nothing to do with it.
Stalone financed and produced Rockey in this way; Thorton financed and
produced Sling Blade, Sayles produced Breaking Away independently, and Andy
Davis made Segal a star with his own independently produced films. People
like Willis work on low budget independent films, then move into television,
then onto starring roles in major features. There is really no clearly
marked road to the top of the mountain, but by and large, the number of
actors, producers, directors, writers, who break into the biz through
independently produced films is growing. If you finance with your own money,
you can loose your ass, but this is a game for big boys and girls. And if
you can not handle a few licks on the chops, get out of the game. Also, it
can have the opposite effect from what one might desire; it can weed out the
idiots. Sometimes, and I have seen this happen, the only thing the
independent producer actor director does is prove to the entire filmmaking
community just how incompetent they really are, and they go back to selling
shoes. And this is good. The strong survive. I think LA can be a valuable
learning experience for young people wanting to learn the ropes regarding
production techniques and such, but I also think it can give them a false
sense of what the art of filmmaking is all about and can make them jaded and
cynical, like some of the jaded cynics in this NG, for example, who come off
as a bunch of pretentious asses with know it all attitudes that suck big
time. And I would say, it's okay to go to LA to learn a bit about
filmmaking, but get out as soon as you can and do not allow yourself to be
swept up in the artificial Hollywood lifestyle. Hollywood is not for me. It
has a highly exaggerated sense of its own self importance, and it
perpetuates this myth on the public just by virtue of the fact of its long
past history as a center of film production. I am doing well as an
independent filmmaker not by buying into the myth, but by rejecting it, by
realizing that the world has changed dramatically since the golden days of
Hollywood, even though the myth persists to today, and then turning that
myth to my advantage in the world marketplace for independent films. The
viewing public doesn't care where the film was shot or by whom; they only
care about what they like to see or don't like to see on the big screen. The
only people who care about who made the film are other producers, directors,
actors who are not in it and did not make it and they combined can not
purchase enough tickets to cover even the cost of film stock. So forget
about making films for filmmakers and Hollywood producers or even
distributors. Make films for people - for your barber, for your garage
mechanic, for your grocer, and your uncle Jim, but do not make films to
please Hollywood. These are the same people who turned down Star Wars and
told Stalone that Rockey was not commercial enough and who told Dustin
Hoffman he could never be a leading man because he was to short and told
Carl Malden his nose was too big. What do they know? Obviously not much
because they are wrong more often than they are right. Any new, innovative
film that comes along always comes from outside the studio system and then
the studios try to copy it, clone it, duplicate it, and play it to death,
like The Blair Witch Project, which the studios and networks tried to copy
but failed miserably, which gives you a good idea what "doing it our way"
(the studio way) really amounts to. As this sad reality becomes more and
more apparent to filmmakers, need I even mention the mass exodus of
productions from Hollywood to greener pastures around the country and the
world, like Canada. The writers, directors, producers in Hollywood are all
brain dead and the entire production system has been reduced to making
remakes of successful old films like the Mummy, Titanic, and sequels to
independent films they had nothing to do with creating in the first place,
snazzed up with modern technology and SFX, but still the same story told
over, nothing new. Innovation always comes from outside the system from
independents who innovate out of necessity and love for the art form. In
order for the independents to do what they do, they must be creative and
innovative. And this is what the public likes, something fresh and new. And
this is precisely what the independent, non-studio filmmaker brings to the
table, something fresh and new. Hollywood can still serve as distribution
and delivery medium of motion pictures to the world, but the vast majority
of new, good films will be made by independent artists operating outside the
studio system.
"KYLLRelite2v231" <kyllrel...@aol.com> wrote in message
news:20020202051254...@mb-ct.aol.com...
Jack Rooney
street. What part of "I don't really need you" do you not understand. The
arrogance is coming from your side of the debate with your invalid
assumption that actors must grovel at the feet of Hollywood to make a living
at it. Until someone does something to dispel this myth, you will continue
to have floods of naive young wannabes storming Hollywood all thinking they
will become successful actors through the studio system. Probably not, then
they end up living on the street, selling drugs, prostitution, and getting
caught up in the seedy underside of Hollywood Camelot you don't want the
public to know about. Your actor's unions are falling apart from internal
corruption, your production system is decaying and there is not enough money
to upgrade, you are locked into an overhead from which you cannot escape,
and your movie production and distribution corporations will soon be going
the way of Enron. I don't mean to be disrespectful to you, sir, but you
should really visit my website, look at my resume and list of film credits,
and review some of my work before you snap to judgment about me. If it is
arrogant to be financially successful in showbusiness without the approval
of the control freaks in Hollywood and to openly say so to the world and
corroborate my claim with proof in the form of a extensive body of film
work, education, and experience, then I am the most arrogant asshole on
earth. Sorry if you find it troubling....
"cK" <ck...@yahoo.com> wrote in message
news:cf5b7246.0202...@posting.google.com...
Thomas Parker
> > Anyone who wants a piece of my pie, give me a
> > call. Otherwise, see me on the big screen, and good luck with your
Hollywood careers....
>
> Won't that be a bit hard since all of your films are at best straight
> to video? Maybe you are on cable but I never stay up that late.
Hey, that's not fair! He was an extra in "The Negotiator." Actually, I was
an extra in "Wildcats." Can I get in imdb, too?
Of course, I'd deal with anyone who remotely knew anybody who had a shot at
getting my screenplay produced down the road...
best,
tom
Republican Engineer
decided to retire and get as far away from people like YOU as possible. Most
people in films are nothing more than blow-hard wannabe's.....and my guess
is you are their president.
--
The man who can right himself by a vote will seldom resort to a musket.
James Fenimore Cooper, , 1838
"Jack Rooney" <jackr...@worldnet.att.net> wrote in message
news:cUG68.5646$zT.4...@bgtnsc06-news.ops.worldnet.att.net...
Republican Engineer
--
The man who can right himself by a vote will seldom resort to a musket.
James Fenimore Cooper, , 1838
"Jack Rooney" <jackr...@worldnet.att.net> wrote in message
news:CDV68.6980$I5.5...@bgtnsc05-news.ops.worldnet.att.net...
Republican Engineer
know where you learned that you can become a star or employed actor in the
deep swamps of wherever the hell your from but I suspect Mr Rooney that you
are only here to pis* people off...now go away!
--
The man who can right himself by a vote will seldom resort to a musket.
James Fenimore Cooper, , 1838
"Jack Rooney" <jackr...@worldnet.att.net> wrote in message
news:35X68.6991$zT.5...@bgtnsc06-news.ops.worldnet.att.net...
Jack Rooney
started as an extra. So did I. Not at all comparing myself to him, but you
should do some extra work early on just to learn, and if you do extra work,
try to get on sets with academy award winning talent, like Kevin Spacey,
Harrison Ford, Oliver Stone, and William Friedkin, Samuel Jackson, Nick
nolte - yes, I have worked for them, I worked for the best, and I enjoyed
every minute of it, and I learned a lot from them, and I thank them all
muchly for giving me that opportunity. Anyone who wants to put it down
really needs to get a life."Thomas Parker" <tpar...@SPAMBLOCKcox.rr.com> wrote in message
news:h9X68.75608$a07.16...@typhoon.southeast.rr.com...
Jack Rooney
and tell me all the dirty little secrets about the corrupt Hollywood
machine. You must have a ton of good stories to share.
cK
>>product, I would like to work with a major studio or film production
So in your original post you are begging for an LA based company to
help you out....<now you never said LA based studio or prod co. but
since all major studios and prod co's are located in LA I just
assumed.>
> Don't worry about it. I won't be visiting LA soon, I think it is a dead end
> street. What part of "I don't really need you" do you not understand.
But here you say you don't need Hollywood. So which is it? You hate
Hollywood but you know that you need it to further your career? Make
up your mind.
>The arrogance is coming from your side of the debate with your
invalid
> assumption that actors must grovel at the feet of Hollywood to make a >living at it.
I never said that an actor must live in Hollywood to be able to make a
living. If you are an actor and you move to LA to start your career
you will have a better chance than someone living in the middle of
nowhere trying to get a break. There are more chances and
opportunities here than anywhere else. You can have a career somewhere
else but it will never elevate to that 'next level'. <there are
always exceptions yes, but i'm stating the rule>. That is just a fact.
But if you want to be successful at it then you must live in a media
center. LA and NYC are the TWO places in America where movies of
importance are funded, produced and cast from. If you don't believe
this then you are diluted. Yes there are productions in other cities.
Canada has some stuff going on and there are prod. co's in Chicago and
Texas and Minnesota and North Carolina but they amount to only a small
fraction compared to the size of LA based productions. Even the
majority of those shows started out in development here and the
principles were cast in the LA area.
>Your actor's unions are falling apart from internal
> corruption, your production system is decaying and there is not enough >money to upgrade, you are locked into an overhead from which you >cannot escape and your movie production and distribution corporations >will soon be going the way of Enron.
So if you really believe all of that then why do you want our "doomed"
studios and distribution houses to distribute your work? Why do you
want to partner with companies that are 'going the way of Enron'? You
must be desperate or at the very least unsure of what you believe. Do
you believe you are the Messiah that the film industry needs to pick
itself up? If only the stuggling MGM would distribute a Jack
Rooney....then maybe they'd have the money to stay off the auction
block, or build a physical studio lot!
>I don't mean to be disrespectful to you, sir, but you should really
visit my >website, look at my resume and list of film credits,and
review some of >my work before you snap to judgment about me.
I did. I said it before and I'll say it again. Your resume is very
typical of a hollywood character actor. You've been in a few big
budget things as background talent <read: extra> or as a one line
supporting character like cop #3 or something like that. And you've
been the star of a couple low budget foriegn market video releases.
B.F.D.!!!!
Do you understand that there are hundreds, if not thousands of people
in this town<LA> who have resume's that are equal to or more
impressive than yours ?? Why would a studio or anyone with money think
you are special?? Why would they fly that Lear Jet out to Indianapolis
as you stated to bring you to LA if your not someone who can generate
Millions in profit? The first month that I lived in LA I was an extra
on a large number of the top rated television shows on the air. I'm
not even an actor!! I was just a kid who wanted to impress his friends
back home by getting on TV while I looked for a real job. It really
isn't that hard to get a spot in the background on a big show. You pay
about $20 to an agency,they give you a hotline to call daily and you
work whenever you want to.
>If it is arrogant to be financially successful in showbusiness
without the >approval of the control freaks in Hollywood and to openly
say so to the >world and corroborate my claim...
Again why do you want to work with all the control freaks and a**holes
that you are reffering to? I"m sure that you make a decent living at
acting. Decent enough to live comfortabally in Indiana. Furthermore
you say you are successful. Well the term successful is relative. To
you it means getting a few jobs. To me it means being able to call
anybody in your given industry and have them return your call that
day. If you can accomplish that then there is a better than not chance
that you're pretty succesful at your trade and you have the respect of
your industry. Try calling Michal Eisner, Steven Speilberg, David
Geffen, Harvey Wienstein etc etc. and see how far you get. By no means
am I any kind of big time Hollywood insider but I'm not dilluted with
the fantasies of how great I think I am. I know the score, I know how
the game is played, and I make no reservations contrary to that.
>with proof in the form of a extensive body of film work, education,
and >experience...
Extensive body of work? Roger Corman has an extensive body of work. So
does Tom Hanks, Julia Roberts, <and on the indie tip> William H Macy ,
and Parker Posey. You have one page on a resume, half of which weren't
even acting credits. Again Big F**king deal!!! I have nothing against
the small working actor. The guy who's been on a bunch of shows and
you recognize but don't really know his name. I think they are fine
actors and help to enrich the industry and I think its great that
they are living they're dream. I DO have a problem with people who
have an overinflated sense of self importance. I have a problem with
anybody <star, celebrity or run of the mill *undiscovered talent* >
who think they are the greatest thing in the world. People who think
that they are SO important that the world should stop when they enter
a room. From your postings you seem like that kind of a person. Maybe
i'm wrong, but all i have to go by is what you have written. Your ego
-centric self promotion says it all!
>then I am the most arrogant asshole on earth.
Yes you are.
>Sorry if you find it troubling....
I'm troubled by the fact that you have a Napoleon Complex and don't
even realize it.
LA...@la.com
>As for your proclamation that the LA film scene is dead. Well yes
>alot of films aren't shot in this town, but they all originate here.
Exactly. :)
>All the money comes from here
Or at least flows through here.
>and all the principle actors are cast
>here.
Not a good idea not to live here if you're not already a big star.
><I"m talking about films that you see in the theatres. Not
>internet movies, and straight to video action, horror and soft core
>porn those are shot in Indiana probabally> When they shoot in Canada
>they get their star from LA and fly them to the tundra to shoot.
Often a sign that the project will suck because the filmmakers are
more intersted in saving a buck than in making a good film.
LA...@la.com
>> Don't worry about it. I won't be visiting LA soon, I think it is a dead end
>> street. What part of "I don't really need you" do you not understand.
>
>But here you say you don't need Hollywood. So which is it? You hate
>Hollywood but you know that you need it to further your career? Make
>up your mind.
LOLROTF. Very funny :)))
>I never said that an actor must live in Hollywood to be able to make a
>living.
I'd say it's a really bad idea for any actor not to live here unless
they're a big star already. They'll lose out on many opportunities.
>If you are an actor and you move to LA to start your career
>you will have a better chance than someone living in the middle of
>nowhere trying to get a break. There are more chances and
>opportunities here than anywhere else. You can have a career somewhere
>else but it will never elevate to that 'next level'. <there are
>always exceptions yes, but i'm stating the rule>. That is just a fact.
>But if you want to be successful at it then you must live in a media
>center. LA and NYC are the TWO places in America where movies of
>importance are funded, produced and cast from.
And NYC is not a good idea for actors interested in doing film work.
>If you don't believe
>this then you are diluted. Yes there are productions in other cities.
>Canada has some stuff going on and there are prod. co's in Chicago and
>Texas and Minnesota and North Carolina but they amount to only a small
>fraction compared to the size of LA based productions. Even the
>majority of those shows started out in development here and the
>principles were cast in the LA area.
Exactly. And most of the productions that cast elsewhere also cast
here, but not vice versa.
LA...@la.com
<jackr...@worldnet.att.net> wrote:
>And Harrison Ford was an Extra in Apocalypse Now, (I think)
That's inaccurate. He had a small part (one could call it a cameo).
Evander
So I searched IMDB for your credits, most of which have you as uncredited
rolls. Does that mean you're an extra? If so SAG extras get $275 a day
(under the new contract) you have half a dozen uncredited credits to you
name. Say you worked 10 days each. (I know most extras don't work 10 days on
one project but I'm going to give him the benefit of the doubt) 10 X $275 =
$2750 X 6 (the number of uncredited appearances) = $16,500. You have 7
credits? Lets say you made $10,000 for each of those credits (you might play
the best damn assassin nobodies ever seen) totaling $70,000. By this figure
you've made $86,500 from acting. Not too bad for one year but you credits
span 9 years. That works out to be just over $9611 a year. How can you come
into this group and claim to be an actor who supports himself from acting?
Do you live in a shack? If you're struggling to "make it" as an actor it's
OK just don't come to this group claiming to be something you're not.
Evan
Jack Rooney
for my films and that's all. I don't need acting work from Hollywood. I am
doing what any sensible business man should try to do - sell my stuff. If
they can make money with my films, why wouldn't they? If they don't believe
they can, no problem, I have other direct sales outlets that provide me a
very good living. But Hollywood distributors are not the only kids on the
block. I
don't care what you think of me, although I appreciate your input, you guys
are the megalomaniacs with the deluded sense of self-importance. Hollywood
is not the center of the universe anymore and all this crap about all the
money coming from Hollywood and all the stars coming from Hollywood is just
that, crap, the funding from films comes from investors who buy shares and
they come from all over the country, so do the actors who star in the films.
The financing packages are not even generally put together by LA lawyers,
most of it
comes out of the financing center in NY, but even that is not always true
anymore. If you guys are a representative cross sample of the film industry
in LA, I can see why the thing is falling apart and why people are getting
the hell out as fast as they can. They have been talking about the "brain
drain" in Hollywood for years and it is interesting to see it close up in
the characters in this NG. I am going to pursue any possible outlets
for my work that will generate sales, but I would never actually shoot a
film in Hollywood or go there to get work as an actor unless they could
match what I am making right now, which is unlikely. And your premise, "if
you want to make it you must go to LA" is mistaken, that is exactly what I
have been trying to tell you, that is exactly what I must NOT do. I am not
attempting to
compete with the major theatrical productions, and I am sure there are
people in LA with more work experience than I, but I do not care to be
relegated to a character actor in Hollywood films, their isn't any money in
it, its a dead end street, no future, and no place for me. I star in films
and that is it. If it means I have to star in low budget films for the rest
of my life, so be it, I am having a great time and I love what I do, at
least I am the star, and screw Hollywood. The trick is to maintain control
of your own copyrights and sell copies - that's where the money is. I am not
begging for an LA company to help me out, you are mistaken to think it. So
what you really don't like about me is that I make money making films and I
can tell the establishment and all of my detractors to kiss my ass? Let me
give you a little fact of
life which may be eluding you: my copyrights last for the duration of my
life plus an additional 70 years after my death. My films will be around in
100, 200, God only knows how many years in
the future and people will be watching them, looking at them, analyzing
them. You hide behind your
anonymous email address ID and tell me what I need to do and espouse your
grandiose thinking to the world
and yet you can not heal yourself, you are employees of a machine that will
abuse you and use you and throw you away like an old worn out pair of shoes
as soon as they need to cut the overhead. Why should I listen to anything
you say. You seem to be coming at it from a perspective that is totally
foreign to my way of thinking about the business. I
suspect you are an employee or part of the service industry of the system.
You may work in Hollywood, you may work on films, you may have many film
credits, but you have said you are not a star of feature films. I am. I
doubt you have
ever directed a major motion picture with a major Hollywood star in it that
received a world theatrical release. I have. "Pushed Too Far" starring
Claude Akins, 1986, my first film as director. I learned long ago about the
corrupt Hollywood system and how it exploits and uses workers to unfair
advantage and decided I wanted no part of it. But I still have
my name in the history books for all time. You say their are thousand of
people like me in Hollywood! Wrong. There are no people like me in
Hollywood. Broad generalizations like that are always wrong. I know nothing
about you, any of
you, except that you are mostly wrong. You could be a famous producer or
director, but you could just as easily be
a cyberstalker with designs set on seducing young boys. How do I know? I
doubt you are a successful film producer
because if you were a good smart producer you would not be making your films
in Hollywood. I make several films per year. I am still young and I have at
least another 30 years left to go. That any of you know who I am is
irrelevant to me. None of you will ever do anything to advance or hinder my
career. You go ahead and do things your way and let me do things my way.
Maybe what you are doing in Hollywood works for you, but I know it could
never work for me. I am on a different path, with different objectives and
goals. I am looking for business relationships to expand the marketing and
sales of my films. It is my life and my career and if I screw it up, I have
only myself to blame. But I have analyzed and thought carefully about the
same arguments you are giving me here about "how to" and I respectfully
disagree with most all of it because it is simply bad advice for my
particular situation, and it is becoming increasingly clear to me that you
guys are absolutely clueless about the realities of film production,
manufacturing, and distribution as a whole, and this is why you are doomed
to remain employees and indentured servants of the Hollywood system that
controls you.
--
Jack Rooney
Http://home.att.net/~JackRooney
"cK" <ck...@yahoo.com> wrote in message
news:cf5b7246.02020...@posting.google.com...
Jack Rooney
Republican Engineer
I'm currently writing a book about the 'corrupt little Hollywood machine' as
you call it. Sorry to come down so hard on you dude...I guess i just spent
too many hours in green rooms with bad actors with low value on life other
than their own. In all honesty I wish you the best of luck....i mean no harm
and would never wish anyone ill-will that is trying so hard in an industry
known for rejection...I guess I just hate to hear from people who devote
their entire life, and place such high values on something that is far from
saving the planet or feeding the hungry of this small little planet. After
24 years in the 'biz' I just hold different values now.
...and yes, I have a ton of good stories. here's a little hint...stay away
from a producer by the name of Greg Sims at Devin Entertainment in LA....he
is one of the biggest crooks in the business...I'll tell you why sometime.
Take care jack.
--
The man who can right himself by a vote will seldom resort to a musket.
James Fenimore Cooper, , 1838
"Jack Rooney" <jackr...@worldnet.att.net> wrote in message
news:HZZ68.7450$zT.5...@bgtnsc06-news.ops.worldnet.att.net...
Jack Rooney
of your attitude in myself, I often think the same thing initially of
others, "aw, here comes another one of those guys"...I can be a bit cynical
at times, although I try not to be, and I remain optimistic most of the
time, but sometimes after years of listening to the BS and crap and
exaggerated self claims and outright lies and deceptions in the biz it is no
wonder we are not more jaded than we are. I do respect the industry workers
in LA. It just isn't a lifestyle for me. I have many friends there and
close associates and anyone who has worked in the industry as long as you
has my respect. I respect experience and the wisdom that comes with it. I
look foreword to reading your book and buying the first copy when it is
finished. Also, thanks for the tips. It is just as important to know who to
avoid as it is who to befriend. I have an immediate business need that is
probably going to require me to deal with people within the Hollywood
establishment, although I shudder at the thought, it is probably inevitable,
and I figure this NG is probably as good a place as any to gain some
insight.
--
Jack Rooney
Http://home.att.net/~JackRooney
"Republican Engineer" <sjocl...@shaw.ca> wrote in message
news:uR878.15796$Jq.6...@news2.calgary.shaw.ca...
Evander
You claim you're a working actor who supports himself from acting. How?
I'd love to know, it might make my life easier.I could care less about your
letter to the film industry but you make claims you want people to take as
fact. I'm just checking your facts.
BTW you are the first person in my life to say I'm good at math. Thanks.
Evan
"Jack Rooney" <jackr...@worldnet.att.net> wrote in message
news:Cw578.8428$I5.6...@bgtnsc05-news.ops.worldnet.att.net...
A. Film Guy
> for my films and that's all.
SO you have no distribution. Just like the hordes of other indies. By
volume, the majority of indies ARE shot in Los Angeles. This is where
the world still comes to live and struggle, and where the resources
and connections stil are.
How many great DP's, camera rental houses, costumers, stunt
co-ordinators, and dolly grips are you gonna find anywhere but a major
city? Let alone L.A.
Get real!
I don't need acting work from Hollywood.
If you are content in obscurity, you're correct. You might be known as
the James Bond of Sri Lanka, and that's cool if that's your thing. But
you sound SOOOO sour grapes.
The thing that Hollywood offers is THE MACHINE, without which you
cannot market product. Ad dollars and infrastructure, baby. Buzz,
press, pub. You don't get it.
I am
> doing what any sensible business man should try to do - sell my stuff.
Can't say I've ever known a producer who blindly pitches his wares to
newsgroups hoping some distributer will go "Jesus! Somebody call this
Guy! He's HOT!"
YOu fail to understand THE RULES. And I'm sure not explaining them for
free.
But Hollywood distributors are not the only kids on the
> block.
No, they're nothing.
I
> don't care what you think of me, although I appreciate your input, you guys
> are the megalomaniacs with the deluded sense of self-importance.
Or a heightened perception of reality.
Dude, you're a fucking idiot.
Jack Rooney
"A. Film Guy" <laci...@hotmail.com> wrote in message
news:b82d6932.02020...@posting.google.com...
> > I don't care if they are distributors from Mars, I am looking for
outlets
> > for my films and that's all.
>
> SO you have no distribution. Just like the hordes of other indies.
False. I sell my films directly to the foreign theatrical market and
manufacture and sell tapes and DVD media and exploit the hell out of it in
any way I can. The problem is that I can no longer devote time to acting in
the films and taking care of the business related aspects of distribution at
the same time. I have two films scheduled back to back right now as the star
and another in negotiation as star. before, when I was only making one film
a year, I could shoot, edit, and spend 8 months marketing, before moving on
to another production. I have my established outlets, but I want to expand
the market for my work. Why are you all having such a difficult time
understanding how it works? I can't do that very well anymore because the
demand for my time as an actor is getting to great. Most of the Indies you
are referring to that can not distribute their films fail because they do
not understand the mechanics and the business side of marketing and
distribution. So they have a great film, but they can't sell it because they
don't know how. The majors won't distribute it because they already have one
like that, or it has an actor in it who looks to much like and competes with
their signed star, or director or story concept in development. I cracked
the distribution nut long ago and it is no longer a mystery to me how it
works, and it is actually quite easy if you know international commercial
law, which isn't really that difficult.
By
> volume, the majority of Indies ARE shot in Los Angeles.
False, over 2,500 films shot last year and less than 200 shot in LA (not
counting your pornos). Don't try to bullshit me with numbers, I know the
stats and follow the industry very closely. Your premise is false.
This is where
> the world still comes to live and struggle, and where the resources
> and connections stil are.
False. You are living in OZ, film guy, and it is all an illusion. You need
to follow the yellow brick road out of there before the wicked witch of the
west destroys you. Put on your ruby slippers and tap your heels out of that
place....
>
> How many great DP's, camera rental houses, costumers, stunt
> co-ordinators, and dolly grips are you gonna find anywhere but a major
> city? Let alone L.A.
Indianapolis is the 12th largest city in the nation and is among the top 10
filmmaking cities in the US. That's a fact. If you would pull your head out
of your LA ass, Film Guy, you would know that. It is also one of the largest
concentrations of ad agency commercial work in the world.
>
> Get real!
>
> I don't need acting work from Hollywood.
>
> If you are content in obscurity, you're correct. You might be known as
> the James Bond of Sri Lanka, and that's cool if that's your thing. But
> you sound SOOOO sour grapes.
I am actually a very happy person and very satisfied and content with what I
have. And since we are on the subject, just who knows or cares who "a film
guy" is? No one except perhaps a bunch of internet newsroom cronies. Type
"Jack Rooney" in at your favorite search engine, go ahead, do it, I dare
you. See what happens, last time I checked there were more than 17,500
references to me on the internet, Listed in every major celebrity directory
in the world right next to Isabelle Rosolenii and Kurt Russell in the Rs.
Then, reality check, type "a film guy" in at the search engine and see what
happens. Then type your real name, whatever it is, or your stage name,
whatever it is, and see what happens. The only one who knows you are in
showbusiness is your mom. What I don't understand is why you find me so
disturbing, what is it about me that gets under your skin. If you really
believe me to be a nobody, why do you even bother with these posts. I mean,
shouldn't the intelligent Hollywood establishment be able to figure out the
truth about me on their own, whatever it may be, and if, as you seem to
suggest, I really am some kind of fraudulent wannabe blow-hard nobody from
the Midwest, don't you think that will become apparent to professionals as
soon as I walk on the set or project my first reel of footage for their
perusal? What are your real motives film guy? How many films have you
produced, directed, written, starred in, sold? Show me a resume with one
verifiable major contribution to the art form in the form of a film you
directed, starred in as the lead, wrote, produced or distributed to
theatrical release and I will beg your forgiveness. But I think, more likely
than not, you are just an indentured servant of the machine, and probably an
unemployed one at this time, or a part of the service industry, or you have
a film "in development" or you are waiting for the phone to ring, for that
big break, or you sell acting classes, or offer casting services for a fee
to the wannabe actors and operate on the fringes of the established
industry, admiring and also hating at the same time the real movers and
shakers who actually make the films, watching from afar with a lustful eye.
Which of these is the profile of Film Guy? Are you bashing me because to
admit that I am real would be at the same time to force you to concede to
your own incompetence. People like me always threaten people like you with
our very existence, because when one is a looser, it is painful to look at
the accomplishments of one who succeeds in life. It is much easier to mock
them, much less painful. You have locked yourself into a system from which
you are unable to escape because you are too close to it. You need to take a
few steeps back and try to get a fresh perspective. Maybe even get out of LA
for awhile, see the world, have some fun, find out what all of us other
humans out here in showbizland are doing and stop believing everything "the
machine" spoon feeds you and washes and spin dries your brain with the
nonsense they want you to hear and believe so they can control you.
>
> The thing that Hollywood offers is THE MACHINE, without which you
> cannot market product.
False. That may have been true at one time in the not too distant past, but
all of that has changed, much because of the internet, and new open markets
for American films, which Hollywood does not and can not control. The same
thing is happening now with the music industry. Independent music artists
are destroying the monopoly control of the major record labels by flooding
the internet with their independently produced music and song. The film
industry is in the same situation. They are loosing control and they know
it. Frankly, we don't need them anymore, and if we use them at all, it will
be on much different terms than in the past where they were holding all the
trump cards. The deck is no longer stacked to their advantage and the game
can be played by anyone with a good solid understanding of film production
and distribution.
Ad dollars and infrastructure, baby. Buzz,
> press, pub. You don't get it.
False. Once again, the internet has changed it all. It was certainly true
at one time, but not anymore. It was once said that "freedom of the press is
guaranteed to someone who owns the press," film companies were also major
shareholders in the major media companies and did control the media; but
this is no longer true. Freedom of the press is now guaranteed to anyone who
owns a lap top computer and has an internet connection and knows how to
write copy, of course, you need something interesting to say that interests
people, but the masses are interested in everything these days, especially
people who succeed against the odds...
>
>
> I am
> > doing what any sensible business man should try to do - sell my stuff.
>
> Can't say I've ever known a producer who blindly pitches his wares to
> newsgroups hoping some distributor will go "Jesus! Somebody call this
> Guy! He's HOT!"
Where is the law against it? Show me the law. What code or statute am I
violating. The law according to Film Guy?. So who appointed you supreme
ruler of the internet? Not only did I do it, I am going to do it again and
again and again and again and again. It isn't Spam. I only post to NGs I
have frequented for years, like this one. And I really don't care if it has
the Film Guy seal of approval or pisses you off.
>
> YOu fail to understand THE RULES.
There are no rules in this business. Show me the law. If there were any
"rules" they were artificially (probably illegally) created by a system
which no longer has the power to enforce them. All rules, if any, have
changed. Hollywood no longer controls "the biz".
And I'm sure not explaining them for
> free.
Oh, so that's it! You sell acting classes and resume preparation services
and you want me to buy some of you expertise, for a fee, to pay you to give
me bad advice about the biz! You are a consultant. Haaaaa Haaaa Haaaaa, now
who is deluded! Heal thyself oh great and wise consultant.
>
>
> But Hollywood distributors are not the only kids on the
> > block.
>
> No, they're nothing.
Well, I wouldn't go so far as to say they are nothing, but their are ways of
circumventing them. It is expensive and time consuming, but it can be done,
I am living proof.
>
> I
> > don't care what you think of me, although I appreciate your input, you
guys
> > are the megalomaniacs with the deluded sense of self-importance.
>
> Or a heightened perception of reality.
from mescaline or LSD or pot, no doubt. Or too much gin will also damage
your brain cells.
>
> Dude, you're a fucking idiot.
Uh, that's extremely wealthy, very successful, incredibly talented
fuck-the-system fucking idiot, thank you. Oh, and also extremely handsome
and charismatic with three university degrees magna cum laude fucking idiot.
Eat your heart out, brother, whoever you really are?
best regards always,
Jack Rooney
it in
any way I can. I am actually what they call a hyphenate,
Actor-director-producer-musician. And I have a degree in Philosophy of Law
from Northern Arizona University, MA, 1980. and it is actually quite easy if
you know international commercial law, which isn't really that difficult. If
you are looking for a "how to" make a living at it. I don't have that answer
except in very general terms. What works for me may not work for you, but
get a good education for starters if at all possible. Educated people as a
general rule go farther in life than crash dummies. If you look at the Bios
of most of the very successful actors in the system, most of them have at
least a bachelors degree, some a masters or more, generally in liberal arts.
Even then, it can be a long road to the top. I starved for years. It has
only been within the last 6 or so years that I have achieved what they call
"financial freedom" - I can do pretty much anything I want. I have
accumulated enough personal assets so that the interest income, royalties,
and ongoing sales of my film and music product provide me with enough after
tax income to live a comfortable, but frugal life. I don't have to get out
of bed in the morning unless I want to. So an acting career doesn't just
happen (at least not very often) and the overnight sensations are very rare.
In my case, my career was built, much like you would build a house. You
start with a good foundation, education, work experience, go out on big
shoots and learn the ropes from professionals, start as an extra, then as a
bit part player, then a little bit bigger parts, then you will probably
either join the union and become a character actor or you may become a star
and make millions working for the studios - or not. in which case you can
either remain a character actor, and they do not make much money, and the
jobs are few and far between, so you starve most of the time, or you take a
second job and do it as a hobby, or you can go out on your own and try to
produce your own independent films. The former path is safe and you may end
up like Anthony Hopkins, a star in his late fifties; the latter path is
risky, you could loose your ass, making films is very expensive, and you
could never get anywhere with it. I chose the latter path. It works for me.
But I spent 9 years in the universities taking three separate degrees and
then spent another 7 years working on big shoots before I had enough
knowledge to pull it off, and still, my films are technically classified as
low budget, but they make money, we sell copies; I also sell the music CDs
and soundtracks separately and license my music in the same way I license
and sell my films, the distribution and sales process for music and films is
very similar, and I make a living with it. So if you are looking for a fast
fix, there isn't one. Unless your uncle is Steven Speilburg.
"Evander" <eva...@NOSPAMtelocity.com> wrote in message
news:3c5d8...@nopics.sjc...
Republican Engineer
always referred to it as a 'gold lined garbage can'.
Best of luck.
CC
--
The man who can right himself by a vote will seldom resort to a musket.
James Fenimore Cooper, , 1838
"Jack Rooney" <jackr...@worldnet.att.net> wrote in message
news:oXc78.8507$zT.7...@bgtnsc06-news.ops.worldnet.att.net...
Republican Engineer
and methods this would be a very boring planet.
CC
--
The man who can right himself by a vote will seldom resort to a musket.
James Fenimore Cooper, , 1838
"A. Film Guy" <laci...@hotmail.com> wrote in message
news:b82d6932.02020...@posting.google.com...
Evander
endeavors, Director-Producer-Musician. That's what I wanted to know. Thank
you Jack.
Evan
BTW I totally agree on getting a higher education. You don't NEED a college
degree to make it but it does help.
"Jack Rooney" <jackr...@worldnet.att.net> wrote in message
news:4ol78.9523$zT.7...@bgtnsc06-news.ops.worldnet.att.net...
A. Film Guy
> and methods this would be a very boring planet.
Of course it would.
This self proclaimed good-looking multiple degreed messiah of the new
cinema
has provided plenty of entertainemnt, Just like Angelyne and Woodruff
and others who are so far out of touch with reality they are akin to
sideshow freaks.
He adamantly spews facts and figures that come from...what?
If he even read tuesdays' production listings in The Reporter, he'd
see his basic numbers and assertations are bullshit.
Or talked to producers.
Or asked a rental house where their clients are.
I live in LA, work here and all over, and am pretty impressed with
myself, because if only 200 films were shot in LA last year, and I
shot 5 of them, damn I must be going places. Wonder what the thousands
of other DP's in town were doing?
Or maybe his numbers are whacked.
Look, there are plenty of films made in places like Nebraska, New
Mexico, Seattle, Honolulu. I KNOW THAT.
I also know that when anything happens with any of them, guess where
the filmmakers end up?
Los Angeles.
The rules aren't laws, they are simply how it works.
You cannot network or be taken seriously if you're not in LA...until
you've totally made it. That goes for actors, writers, directors, etc.
The proof is in the career acceleration that anyone from anywhere will
have within a year of moving to LA...unless they absolutely can't hack
it and run back to Indiana to their condom-machine vending business.
THis guy is obviously a social misfit who will not play the game but
instead lives his reality through the internet thinking somehow it'll
lead to anything beyond my laughing at him.
I maintain he's a fucking self-impressed deluded ( uncredited) idiot.
And much to his chagrin, I won't read any more of this masturbatory
thread.
Jack Rooney
challenge me. Admit it Film Guy, this is the most fun you have had in this
NG in a long time.....
"A. Film Guy" <laci...@hotmail.com> wrote in message
news:b82d6932.0202...@posting.google.com...
Chris Penny
"think outside the box" when it comes to their chosen path. But I'm
confused. Your original post appears to be looking for investors from
that same Hollywood cesspool that your later posts condemn. If you
want the Hollywood money, you gotta come to Babylon to get it.
You weren't really expecting to get money people to respond to your
post, where you? You were just making some sort of point, right? I
mean, a post on AMI is just not a professional introduction. You
could take out a full page ad in Variety with the same letter and
would only succeed in being the joke of the day. It's just not how
things are done. And if by chance you DID get somebody interested,
they would just bring you in and ask "OK, what have you got." At that
point you would pitch your latest idea and from there on you would
follow the same development path that every project takes. But the
thing is...getting a meeting is not hard. You don't need to take out
billboards or post to newsgroups. And you will not be able to bypass
the development cycle no matter how many movies you've made on your
own. Nobody is going to hand you a load of cash just because you made
a profit on a low budget film.
Another thing to consider is that there is no shortage of people here
who make the type of films that you have made. I don't mean to cast
aspersions, because just getting one in the can is worthy of praise,
IMHO. But from what I saw of it on your web site, it's not like
"Deadly Discovery" is another "Slingblade". It appears to be yet
another cop movie. The scene with the DA complaining about all the
dead bodies...kinds smacks of Dirty Harry and 100's like it. Even if
it's true that yours is "as good as" many of the features that are
straight-to-video, so what?. They already have "as good as".
The third thing that puzzled me is why you would address your post to
all those Hollywood power brokers but post it on
alt.movies.INDEPENDENT. Independent implies that it was not made
throught the studios. Nobody here has any money, dude.
I'm not trying to dog you, I just think your efforts are misdirected.
You want the Hollywood money, you gotta dance the Hollywood dance.
Otherwise you should be happy that you can make your movies in
Indianapolis (home of more war memorials than any place on earth).
You say your films make a profit and that you are doing well
financially - what's wrong with that?
Chris
"Jack Rooney" <jackr...@worldnet.att.net> wrote in message news:<bHx58.63$0J6....@bgtnsc04-news.ops.worldnet.att.net>...
> For Immediate Release, January 29, 2002, Indianapolis, Indiana
>
> Jack Rooney
> 926 River Avenue
> Indianapolis, IN 46221
> (317) 634-9440
> JackR...@worldnet.att.net
> Http://Home.att.net/~JackRooney
>
> To:
> The Board of Directors of Corporations in the Motion Picture and Television
> Industry, Casting, and Talent Agents.
>
>
> I am presently employed in the Motion Picture and Television Industry as an
> actor.
>
> I have worked on a number of feature films with some of the world's most
> renowned filmmakers and stars and I am committed to continuing my career in
> the motion picture industry as a leader in the filmmaking community.
>
> I have written, directed, and starred in several 35mm projection-format
> features: "Pushed Too Far", "Deadly Discovery", and most recently,
> "Lightburden" and "Forgive Me Father". I presently average one theatrical
> released features per year (for the last several years), and all of them
> have done well financially in the foreign theatrical and international video
> markets and have received great reviews for films of their type -- these
> films were all shot on low budgets, are typically character driven in the
> action/suspense genera, and each have returned, or are projected to return,
> 10 to 20 times their cost of production. Long-term projections (20 to 30
> years or more) are difficult to make. I have also released three music CD
> albums over the last few years which are doing quite well - I sing and play
> a variety of musical instruments.
>
> In short, I star in the movies I make, or I star in movies produced by
> others, and I sell them, or the producers arrange sales, in the foreign
> market for theatrical release, on video, and for television broadcast. The
> public seems to like the films. I can only judge by the fact that they buy
> my films and music CDs and call for more, and if success can be judged by
> financial stability, I have so far been very successful in showbusiness.
>
> In an effort to expand the markets for my motion picture and music product,
> I would like to work with a major studio or film production company
> interested in distribution of my work. Pursuant to that end, I am seeking a
> variety of joint ventures, financing, partnerships, contractual and other
> business relationships to enhance the market penetration and increase the
> profitability of the theatrical, radio, television, cable, satellite, video
> and DVD and CD, internet, and direct e-commerce sales of my work.
>
> Please visit my web site, http://home.att.net/~JackRooney, which contains my
> full list of credits, biographical information, and streaming media samples
> of my music and films set up for online viewing.
>
> Please contact me directly by phone, email, or write to the above address. I
> look forward to talking with you.
>
> Thank you for your consideration.
>
> Sincerely,
>
> Jack Rooney
> JackR...@att.net
> http://home.att.net/~JackRooney
> ###
Jack Rooney
exciting sideline, a way to meet interesting professional people, to have
fun, and to make extra money in the process. If you want other professionals
to take you seriously, you must act professionally and learn as much about
the business of acting as possible. If you are energetic and outgoing,
sharp, and have a strong desire to succeed, acting is a way to capitalize on
your blessings.
However, the road to success in this business is rocky. To learn how to
become professional, you must first learn how to recognize and avoid the
many pitfalls and "scams" of the business. These include the "modeling and
acting class scam", the "photo scam", the "escort scam", the "beauty pageant
scam", the "agency scam" or "I'll make you a star, baby, scam". You must
know how to recognize and avoid those who would take advantage of your
naivete as a novice or a "beginner", and a little healthy skepticism is
good.
Sometimes young actors get caught up in the fast lane, taken in by the
scams. They try too hard and take any rejection as a personal insult, which
can lead to depression and despair, then to drugs and alcohol, prostitution
and pornography. There are more young teenage hopefuls sleeping under
bridges than working in the studios. But there are ways to avoid the fast
lane, and the more you know about the business, the better you will be able
to avoid the scams and become a successful, professional, actress, or actor.
Because many young models are highly motivated to "break into" acting, and
because most beginners are naive and uninformed about the business, they can
easily fall prey to the army of charlatans, con artists, greedy business
managers, and others who would attempt to capitalize and exploit the
innocence of the young model to their own financial gain.
In the interest of fairness to the many dedicated professionals in this
business, there are many good modeling and acting schools around, and there
are many managers who care deeply about the careers of the people they
represent. They are to be commended because it takes a special kind of
person to work in this fast-paced, competitive business, and you are
certainly fortunate if you have someone like this take you under their wing
at the beginning of your career. But for every legitimate school and
straightforward business manager there are many times the number of
charlatans and con artists out to turn a fast and easy buck by operating the
scams.
Education is the Key; Knowledge is Power.
It is preferable to attend only schools accredited by The American Council
on Education (ACE). If you live outside the US, your country probably has a
similar school accreditation authority. Attend only accredited schools. It
is very important for the beginning model/actor to research the literature
on the subject of modeling and acting at your local state library, the
internet, and read credible sources of information, what other professional
models and actors and educators have to say about the business. It is always
a good idea in the beginning of your career to talk to someone who has
"learned the ropes" from education and experience the ins and outs of the
business.
Few models actually sustain themselves financially working solely as a
model. Few actors make a living from showbiz. Most models also know that
sooner or later they may be required to do a television commercial, which
requires working in front of a motion picture camera, which requires acting.
It is natural that many models make the transition from print modeling to
commercials to television and feature films. Modeling has been the start of
many successful acting careers, as it is a good training ground for aspiring
actors and actresses.
Modeling is acting in its most basic form. Even though you may only be doing
something as simple as walking along beach wearing the sponsor's fashions,
it is staged, and therefore requires some acting on the part of the model.
Walking up a runway in a fashion show, you must act like you are having a
good time, whether you are or not.
Beauty and good looks are transient. We will not always be physically
beautiful and good looking; we get old, we become overweight or underweight,
and time takes its toll on us all. But many models work into their 70's --
for example, Emma, of the "where's the beef!" commercial, or the old guys on
the Bartle's & James' commercials, are the models for the characters they
represent.
Although neither Emma nor the Bartles & James boys are likely to win any
beauty contests, they are, nevertheless, working models. The reason they are
still working even though they are not young and beautiful is because they
are also trained actors.
Actors are models, but not all models are actors. Many beginning models do
not realize this and lose out on employment opportunities because they have
not properly prepared themselves for acting before a camera. Education and
proper training, combined with experience, hard work, and the desire to be
good at your profession, are the keys to success as a model/actor. A look at
the course schedule of your local state university should show many courses
in acting listed in the Department of Theatre and Drama. The people who
teach these courses are trained professionals with impeccable academic
credentials. They can teach you everything you need to know about makeup,
fashion, poise, how to walk, how to talk, and how to act before a live
audience or before a camera. Furthermore, these courses are fully accredited
and will apply if you decide to work toward your degree.
The Modeling/Acting School Scam:
There are literally thousands of modeling and acting schools in the United
States run by a host of self-proclaimed "experts" in the field who offer to
help the young model get started in the business, of course, for a fee.
Their tactics are very subtle, and occasionally, just downright deceptive.
Their instructors may or may not have the background required to help launch
a successful modeling/acting career. Many of these people have little or no
actual background in the business except that which they glean from selling
acting classes. They are showbiz quacks. Most of them are failed film and
television aspirants who could not make a living at it so they live a
vicarious existence misguiding young hopefuls - It is a matter of the blind
leading the blind. They operate out of fancy offices with plush furnishings
to help give the appearance of legitimacy. They maintain fancy websites with
snazzy pictures and graphics and exaggerated claims of their
accomplishments. Their walls are covered with photographs of the models and
actors they presumably represent. Many have been in business for decades.
They capitalize on the young and naive because the bounds of human vanity
are without limit. Their advice and instruction can do more harm than good.
You would be better advised to give your money to your local community
college.
Modeling schools or "Talent Management Agents" do not employ models or
actors. Most of them do place models and find them employment, and they take
a percentage of the model's salary as a fee. But the percentage of the
actor's salary they collect for their placement services is not, typically,
how they maintain these plush surroundings -- this is not how they make the
bulk of their money. Actually, they are a specialized employment service,
which hold training classes in modeling, makeup, fashion, acting, etc. Most
of them, unfortunately, are not accredited schools and the credit you
receive, if any, will not apply if you ever wish to work toward a degree in
this field.
Typically, they run an ad in the classified section of the local paper
"Models Wanted: Men and Women; Phone..." etc., or they advertise on TV to
"enter the exciting world of acting"... etc., leading us to believe there is
an inexhaustible market for actors and all you have to do is take their
course.
The truth of the matter is only a very small percentage of the people who
attend these classes ever make gainful, substantial money at it after they
complete the courses. Yet the schools run these ads again and again, over
and over, even when they do not have a potential acting job lined up with a
prospective employer of actors. The primary goal of these ads is to bring in
young, eager people so they can enroll them in their acting classes or sell
them a bunch of overpriced photographs. This is how they profit.
The glamour, the glitter, the romanticized lifestyle of the professional
actor has a mystique about it many young men and women find intriguing, and
many will do anything, pay any price, go anywhere, sacrifice, starve, and
grovel to be a part of it. But the percentage of people who actually obtain
gainful employment as a model or actor is very small: less than .01% or one
out of a thousand.
So what happens to the other 999 who don't make it? Sleeping under the
bridge? It depends on where they received their training. If they attended
an accredited school, the curriculum should be well rounded, and they can
enter other careers and continue modeling as a sideline. If they spent all
their money on worthless modeling or acting classes from a non-accredited
school, they will go out into the world with a worthless piece of paper most
prospective employers will not consider very highly.
Two years at Vasser, or Harvard School of Theatre and Drama, or even the
local State University or College is worth much more to a prospective
employer than 4 years of attendance at a non accredited modeling school. Yet
the modeling schools continue. And as one generation of young people wises
up and moves on, another generation waits eagerly to take its place.
The Photo Scam
Many acting schools also conveniently arrange for the actor's photographic
portfolio. It is true that in this business you must have photos of yourself
to sell yourself to prospective employers. But the kind of photos you need
and how much you have to pay for photos is debatable.
I have known actors that have paid up to $1,200.00 for a full color
portfolio. First, you do not need color photos. Black and White Photos are
preferable on an 8 1/2" x 11" format. Second, never pay a photographer more
than $200.00. These schools who try to sell "package deals" for anywhere
from $600.00 to $1,200.00 are a scam. What they do is send the actor to a
photographer who shoots your photos and bills the school. The school then
marks up the price and charges the actor sometimes four to five times what
the photos actually cost.
The fact is there are many good photographers around. A typical photo shoot
should last about an hour, cost $100 to $125, and the photographer should
take 36 to 64 photos of the actor in different clothing. This should include
at least 6 or 8 close photos of the face, called a "head shot" Select the
ones you like, have the photographer make a "continuous tone print" from the
negative ($8.00). Take the continuous tone print to a local photo lab or
printing company and ask them to make a "Halftone print" ($12.00 to $20.00),
and have a printer print the photo on a heavy stock gloss offset enamel
paper; he will charge about $35.00 or $40.00 to print 250 copies. For an
extra $10.00 or $15.00 the printer will also typeset your name, address, and
phone and print it on the bottom of the photo. You can also use a printing
service like ABC Pictures who specialize in actor and model quantity photo
printing. You can also print up a master from a good quality computer
printer and run your headshot through a photocopier and copy your
information onto the back of your headshot photo. This is all you need to
market yourself and anyone who tells you otherwise is a scam. You will also
need a typed resume outlining your education and work experience. A good
black and white photo of yourself and a nicely typed resume are all you need
to get started. Your total cost should not exceed $250.00 US. Repeat this
process every 18 months. Sooner if you do something radical to your
appearance like cut off all your hair or tattoo your face. Keep your
receipts. It is all tax deductable as a business expense.
Send your photograph and resume to as many local advertising agencies and
casting directors as you can afford postage. You can not send out too many.
You can find a list of their names in the local Yellow Pages. Once they see
your photo, the agency will decide whether or not they can use you. If they
do not have an immediate need for someone with your particular look, they
will keep your photo on file. Remember that it is the advertising agency or
their customer who pays the model, and not the modeling school or talent
agency.
The Escort Scam.
It is unfortunate but true that a few modeling agencies that advertise their
services in the yellow pages are not modeling agencies at all but are a
front for an escort service and prostitution ring. This is a relatively
recent scam which has emerged in the last few years. They provide what they
call "models" to escort men and women who are in town for business or who
just want a good looking man or woman to accompany them around town. Some of
these "escort models" do much more for their clients than just escort them
about town. Some actors mistakenly believe this is a road to the stars.
When the states started cracking down on prostitution and shutting down the
local brothels, some prostitutes went underground, while others drifted into
the escort services. Webster's defines a prostitute as "a man or woman who
engages in promiscuous sexual practices or a person who deliberately debases
himself or his talents as for money." An escort model is a prostitute by
definition. For the escort model who does not explicitly engage in sexual
activity with their "clients", they are, at the very least, deliberately
demeaning themselves by engaging in this sort of sexist activity and
stretching the use of the term "model" to its semantic limit. Escorts are
not models. They are what they are. And it is important not to confuse them
with a professional model. Sometimes they also produce porno films, and this
is also a dead end street, the market is flooded with porno films, and the
porno industry carries a negative stigma that can follow you for the rest of
your life.
Professional models find this kind of activity entirely offensive. Not only
does it damage the person engaging in this activity, physically,
psychologically, and emotionally, it also damages the reputation of the
modeling business in general. Hopefully, the states will start passing
regulations to limit the activities of these escort services. In the mean
time, it is best to avoid the modeling agencies who also provide escort
services. Your reputation, your good name, is one of the most important
assets you have in this business.
The Beauty Pageant Scam and the Talent Contest Scam
There are many legitimate beauty pageants held throughout the country each
year for both men and women. The promoters of these pageants work very hard
to find men and women who are marketable as models, and many successful
actors and actresses were first discovered in a beauty or talent pageant.
There are also legitimate talent Contests, like "star Search" where an actor
can take a shot at it and maybe get a break into the biz. On the other hand,
there are also pageants and contests which are set up for the sole purpose
of lining the pockets of the promoters.
A few years ago I had an interview at a local modeling school. I had sent
them a photo of myself with a resume in hopes that they might know an agency
who could use me. Yes, I send my photo and resume to all the local schools
because you just never know when one of their clients might need someone
with my kind of look. I gladly pay them their percentage fee if they find me
work. I received a call from the school and they asked me to come in for an
interview. I thought it was about a job. When I arrived I had a current
photo and resume in hand.
She looked it over with a discriminating eye and said, "This photo doesn't
really do you justice. You are much better looking than I can see from this
photo." I opened my briefcase and handed her a stack of contact sheets of
over 100 recent photos. I visit a photographer at least every 18 months and
I have hundreds of photos of myself with every possible look imaginable for
a man. Head shots, full length shots, in business suits, in blue jeans and
t-shit, in bathing suits and shorts, long hair, short hair, clean shaven,
with three day growth of beard, with full beard, with mustache, etc. She
changed the subject quickly when she realized I was playing hard ball.
She reached into her desk drawer and pulled out a brochure and handed it to
me. "You should consider entering the Mr. ------- contest. You are very
handsome and you would stand a good chance at winning". She was pumping up
my ego. The brochure explained the rules of the contest, and I learned that
she was the state promoter for the contest. She explained how the winners
win all sorts of prizes and an "exclusive contract" with some agency out of
New York I had never heard of. Then she hit me up for a $395.00 "entry fee",
assuring me that it was a small price to pay for the chance at winning such
an illustrious title.
I got up from my chair, politely told her I would give it some thought, and
left. I never went back. Why? Because I recognized it immediately as a scam.
Legitimate pageants do not charge such fees for contestants to enter. A
$20.00 or $30.00 registration fee is understandable to handle paperwork
costs, etc., but $395.00? -- No way!
I followed this contest with interest. It was held in Indianapolis. They
rented out a large suite at one of the local hotels. It was even on the 6 o'
clock news. There were about 19 contestants in the pageant. The promoter
couldn't have spent more than a few hundred dollars for the hotel. Someone,
and I think you can guess whom, walked away with almost $7,000.00 in their
pocket, while some of the contestants walked away with a plastic trophy. The
extent of human gullibility never ceases to amaze me. They make their money
by skinning you out of money for the contest fee, and not by finding you
work. Avoid them.
The "I'll make you a star, baby." Scam
This line makes about as much sense as someone saying "I'll make you a brain
surgeon". You become what you are through your own efforts. No one can make
you anything. A truck driving school can not make you a truck driver. You
make yourself a truck driver by choosing to study truck driving. The same is
true for the model or the actress. Although the right training and
experience can make a difference, your success ultimately depends on you.
But it isn't easy, and you may need help getting started. This is why if you
are considering a business manager, representative, or agent, it is
important that you know just what these people can and can not do for you.
A business manager is a person you hire to find you jobs and manage your
finances. They are your employees and they work for you. You do not work for
them, as many young models mistakenly believe. If they do not perform to
your satisfaction, you can fire them. They take a percentage of your gross
income, whatever is agreeable to the both of you.
A representative, sometimes called a "talent manager", is a person you hire
to represent you as a model, actor, dancer, singer, comedian, or whatever
your talent. They probably represent hundred of other models and actors.
They also take a percentage of the gross income. You can engage them either
under an "exclusive" or "non-exclusive" contract arrangement.
Unless a talent manager can guarantee you, in writing, gainful employment,
which means that they can guarantee you enough income to pay all of your
bills and have money left over for savings and recreation, don't sign an
exclusive contract. If you have already signed an exclusive contract, don't
worry. If they have not provided you with gainful employment in 90 days, see
an attorney if you want out of it. A non-exclusive contract gives you the
freedom to work on your own and find your own jobs if you like or to enter
into other non-exclusive arrangements with other representatives. Never pay
a rep more than 20% of your gross income. To operate in some states, they
must post a bond and obtain an Employment Agency Licensee from the state.
An Agent is a person under franchise from the Screen Actors Guild (SAG) who
represents you in movie contracts. A SAG agent is the only person who can
negotiate a union contract with a producer who is a signatory of the SAG
basic agreement. Contact SAG for the names of the agents in your state.
According to union regulations, they can take only 10% of your gross income.
None of this is meant to discourage you. It is meant to warn you that their
are some people in this business who make their living off of the naivete of
young people who want to break into the business.
- Choose a good school. Don't let the glamour and glitter of this business
stand in your way of getting a good education.
- Check out the backgrounds on the people running these businesses. Ask
Questions.
- Don't pay an arm and a leg for photos.
- Be skeptical any time anyone in this business asks you for money.
- Don't sign an exclusive contract with anyone unless they can guarantee you
in writing that you will obtain gainful employment by doing so. If you need
a manager or a rep or an agent, get a good one, one with a good reputation,
ask for references, and never give them more than 20% of your gross income -
and never, ever give them any money up front or in advance. Pay them a
commission only after you get paid from the agency or producer. That's the
way it works in the legitimate showbusiness world. .
This is a competitive business; so always be professional, well informed,
confidant that you can make it if you try, and give it your best shot every
time. It is also a fun and exciting business, so have fun, but stay out of
the fast lane, and watch out for the scams.
--
Jack Rooney
Http://home.att.net/~JackRooney
"Evander" <eva...@NOSPAMtelocity.com> wrote in message
news:3c5e0...@nopics.sjc...
Republican Engineer
have HUNDREDS of files on investors we have used in the last and would be
happy to share them with you.
--
The man who can right himself by a vote will seldom resort to a musket.
James Fenimore Cooper, , 1838
"Jack Rooney" <jackr...@worldnet.att.net> wrote in message
news:nGz78.10475$zT.8...@bgtnsc06-news.ops.worldnet.att.net...
Jack Rooney
and making new friends.
"Republican Engineer" <sjocl...@shaw.ca> wrote in message
news:R6E78.23523$cy1.1...@news1.calgary.shaw.ca...
> You didn't say you were looking for investors....why didn't you ask me?..I
> have HUNDREDS of files on investors we have used in the last and would be
> happy to share them with you.
>
>
> --
> The man who can right himself by a vote will seldom resort to a musket.
>
> James Fenimore Cooper, , 1838
>
>
> "Jack Rooney" <jackr...@worldnet.att.net> wrote in message
> news:nGz78.10475$zT.8...@bgtnsc06-news.ops.worldnet.att.net...
> > The really scary part is I am actually starting to like Film Guy. You
> > challenge me. Admit it Film Guy, this is the most fun you have had in
this
> > NG in a long time.....
> > --
> > Jack Rooney
> > Http://home.att.net/~JackRooney
> >
> > "A. Film Guy" <laci...@hotmail.com> wrote in message
> > news:b82d6932.0202...@posting.google.com...
> > > > Lighten up...at least the guy is trying right. If we all had the
same
> > views
> > > > and methods this would be a very boring planet.
> > >
> > > Of course it would.
> > >
> > > This self proclaimed good-looking multiple degreed messiah of the new
> > > cinema
> > > has provided plenty of entertainment, Just like Angelyne and Woodruff
Jack Rooney
Finally someone who gets it...well, kind of... I would not be here if I had
all the answers. But I don't think there is an alt movies.sellusyourfilms or
whatever. But I think there are people here who do have much knowledge I do
not possess. You are correct about Deadly Discovery and also, if you would
see them, half a dozen other films I have made - they are no better than
hundreds of other films shot every day in LA. The difference is, and I have
reviewed the numbers pretty carefully, it doesn't cost me anywhere near the
amount of money to shoot a Deadly Discovery in Indiana as it costs to shoot
the same film in LA. I have been in and worked on films with LA crews and
staff. The LA production system is top heavy, fat, slow, cumbersome and
inefficient. I have worked on large Hollywood financed shoots and it is a
miracle those films ever get made at all and no wonder they take so long to
make. That's part of my point. I get more bang for my buck by shooting here
in Indiana. So my up-front cost and financial risk is lower and I do not
have to work as hard to make my money back. Production costs in LA are too
high. If I really believed I could shoot it more cheaply in LA, I would be
shooting in LA. I shoot here because I save money by doing so. They look
just like any other low budget B grade film shot in LA, but they cost about
1/20th the cash, ten to twenty times less money, they are not really
low-budget, they are micro-budget; You flatter me, you honor me when you
tell me my film "smacks of Dirty Harry and 100's like it". I love it. The
general viewing public, people who buy tickets and tapes and DVDs can not
tell the difference and most do not care where it was shot. The only people
who can tell are perhaps other filmmakers and I do not make films for other
filmmakers, but often even they are flabbergasted when they learn what I
actually spend in cash to make these films. I make films for the general
public who are not filmmakers who have already seen Titanic and Gladiator a
hundred times and need a change. But my processes of production,
manufacturing, and distribution are entirely different than these big films.
I don't even try to compete with them. It's pointless. I always thought when
you "pitch" the studios you are basically asking them to finance your film
production. Why would I want to do that and loose control of my copyrights?
I do not need money for production. I have the money already. I need, I
want, I seek to expand the markets for my film product I already have, I am
shooting now, and will shoot in the future. I already have markets for my
product, I just want more and bigger market share. If someone wants to sign
me to a three picture deal, I would love it, but I am not counting on it. I
guess it's like, we make films and sell films and they sell well in the
foreign market and on video and DVD, but why should I be content with just
that small share of the market. Any reasonable businessman will always try
to make more sales of whatever they sell. Sales is the object of the game -
it is the final end, the telos, the ultimate good. I do not really need
investors to make the films. I need to sell more projection media,
distribution and manufacturing rights, and DVD and video tapes. That's what
every filmmaker wants, I think they should. I am not taking the same
development path everyone else takes because my film package is 100 percent
complete and fulfilled - all that remains now is more sales. I am not siting
at the foot of the Temple of Delphi pleading for admission to the inner
sanctum of Hollywood. I just want to make sales. That's more sales than I
already have, which is good, but it could be better I think. I don't care if
these sales come from the Hollywood machine or from Mars. I am open for
anything. When I say "Corporations in the Motion Picture and Television
Industry" I do not necessarily mean Paramount or Sony or Warner. There are
thousands of corporations in the motion picture and television industry all
over the world all with diverse, competitive interests. I keep getting this
conventional wisdom over and over and over again from the LA sages that I
need to bow to the Hollywood machine, the major studios to make sales, and I
know this premise is false because if it were true I would never have gotten
as far as I have without help from Hollywood. I could never sell any of my
films; but I can and do sell my films, so I know the premise that "Hollywood
controls the distribution markets for films" is at least partially false, or
not universally true. I, along with a few of my associates I have worked
with for years, have a film in theatres right now, "Forgive Me Father" with
Charles Napier and yours truly. It is playing today in theatres around the
country. Small scale, small theatre houses. But it is a 35mm theatrical
released feature. It is playing in theatres now. "Lightburden" should
start showing up in theatres in the next few months, low budget, Kodak 35mm
stock shot with Panavision starring Nate Mandel of the Foo Fighters and
yours truly, written and directed by a talented young woman director Denise
Coates. It's a great little film. I begin shooting "Looking Glass Inn" on
the 15th of this month, Kodak vision series film with Panavision. This film
is fully funded for the cost of production and post production and if
necessary, for manufacturing and distribution. I know what people want to
see. I know what I can sell. I am just seeking out more outlets. I am
seeking a variety of joint ventures, financing (of course they must spend
money to make money, if they want a piece of my pie, they must get out their
check books), partnerships, contractual and other business relationships to
enhance the market penetration and increase the profitability of the
theatrical, radio, television, cable, satellite, video and DVD and CD,
make their mistake by looking for approval from Hollywood and then they sit
around waiting for Hollywood to call and it never happens and they end up
throwing their work down the toilet because they mistakenly believe the only
thing they can do with it is turn it over to Hollywood, which is just not
true. They try to play by what they think the rules of the game are, which
Hollywood has brainwashed them into believing, and then they fail. No doubt,
go figure why. I am open for suggestions. But if Hollywood cronies who think
they know it all want to snicker at me for what I am doing, it may be a
fools grin they are wearing.
--
Jack Rooney
Http://home.att.net/~JackRooney
"Chris Penny" <Chris...@aol.com> wrote in message
news:5af368be.02020...@posting.google.com...
Chris Penny
few more carriage returns. The one long paragraph is hard on the
eyes.
I think you are throwing too many issues in one basket. You say that
the Hollywood film is inefficient. Some of those inefficiencies are
indemic to the system and deal with union rules and things like that.
You can do it cheaper because you bypass a lot of that in Indiana,
where nobody knows different. But get a little more notoriety and SAG
and WGA are going to be checking you out no matter where you make your
movies. Furthermore, I think the directors and producers with huge
budgets tend to overlook the pennies and waste money as a result. But
watch a low budget master like Roger Coreman and I think you would
have a different experience.
But I don't think you get as big a bang for the buck in Indiana as you
think. The reason LA is the center of the Film/TV universe is because
all of the resources that are in one place. There are more camera
operators, grips, DPs, directors, and definitely more actors to choose
from here than in Indiana. More people with more experience who can
make your film better. Production costs are only one part of the
equation. And even then, there are probably more Indies shot here
than anywere. And they know how to watch the bottom line as well as
you do.
> I do not need money for production. I have the money already. I need, I
> want, I seek to expand the markets for my film product I already have.
Then you are talking about distribution. I read recently that Woody
Allen had to bounce from one place to the next for a long time because
his movies just didn't make a lot of money. They cost about $1
million and made about $2-3 million. That is a nice profit, but the
studios are looking for another decimal point or two. I think you
need to realize that you have been successful with your small films
because they are small. And if you want to expand your markets you
may have to expand your films and your budgets.
> I am
> seeking a variety of joint ventures, financing (of course they must spend
> money to make money, if they want a piece of my pie, they must get out their
> check books), partnerships, contractual and other business relationships to
> enhance the market penetration and increase the profitability of the
> theatrical, radio, television, cable, satellite, video and DVD and CD,
> internet, and direct e-commerce sales of my work.
This stuff is kinda high finance. So, again I ask, why start your
search with a post on a newsgroup? It just seems, well, amaturish.
If it were me, and I didn't want to deal with the Hollywood types, I
would try to figure out who the buyers are and approach them directly.
And once I identified these new markets, I would contact them in a
business-like way, not by posting to a newsgroup. Just a thought.
Good luck in your quest.
Chris
A. Film Guy
People who know me in real life usually love me. Those who don't HATE
me. Fiercely. I am known as to- the -throat -no- nonsense -verbal /
opinionated.
Some call that an asshole. Or a New Yorker. ( I am not the latter).
You
> challenge me.
That's the intent exactly. Prove you've built a better mousetrap.
Explain why I'm in error. We cannot both be right. If I call you names
and point at you, and you have a thick enough skin to not let it get
to you, then I have way more respect for you than most of the
weasel-pussies here in L.A. I don't like the system or the rules, I
have however found them true and workable.
You see, I lived IN CALIFORNIA, but not L.A., for ten years trying to
do the film thing, and got farther in the first year in Los Angeles
than the ten prior a few hundred miles away. That is one of the
reasons I'm certain I know what I'm talking about.
I never said I love the place. I simply said to dance with the devil
you gotta be in hell. Not Indiana.
And the whole "here I am Hollywood" thing is absolutely a taboo thing
to do. I won't elaborate but others have / will concur. Dude, don't do
it.
Admit it Film Guy, this is the most fun you have had in this
> NG in a long time.....
> --
> Jack Rooney
It's in there, Dennis. I mean Jack.
> > And much to his chagrin, I won't read any more of this masturbatory
> > thread.
Ooops. I lied. Caught me peeking. Kinda like Jerry Springer. A guilty
pleasure.
Republican Engineer
--
The man who can right himself by a vote will seldom resort to a musket.
James Fenimore Cooper, , 1838
"A. Film Guy" <laci...@hotmail.com> wrote in message
news:b82d6932.02020...@posting.google.com...
Jack Rooney
LA is flooded with my type. I am not that delusional. I am just trying to
open up some markets for the films I have. I don't think many people "Hate"
me, but you have nothing on me when it comes to being an asshole. I can be
the king of assholyness. But I am also a reasonable man, and I hear what you
are saying, and I must agree with a great deal of It, and everyone is
blinded by their own perception of self, but I really do not think I would
last very long in the LA system.
"A. Film Guy" <laci...@hotmail.com> wrote in message
news:b82d6932.02020...@posting.google.com...
Jack Rooney
of the distribution agreements of the majors and mini-majors and they really
suck, lopsided and exploitive and usurious to the point of being downright
deceptive and dishonest.
So one must be very careful what kind of distribution deal one signs. What
do you know about "producers reps" The thing is I do not really have the
time to be jetsetting around pitching all the distributors either.
Film festivals are okay I guess but they seem to be more geared toward
lining the pockets of the festival promoters than with making sales of low
budget independent films.
Where is the fine line between shameless self promotion and advertising?
Every company advertises, you have to advertise. If you are saying that
artist's should not advertise I kind of agree, but I am advertising my films
and they include me, so I see no way out. Suggestions?
--
Jack Rooney
Http://home.att.net/~JackRooney
"Chris Penny" <Chris...@aol.com> wrote in message
news:5af368be.02020...@posting.google.com...
Republican Engineer
I think you have the right idea old chap.
CC
--
The man who can right himself by a vote will seldom resort to a musket.
James Fenimore Cooper, , 1838
"Jack Rooney" <jackr...@worldnet.att.net> wrote in message
news:Zwi88.2942$CM1.2...@bgtnsc04-news.ops.worldnet.att.net...
Chris Penny
> Yes, distribution, more distribution. more sales. But I have also read some
> of the distribution agreements of the majors and mini-majors and they really
> suck, lopsided and exploitive and usurious to the point of being downright
> deceptive and dishonest.
So, again I ask, why are you seeking them out. And why here?
>
> So one must be very careful what kind of distribution deal one signs. What
> do you know about "producers reps" The thing is I do not really have the
> time to be jetsetting around pitching all the distributors either.
You don't get on a jet to pitch the deal, you get on a jet to close
the deal. What you are talking about is sales. You need to sell your
movie to more distributors and any other outlets that can buy your
product. You don't need to get on a plane to sell. You do the
research, target your markets, and hit the phones. Much of the
preliminary work can be done via phone, mail and email.
>
> Film festivals are okay I guess but they seem to be more geared toward
> lining the pockets of the festival promoters than with making sales of low
> budget independent films.
You've already admitted that the type of projects you do are the
"straight-to-video, B-movie" kinda thing. That leaves out many of the
festivals, which lean towards the art-house kinda flick. But there
may be some specialized festivals that would like your work. And,
since you make a specialized kind of movie, you might make some good
contacts.
>
> Where is the fine line between shameless self promotion and advertising?
> Every company advertises, you have to advertise. If you are saying that
> artist's should not advertise I kind of agree, but I am advertising my films
> and they include me, so I see no way out. Suggestions?
> --
> Jack Rooney
> Http://home.att.net/~JackRooney
What you are talking about is NOT advertising. Advertising is
designed to capture the attention of the consumer. You are looking
for distribution, which is different. Now...marketing and PR could
build up your reputation and gain you notoriety. But it's expensive
and is not always effective.
You are in a tough spot because you are wearing so many hats for every
project. You might consider finding a partner or a sales person who
can work on commission. You make the movies, somebody else sells
them, and you share the profits. I suspect that you won't get a lot
of respect if you write, produce, direct, star in, edit and distribute
your own work. It seems like "some guy with a camera".
And despite your protestations that Indy is a great place to make
movies, it's a lousy place to network with filmmakers. You need to
get yourself into situations where you can network with the buyers of
your product.
Good luck - Chris
Jack Rooney
advice. And you are correct - Indy sucks when it comes to people who know
about distribution and sales. that's why I am here - to find out more about
it from you guys who have more experience and knowledge than I in that area.
Partnering and joint venturing and establishing mutually beneficial business
relationships with people who can help me sell my stuff is exactly what I am
looking for.
But their are really a lot of people in the biz I have run into on both
sides of the continent who claim to know the biz but who are looking for a
meal ticket or a sucker or both. I have run into some really weird, shady
characters, both in the film and the music business. It seems like the
people who are legit are pretty much inaccessible, and I guess they have to
be because of the sheer volume of crazies who try to get to them.
There is an army of promoters who claim to be able to help talent, "Sure
kid, just give us your film and we will sell it for ya, no problem. We'll
make you tons of dough" Yah, Right, you know the type I am talking about.
Also the ones who say "Sure, just give us $495.99 and we will promote you
through all of our "exclusive contacts". We are the promotion
professionals, for this low low price, plus expenses, we can make you a big
star, big, baby, big as any of the biggies. Now just make that check to
Shyster Joe, Inc. and we can get started right away" You have seen these
guys. You know what I am talking about.
How does one avoid the scammers? Intuition and common sense has helped me to
this point, but some of them are real crafty. Even some of these big
studios are scammers. That's how they got so big. They want something for
nothing. They want you to give them the film and they agree to promote it
on a "best efforts basis" and you get paid minus their expenses, which
somehow always seem to be more than they make in sales, so you get nothing.
You end up owing them money by the time the smoke clears. I could stand on
the street corner and sell CDs and Videotapes to passersby on the street and
sell them door to door and make more money than I can make under the
carefully worded studio distribution contract.
No more shameless self promotion. But I hope you don't mind if I send you
a song or streaming media clip once in awhile...
best regards
--
Jack Rooney
Http://home.att.net/~JackRooney
"Chris Penny" <Chris...@aol.com> wrote in message
news:2b5438de.02020...@posting.google.com...
A. Film Guy
> this point, but some of them are real crafty. Even some of these big
> studios are scammers. That's how they got so big
Oh please.
They got big because they have the product, a corner on the market,
and the distribution and advertising dollar.
Unless you're suggesting that everyone shelling out money at the movie
theatre or video rental store is the victim of a scam, in which case
capitalism is a sin.
You're much too paranoid to take a meeting in L.A. Good luck doing it
over the internet.
Jack Rooney
permanent task force to control nothing. You may not think so well of
your giant corporate benefactors when you end up like the Enron employees.
If I am a paranoid, then so
is the US Attorney General. Less than three weeks ago, the US
Department of Justice established a permanent task force to investigate
anti-trust issues in the media industry:
http://www.usdoj.gov/atr/public/press_releases/2002/9773.htm
These corporations all got to be so big and powerful because they are all
such nice, good, upright, fair, play-by-the-rules capitalists? Is that what
you are suggesting, Film Guy? You are like the guy who looks at his own face
in the mirror every morning and can not see the age lines creeping up. You
are too close to the system. You are a part of it. These corporations are
crooks and have broken every law of honest capitalism on the books. They are
not going to be punished for being good capitalists; they are going to be
punished because they are bad capitalists. While we are at it, lets just
list some of their names so we know who we are talking about here: All the
members of the MPAA and RIAA cartels - The largest of these do between $8
and $30 billion in revenues
a year:
1) DISNEY
2) AOL-TIME WARNER
3) NEWS CORP.
4) VIACOM
5) SEAGRAM/Universal
6) SONY
7) LIBERTY (AT&T)
8) BERTELSMANN
9) GENERAL ELECTRIC (NBC)
The whole media industry can be reduced to about 10 giant corporations who
control everything. Its bust-em-up time! The mere fact of the existence of
the MPAA and RIAA cartel group and corporate conspiratorial collusion and
participation in the cartel is sufficient prima fascia evidence to convict
them all in any court of law in America for conspiracy to fix prices and
restrain US trade. I am pro-capitalism. I am a capitalist, too. I develop,
produce, manufacture, and sell product for a profit in an open marketplace.
But I play by the rules, and so should they; but they do not play by the
rules, and that is why they are now in trouble with the justice department -
they are criminal corporations run by crooks with law degrees and MBAs with
criminal business ethics and criminal minds - which means no ethics and a
warped if not non-existent sense of right and wrong. Al Capone had nothing
on these guys. The Justice Department has a nice, clean federal
penitentiary cell ready and waiting for all of them.
--
Jack Rooney
Http://home.att.net/~JackRooney
"A. Film Guy" <laci...@hotmail.com> wrote in message
news:b82d6932.02020...@posting.google.com...
A. Film Guy
These corporations are
> crooks and have broken every law of honest capitalism on the books.
>
> 1) DISNEY
> 2) AOL-TIME WARNER
> 3) NEWS CORP.
> 4) VIACOM
> 5) SEAGRAM/Universal
> 6) SONY
> 7) LIBERTY (AT&T)
> 8) BERTELSMANN
> 9) GENERAL ELECTRIC (NBC)
Thanks for letting them all know you think they're crooks, Jack.
And you're still expecting them to talk to you about distribution now
that you've cock-slapped them? That makes you either stupid, a whore,
a hypocrite, or an idiot ( or all of the above).
Also FYI I know clearly how many deep, crusty wrinkles I have creeping
in...and the Beverly Hills surgeon that can hide them. After all, we
L.A. entertainment people are self deluded fakes, you know. So glad
you enlighten us. Let's do lunch.
Jack Rooney
industry. I am not the one who established a permanent task force to deal
with the rampant antitrust problems within the media industry, the Attorney
General has done this. Although I must concur with his actions and comment
that it is long overdue. I would not want to second guess his intentions,
but I would think much more than a little face lift on the industry is what
he has in mind. The problem of the continuing and ongoing predatory business
practices of the giant media monopoly, which is way out of control, and far
too big for safety, has been the subject of concern of industry researchers
and legal scholars for decades. Complaints from independents have been
shoved to the side and ignored for far too long, but now the problems have
become too apparent to be doubted, and federal oversight and legal
corrective measures are required. I suspect the Attorney General and the
courts will try to strive for balance between maintaining America's position
as a leader in providing world entertainment media and controlling the
blatant disregard the media giants have for anti trust law. They are
habitual offenders, so a slap on the wrist will not correct the problem. We
shall see...
"A. Film Guy" <laci...@hotmail.com> wrote in message
news:b82d6932.02020...@posting.google.com...
Matrixx Entertainment
> Thanks Chris. All informed thinking I am sure. Thanks for the input and
> advice. And you are correct - Indy sucks when it comes to people who know
> about distribution and sales. that's why I am here - to find out more
about
> it from you guys who have more experience and knowledge than I in that
area.
Jack, I've had some experience with indy distribution. I signed a
distribution contract with Intercontinental Releasing Corp., an AFMA company
a number of years back. My film was called OVER EXPOSED and ICR took it to
AFM, Cannes and MIFED over the course of two successive years. Because this
was my first distribution deal, I went through the entire process myself and
only had a lawyer (Walter Teller of then Pollick, Bloom and Dekom) look over
the distribution agreement before I signed the final draft. The process was
not too difficult, mostly time consuming and the fact that I had to send the
picture around on 3/4-inch tape (as VHS was not available then) was
expensive and limited the number distributors I could deal with at any given
time, as I had to wait for copies to be returned before I could send to them
to other prospects that asked for them.
All in all getting a distribution deal is very much like listing a house
with a real estate broker. The process was basicaly getting a list of all
the AFMA distributors and sending them a letter letting them know a feature
was available and a little bit about who is in it etc. I forget how many
letters I sent out, but about 25% - 30% of them contacted me and said they
would like to see the picture -- could I send it over, or bring it over. So
it was just a long boring sales process of following up, calls, meetings,
taking offers, pitching counter offers, going to meetings again and it went
on and on for about three or four months. Hard work even though I was
living in Santa Monica at the time and that was convenient. Little by
little I narrowed it down to the distributors I felt most comfortable with
and then continued pitching refined terms, all the time narrowing it down
even further to finally that one distributor I felt would be the best bet.
Then, the lawyers reviewed the first draft of the contract and I made
changes and they made changes, back and forth a bit, and finally the thing
got signed - some 50 page document or so and initialed on each page. After
this the 1-sheet had to get made and "delivery requirements," a BIG hassle,
had to be fulfilled. This involved additional post work, which the
distributor put up but which I had to deal with because I also directed the
picture. The distributor didn't give us an advance, but they paid for
everything else (1-sheet, additional post, festival expenses for 6 major
festivals and E&O insurance). A lot of the negotiation revolved around
advance minimum guarantees, which the distributors will always try to get
out of paying by telling you your picture sucks or there's is no market or
you don't have a big enough name, etc. Also, particular care should be
spent in determining performance windows. How long will you let the
distributor have the rights and how will you treat the territories that they
actually sell should the contract's term expire. There are many other
variables. I don't know if any of this is helpful to you Jack (or any one
else), but you're certainly welcome to call me on the phone if you want to
wrap this down any more. Just email me privately for the phone.
James Jaeger