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SYS Podcast Episode 162: Writer/Director/Producer Erin R. Dooley Talks About Producing Short Films and Her Recent Documentary (transcript)

This is a transcript of SYS Podcast Episode 162: Writer/Director/Producer Erin R. Dooley Talks About Producing Short Films and Her Recent Documentary.


 

Ashley:  Welcome to episode #162 of the “Selling Your Screenplay Podcast.” I’m Ashley Scott Meyers Screenwriter and blogger over at – www.sellingyourscreenplay.com. Today, I’m interviewing Writer and Director, and Producer Erin Dooley. She just did a documentary, which she shot and edited herself. And she’s done a ton of short films over the years too. So, we talk through all of that as well. So, stay tuned for that.

If you find this episode valuable please help me out by giving me a review in ITunes. Or leaving a comment on YouTube, or retweeting the Podcast on Twitter. Or liking us on Facebook. These social media shares really do help spread word about the Podcast and are very much appreciated.

And websites or links that I mention in the Podcast can be found on my blog in the show notes. I also publish a transcript with each episode. In case you would rather read the show or look up something else up later-on. Just go to – www.sellingyourscreenplay.com/podcast, and look for episode #162.

I just want to mention a free webinar that I am doing on Wednesday March 1st 2017 at 10:00a.m.pst. It’s called, “How to effectively market your screenplay and sell it” I’m going to go through all of the various social media  channels out there that are available to screenwriters. And give you my unfiltered opinion of them. I get questions all the time about “The Black List” “Ink Tip” about various contests. On the webinar, I’m going to talk about my experience with them. Again, this webinar is completely free. Don’t worry if you can’t make it to the live event I’ll  be recording the event so, if you sign-up and you can’t actually attend the event. You will still get a link to the recorded event after it happens. To sign-up, just go to – www.sellingyourscreenplay.com/freewebinar. And that’s slash Freewebinar, is all one word, and all lowercase letters. I of course will link it in the show notes as well. Also if you are already on my Email list, you don’t need to register. But, if you’re already on my Email list I will be Emailing them the details to the webinar. So, once again, if this sounds like something you would like to learn about? Just go to – www.sellingyourscreenplay.com/freewebinar.

So, now let’s get into the main segment. Today I’m interviewing writer and director, and Producer, Erin Dooley. Here is the interview.

 

 

Ashley:  Welcome Erin to, the “Selling Your Screenplay Podcast. I really appreciate you coming on the show with me today.

 

Erin:  Thanks for having me.

 

Ashley:  So, maybe to start out you can give us a little bit of about your background? Just kind of where you grew-up. And how you got interested in making movies.

 

Erin:  I’ve been a writer for probably 15 years now. When I was a kid, I was pretty insatiable with books, and I would read a lot. I always thought that I would be more of a novelist that would be my dream. And then I wrote one screenplay. I had an idea, and then I was basically hooked. Open the “Pandora’s box” of let that out. I couldn’t stop writing from there. So, that is my first entry. And then it was the writing. I just had some ideas I wanted to see put out. And so, I just decided to produce myself, of my own stuff to, so others can see.

 

Ashley:  Perfect, perfect. And I’m curious, how did you even get that first hurdle of writing your first script? I mean, I remember for myself, I was in college, there really wasn’t, it was sort of before the internet. It had taken also finding resources for formatting and that kind of stuff. How did you get into that? Did you find a bunch of scripts. That you could kind of use as a template. Did you find a bunch of books?

 

Erin:  I, since I was a pretty-big reader. I really wore out the library card. I was really, probably couldn’t even see to open the door. I had so many books stacked up. I chanced anything that would hold up that the library had on screenwriting. Both formatting and just telling stories, in general. And some that had some scripts. I just got everything out of the library, I don’t have a degree, film or screenwriting. I have a degree in Marketing. So, this was sort of new to me. So, I just went to the library to burn as much as I could, and then turned to the internet to round it all out.

 

Ashley:  Yeah, yeah, yeah. So, let’s talk about some of the short films that you’ve done. You got a good number of credits, on IMDb, with these short films. So, let’s start at the very beginning. On IMDb, it looks like your first credit, and correct me if I’m wrong? Is a film called,

“Learning to Swim.” Maybe you could talk about that. And actually taking that leap. From okay, now you’ve written a few scripts. And just deciding, I’m going to go and produce this. Maybe to start you can just tell us what that film is about. And kinda how you made that movie. From just screenwriters to actually being a producer as well.

 

Erin:  That, a lot of it started, and specifically with “Learning to Swim.” There was the “24 Hour Film Race” in Chicago. And so just my sister and my cousin, we just decided that we wanted to do this. And so, I wrote it, my sister directed, and my cousin acted. So, my cousin acted in it. So, it was really just sort of that pressure change to create that I like. Because you just have to do it sometime. You can get really bogged down in re-writing and re-write, and not taking that first step. And I liked the film, it sort of pushes you out of that comfort zone. So, we just used, and, like I said, we all just did it. When you’re doing the Speed Races, you just sort of use whatever resources you have. So, a lot of my first credits, like my first probably three films, on my IMDb are all again, those films races. I was just trying to get stuff out there. And wanting to challenge myself, both as a writer. Because with the film races, they gave you a prop and a line of dialog usually, and a name. Which was, the characters could be named anything? But, I liked being given those strengths, to try and form a story within those. Because if I am ever hired as a writer? I will be given constrains. I’m given a story and it has to. So I liked that kind of a challenge to come up with whatever?

 

Ashley:  And did you have any production experience before that? You were a Marketing Major. And didn’t go to film school. What was your experience? Was it literally, hey me, my sister, and my cousin’s were going to get a camera and start shooting?

 

Erin:  Yeah, I mean, I guess it happened like that? I didn’t have a lot of experience, what it was, when we were kids. We would just make sketches. We watched SNO. And so, there’s probably some there, there’s some videos floating around of me being hands in front, arms up like muscles, in my sweats. So, we would always just like grab a camera and do stuff like that. So, that was the extent of our production. I mean, we, yeah, there was no like, Assistant Director, Production Manager. We all just chipped in and did all that. I just learned by doing. With both the writing and the production knowledge. We just started out very small with it. And then as I’ve grown in my career. I’ve gone onto some bigger stuff. And helped other people out, in different production roles.

 

Ashley:  Okay. And I’ve noticed two on, “Learning to Swim” Your credited as the editor. Did you have any experience with editing? And again, it was just learning on the job right? And in that 24 hours.

 

Erin:  Yeah, I did a co-worker’s son, I think, on that one? It was one of the early ones, I don’t know, if it was that one, or the next one? I had wanted to. But I think, I just did it myself. And probably that first one, was not even on like an actual one. Very rudimentary, whatever comes on your computer, or it wasn’t even a true. And now, I have Premier Pro, and I have learned how to edit. I have edited a lot now. But, yeah, it was just. You know, they’re saying, you either have time, or you have money. And time I have, money I do not. So, is there any other effort. Other than this 24-hour film festival. Was there any effort to market it other ways. Did you try and send it to some other film festivals? Did you have success with this film festival that you did it for?

 

Erin:  A, we really, that was just for that. And then again, it just sort of plant that seed of producing, getting it out there. So, I really didn’t make any attempts to get it out there, because it was so early, probably 8 years ago now, I think? So, it’s been quite a while. And it’s a small little festival. So, it would, you know, we didn’t win anything there. It was really just about having fun, with my family, and getting something done.

 

Ashley:  Okay, so let’s just talk about the progression, you kinda just got this first film done. Take us through as you’re building maybe the budgets are building. You know, they’re becoming more complex. Just take us through some of those steps, leveling up. With each one of your shorts.

 

Erin:  Yeah, a lot of the first few. Were, most of my credits are a lot of these film races that don’t really have any budget. And so, really, I think it was mostly when I came, I’m from the suburbs of Chicago. And then I moved to California, a year and a half ago. And I think, mostly back since then, I have worked on things with actual budgets. I was the Assistant Director on it, a short that had a decent budget. So, it’s really just a need, self-funding these things. And I did do a feature film called, “Broken and Beautiful.” And that I co-edited. I just jumped into the

Deep-end. Because really there wasn’t a huge ramp up for these shorts. It was a lot of just finding five, seven minute things that I did. And then I did a 2 hour musical.

So, I really just don’t land on both feet on that. And that had a decent budget. And I Directed, wrote that. And so that I just, it’s kind of laughable now. And I look back at how big a project I took on. And it probably was better that I didn’t baby sit them? Because I probably would have been too scared to do it. Because I had twelve leads than that, it had 21 songs, it was a HUGE!! Undertaking. And it was almost better that I did it when I was a little bit green, and naive and didn’t realize how hard it was taking on.

 

Ashley:  And do you think these short films were good preparation for that? I mean, certainly you had some confidence that you sort of knew how to direct, and edit, and produce, and all that stuff.

 

Erin:  Yeah, and it just gives you a little bit of confidence and just the excitement to step out of your comfort zone, and say, I can create. And people either it’s small audience. But, people come up to you and say that they liked your stuff. But, well of course that’s not all creatives, we like hearing that, people are resonating on them at some level with our material. So, that just gives that increment of encouragement to keep going with it.

 

Ashley:  And I think you said, your sister directed that one, “Learning to Swim” at some point you did segue into directing as well. And when, is that a conscious decision? And was there a reason for that? And how did you make that step.

 

Erin:  It, my sister decided that she didn’t want to do it anymore, and I still wanted my stuff made. So, I really do like working with actors. I like that part of directing the way you work with the good actors and you get to see. I mean, up until you’re at that point. These people aren’t just living in your head. So, it’s really great to work with the actors and get them to make the choices. And you’re working with them. So, I did like it, and I was. And so, it really was, I a necessity that I, my sister bowed out of doing this. It was for her, that really first one she was only interested in. And then once I, no I really want to keep doing this. She, it was really just like a fun Saturday afternoon for her and for me, this is what I want to do, and what I’m going to be pursuing. So, it was out of necessity of, you know, of needing to have somebody direct. And can’t afford to pay someone, or anybody else. And I do have some enjoyment. But, after directing two features, and then a documentary. I know that, that’s not necessarily my strong suit, I think writing is. So, I’m scaling back from the directing part.

 

Ashley:  Okay. Now, as you’ve been doing those shorts have you also been writing feature films? And trying to push that angle of your career as well?

 

Erin:  Yeah, that’s where I’d like to be, is selling my feature scripts. Since some of the shorts I’ve done. That’s, one was for a film race. And I’m going to be turning that into a feature. And there’s another short that I didn’t produce yet. But, I’m going to turn that into features. Yeah, and so the goal for me, is always, feature films, I think shorts are great, they can get your name out there. It can just be practice at telling a concise story. And it can really help you as a writer. But, for me, like the longer stories and features and that’s my ultimate goal is, to continue to be working as a writer for features.

Ashley:  Yes. Okay, so let’s dig into your latest film, “A way of Forgiveness.” It’s a documentary, and maybe you could just give us a quick overview of it, a log-line, pitch, whatever you have? Just to kind of let our listeners know what it’s all about.

 

Erin:  It follows me on the mean subject of a documentary I was walking on the pilgrimage on a thing called, “The Community Santiago.” There was a movie called, “The Way” with

Martin Sheen, and Emilio Estevez, about 5 years ago. So, I had wanted to walk this pilgrimage for about 15 years. And then my life just sort of opened up, that I could take 6 weeks off. Because it takes you 35-40 days to walk. And so, I figured I would be re-miss as a film maker if I didn’t bring my camera along with me on it, on the journey. So, it just follows me. I was going through a divorce at the time. So, it just trapped me as I tried to forgive what had happened. And the marriage, I interviewed people along the way. And then when I got home, I still wasn’t sure if I was going to make it into a film. And then when I re-watched the footage, and I saw some of the people already, I could tell were being impacted by thinking about forgiveness. So, then I figured well, if that person could be impacted by just the mire discussion. Maybe making a film about forgiveness can help other people work on forgiveness in their own minds. So that, it’s like attitude. Myself, I began to, because I couldn’t pay anybody to do it, and put it together. So, it’s 45 minute documentary, that I released in November.

 

Ashley:  Okay, okay. And so, maybe we can have a quick technical discussion on that. What kind of camera, and even take us back on some of these short films, if it’s a different camera. But like, what was the camera you used? And how much does that camera cost?

 

Erin:  For the documentary since I was backpacking across the country. So, I just had a

“Go-Pro.” Because that was very light. So, I got the hero 4 for Christmas, a couple of months before I went on the journey. So, I think that was $250 at the time maybe? And then I just used it, with a zoom recorder. Which the sound isn’t that big, great. I had somebody clean it up. But, when you’re on the top of a mountain, and the wind is wipping, and all you have is a zoom recorder, the sound is, what the sound is. So, for that film, I did shoot some “B” roll. And that was on, I had a Panasonic, it’s pretty old now, the GH2. And most are 90% of the documentary is on the GoPro. And I did in editing, I blew it up a little bit, to get rid of the “Shy look” that the GoPro has. And the other ones, we’ll call those, they were shot on my Panasonic, very early. I just had a very early DSLR. But, it was most days for a still camera. And then had video functions. So, that camera, I don’t even know what it was?

 

Ashley:  Okay. And was there any lights? Did you have any LED Lights, or anything? Or was it just all natural lighting when you’re shooting this documentary?

 

Erin:  Yeah, it was just all natural, because I already with the camera, I was carrying 20 lbs. And I had only wanted to carry 15. So, because I was walking for like 8 hours a day. So, if you can imagine walking up through the Pyrenees Mountains. You don’t want to be carrying that much equipment. So, yeah, it’s just, I got what I got, it’s like, the documentary in like, it’s truest form. Because I didn’t have any artificial lights, or anything like that. I didn’t prep anything or anybody. Just on camera, I started asking them questions. I didn’t even map out what this was going to look like before-hand.

I really just afterwards, I just took a step back and looked at myself as if I were a protagonist of a movie. And I said, “Okay, how is this going to be a film?” And I just mapped it out like I was going to if like I was writing a film. And built it post like that.

 

Ashley:  Okay, and is there some kind of a structure? I mean, do you outline it, like did you then sit back and come up with an outline? Do you have a beat sheet? Is there a First Act, a

Second Act? A Third Act? You know, a mid-point, did you have those same sort of turning points where in places?

 

Erin:  Yeah. I really tried to look at it in that way, and thankfully. I wasn’t thankful on my journey when I had these set-backs. But then as I mapped it out, and was making these beads,

Oh my God! I do have these feats of what you would put a protagonist through. And it just honestly happened. I mean, my luggage was lost for a week. I had, you know, pains, I twisted my knee, just this all these things that would set you back when you’re watching a story about somebody walking across the country. And it just honestly happened to me. So, I had a, I did shape it a little bit. Put some things in different order than what they actually happened. Out of it really did happened. I definitely treated it with acting. Structuring it, add structure, really treating it right on film. But I would write a narrative.

 

Ashley:  And I think you mentioned now you’re using a”premier” as your editing software. That’s where you edited this on it. And some of the more recent shorts you’ve done.

 

Erin:  Yeah, yeah. I’ve been using that for, probably like four years now.

 

Ashley:  And again, I’ve, have you taken classes on that since you’ve started. To use it do you just go on YouTube and look at tutorials. How have you learned at mastering that software?

 

Erin:  Yeah, once I have mastered it. But, yeah, god bless the people that post on YouTube. I don’t know what they’re getting out of it. But, because yeah, I have, really for this one. I have had some capability with Premier. But, for this I had to do some things I’ve never done before. I had my attorney look over the film. And he’s like, oh, you gotta blur these people out, do this. Well, I had no idea how to do that. So, that’s when I went to YouTube, and learned how to do that. So, yeah, that was really just whenever I needed to learn how to do something. I would just look it up online, and thankfully post these things these days.

 

Ashley:  Yeah. And even just take a second or so and step back on that. Because I know there’s a lot of really new people listening to this Podcast. How did you even know enough to go and get a lawyer? To look over this thing? And how did you even know that was an important thing to do with the documentary.

 

Erin:  I think that’s part of what my background is, since it isn’t in, since I don’t have a degree in film work, like I mentioned, it is in marketing. So I have to have that business side to me. There, and I have. This is not my first feature film, I’ve done two others. So, I’ve had to think through the distribution, and other things like that. And so, I’ve had some experience with the business side of it. And so, I wanted to get in front of it, for a time.

And I had worked with this attorney before. I had been hired to adapt a book into a screenplay. So, I figured, he should look at it before, so that I cover all my bases.

 

Ashley:  Okay, do you need release forms, is that the bottom line? The people you interviewing, did you have release forms. Did you have their Email addresses so you could go back later and get their release forms signed.

 

Erin:  I did have their release forms since I had done releases for all of my other films. But, again, I didn’t want to carry things with me, since we were hiking all the way across the country. So I actually in the back of my journal. I wrote, I hand wrote a release, and I had everybody sign under. And then I showed it to a producer that was, at one point was going to get involved. And she said, “I can’t use that. That’s not going to hold up.” So, thankfully I got to be really good friends with most people that were in the film. And we were all Facebook Friends. And so I made it a true release, and I sent it to them. And one gentleman did change his mind. And I think it’s unfortunate because it was a really good interview. But, he said, that he wouldn’t sign the release. So, it was what it was. But, yeah, one person I had to track down. It was quite a detective game to try and track her down. And she ended up. I had to track down the film, to an

hour and a half minute. So, her interview was sacrificed, so it didn’t matter, anyway.

 

Ashley:  Okay. And why did you have to cut it down to 45 minutes.

 

Erin:  Really, just for money. Because the sound was so bad. And when I was talking, the

post-sound guy, it’s he was giving me a really great rate. But it was going to be finished a minute. And I just didn’t have the money. I had been selling some of my possessions honestly, to help pay for this, and I only had so much money. There was, I couldn’t rub to nickels together to get more money. And so, I said, if it’s per finished minute, than it’s going to have to get shortened. And so, I did a lot of hard editing, and, I took a machete to it, and cut it in half.

 

Ashley:  Yeah, yeah. And so, you talk about the worrier, as one part of your business background. What other business stuff is involved in something like this. Were there other people that you’ve talk to. That you mentioned distribution. Are there some other business sort of people that you’ve talked to and gotten involved with, and started to push this out towards.

 

Erin:  Well, since I did self-distribute it. So, I’ve had everything, I’m basically a one woman show. I’ve had, when I hosted, you know, premier screenings. I was the one working with the theaters. I did all the promotion. And I did sell out a few premiers, so I was pretty proud of that. So, a lot of that is, me writing press releases trying to get press on that, promotion part of that, is again, falls on me. Because I can’t pay anybody to do it at this point yet. So, it’s trying to get a little bit of income to try to pay somebody to help, you know, just like any business. You know, you have to spend some money to make some money. But, in the beginning you make a lot of err yourself.

 

Ashley:  Yeah, yeah. So, who are the people that, you mention, the sound guy you pay. What other positons do you, did you wind up having to pay for, essentially. I’d just be curious to hear?

 

 

Erin:  Really, just the shortest credit, I think ever in the history, it is 3 people;

myself, the post-sound guy, and the composer. And so, it’s really beautiful music. It’s a friend that I’ve made here. And so, and he knew of the story, before I ever decided to make it into a film. So, he composed the music. A yeah, it’s just 3 people. And it’s beyond the people that I met who are in front of the camera by me. Behind the camera there’s just the three of us.

 

Ashley:  Yeah, yeah. And so let’s talk about these live screenings that you’ve done? Maybe you can just sort of describe them. And then just be curious to hear how you are able to promote them, and sell two of them out.

 

Erin:  So, I had one in L.A. and then I guess from the Chicago area. I had one back in Chicago, around Thanksgiving. So, that I could go and do two things at once, you know. Show my film and get home in time for Thanksgiving. So, a lot of it, ended up being from that social media. And just reaching out to everybody that I knew. And it was a smaller sized theater, and it was the “Playhouse.” But, they had a pretty decent sized screen and I had done another project there, with another production company. And so, that one was really. And since it’s this commino, what I walked was pretty well known trail. And so I reached out, on part of the group away. And so there was some promotion there. But, a yeah, I did a lot on social media. And so, in L.A. people waited till the last day. And we actually over sold it.

 

Ashley:  Huh?

 

Erin:  The day of. Because it was sold out 3 hours before. And then people just showed up. And I’m like, no, this is L.A. if people are just not going to show up. So, you’ll have room for us. So, I’m like, no, everybody’s seated. And so, we had to get a few folding chairs to squeeze a few more people in. And then in Chicago, it was because I am from there, I got a lot of family and friends. And then the Camino Group there as well. I had been a part of, so there was some people from that. So, it was a lot of, it was pretty much secure on social media, and needless Emailing, people that I knew.

 

Ashley:  Okay. And how did you know you would actually get the theater? Did you just call the theater up and say, “Can I rent it for a night?” How did you negotiate that?

 

Erin:  Yeah, yeah. It was, yeah, just and again, this one, I had worked at. I did find it first for my film and then I went out on another production. So, we ended up hosting something there. But, yeah, I just reached out to people. I mean, in L.A. it’s pretty extensive to four-wall theater. And this was again, a full theater, not a Playhouse. And it was an affordable rate. So, I just Emailed him and talked to him about how long I could have the facilities. And then, in Chicago. I, there was a little bit more affordable. And then it was the discount theater. And they just re-vamped it. And it’s a beautiful theater they have. They have all of the reclining chairs, it was amazing. So, we were loving it, in that. It was cheaper there to have more. I think it had 40 more seats. And it was a cheaper rate than a year or so. It was a, both of them were really great. So, a yeah.

 

Ashley:  Yeah. Okay, perfect, perfect. So, what’s next for you? Do you have another project in the works?

 

Erin:  I am mostly self-promoting this film, trying to get talk to go along with this. So, like getting into the college, churches, or other, whoever wants to host one. Because the film is really impact on other people. It’s been very humbling to hear how people are moved by my, the message of forgiveness. And people have like restored relationships after watching the film. So, I’m really trying to get that film out there. And then an IM Rating of a feature film. One of the shorts I have written a couple of years ago, with my writers group. They just had the prompt one guy wanted to film something. And he said, “I want to write. I want to film something that is science fiction.” So, that was my first science fiction, that I wrote. So I’m turning that into the feature. So, that is what I am working on next.

 

Ashley:  Perfect, perfect. And how might people see “A Way of Forgiveness” I’m sorry

“A Way to Forgiveness” Are you putting it up on ITunes. Is it going to be available through some of those other platforms? Really, anything you want to say about when it’s to be released or how people can see it?

 

Erin:  Yes, on my website, which is www.-Dashentertainmentllc.com, and there you can buy a DVD of a copy of the DVD. Or there’s a link to vimeo. So, you can either rent it for 3 days on vimeo, or you can buy a DVD. And both those links are on my website.

 

Ashley:  Perfect, perfect. I will round that up definitely and put that in the show notes, so people can get it. I always like to end each of interviews by asking people? How others can follow you? Anything you’re comfortable sharing, a Twitter handle, a Facebook page, a blog, as you just mentioned, your website. I will definitely put that as well. But anything you’re comfortable sharing. Maybe just give it to us now and move on, and I’ll round that up for the show notes.

 

Erin:  Yeah, I’m on Facebook, and Twitter both, for my film company Dash Entertainment. So, it was, if you look up Dash Entertainment, on Facebook. And then Twitter, there’s just

-_Entertain. Because there are other Dash entertainment. Yeah, so like that’s the one.

 

Ashley:  Perfect, perfect. I will get those out, and I will round those up and put them in the show notes. Erin I really appreciate you coming on the show with me today, fascinating interview. And you’re a real inspiration, I really like your pragmatic approach, and just getting out there and doing stuff. So just fantastic and I wish you luck with this film.

 

Erin:  Thank you, and thanks for having me.

 

Ashley:  Sure, we’ll talk to ya later.

 

 

Ashley:  I just want to mention two things I’m doing at “Selling Your Screenplay” to help screenwriters find producers who are looking for new material.

First I’ve created a monthly newsletter that will be sent directly to producers. Every member of SYS Select can submit one log-line per newsletter, per month. I went and Emailed my large list of industry database.

And asked them if they would like to receive this monthly newsletter of pitches. So far, I have well over 350 producers who have signed-up to receive it. These producers are hungry for new material and are happy to read new material. And how they get to read scripts from new writers. So, if you want to participate in this pitch newsletter? And get your script into the hands of lots of producers. Sign-up at – www.sellingyourscreenplay.com/select.

And secondly, I’ve paid on of the premier paid screenwriting leads sites. You can syndicate their leads to SYS Select members. There are lots of great paid leads coming in each week from our partner. Recently I’ve been getting 10 to 12 high quality paid new leads every week. These are producers, and production companies that are actively looking to buy new material. Or are looking to hire a screenwriter for a particular project that they may be working on. If you sign-up for SYS Select, you will get these leads Emailed directly to you several times each week. These leads run the gambit of production companies looking for a specific type of spec. script.

To producers looking to hire a screenwriter to write up one of their own ideas. Producers are looking for shorts, features, TV, and web series, pilots. It’s a huge aray of different types of projects that producers are looking for. And these leads are exclusive to our partner and SYS Select members. To sign-up, go to – www.sellingyourscreenplay.com/selelct.

I recently set-up a success stories page, for people who have had success through the various SYS Select Services. So, if you want to check out some of the other people who have tried the SYS Select Services, are saying? Go to – www.sellingyourscreenplay.com/success.

On the next episode of the Podcast, I’m going to be interviewing: Actor, Writer, Director Christina Moore. She just did a film called, “Running Wild” starring Sharon Stone. We talk through the whole process of just from writing the script, to getting it funded. To getting

Sharon Stone attached to it. So keep an eye out for that episode next week.

To wrap things up I just want to touch on a few things from today’s interview with Erin. I talked about doing shorts quite a bit on this Podcast. So, hopefully Erin’s interview can inspire you to get out there and make it happen. Also, hopefully, it’s a real nuts and bolts kind of an interview where you can actually see what one person has done. Again, hopefully that will inspire you, but also give you some, just technical confidence that you can do it too. Sometimes you just have to jump into the pool and start doing stuff. I think Erin is a great example of that. Really listen to how she started. She just got out there, and just did a short film. She didn’t have a ton of experience, she didn’t know a ton of the technical stuff. But, that’s how you learn, just get out there and do stuff. And you will pick this stuff up. I’m curious to get some feedback on this episode. I’ve got another similar episode planned in the next couple of weeks. Where I’m going to be interviewing a guy who recently did a short film that I really liked. And I asked him to come on the show and give us a real detailed account of how he produced that short film. So, I really enjoyed these nuts and bolts episodes. I feel like I learn a lot from people just from hearing them kind of explain through exactly what they did. And even just technical stuff that doesn’t necessarily pertain to me, like the different types of cameras. I’m not necessarily into or are an expert on cameras. You know, you can Google those cameras pretty easily. You can listen to what types of cameras, if you’re using Google, you can get a sense of how expensive this stuff is? And sort of where they are?

As far as the market place with these cameras, and is that going to be. All that information I don’t necessarily right then, but it is something I can think back on. If I ever want to shoot something? This would be an interview I would come back and sort of listen to. Some of the stuff done to get some of this stuff finished. I think it’s, she talked about here documentary. You know, what she paid for it. Obviously paying someone from or for the sound edit is, very, very important. I’m getting ready to go through that with my own film,

“The Pinch.” I’m just about ready to Lock Picture, so I’m going to be bringing up on a dialog editor. Someone who can recall the dialog and obviously all the other stuff. But, these sorts of things are important. You sort of start to understand. Especially if you’re gonna do it, a little bit of producing, even on a short film. I think again, just hearing Erin talk and getting a sense of the scope of what you need to do is important. But, really listen to it. She said, on here first short they spend over $100.00. This doesn’t need to be expensive, at this day and age. Most of this stuff, whether be software, as long as you have a computer already. Most of the editing you can get free editing software, you know cameras are really cheap, most of us have cameras on our cell phones. You can go and shoot a film on that, just to get started. And really the cost is almost negligible at this point. Again, just to do a little short film, just to get something done, see your work produced and maybe enter some film festivals? But, at the very least you can get it up on YouTube, and just start to get some feedback, and start to network and just get your career going.

So, anyway, if you have any feedback on today’s episode, or just these types of episodes in general. Please do Email me, or Tweet it, or post a comment on Facebook, or YouTube. I try and look at all those comments. Whether they be on Facebook, or YouTube. I try to respond or at least look at and respond to people that tweet at me. And you can always send an Email as well. Info@sellingyourscreenplay.com. So, always curious to get feedback on episodes and just hear people say, “Oh, I like this episode.” Just kind of tell me, because this isn’t just for this episode.

Anyway, the episode if you really like an episode of, or if you particularly don’t like an episode. Just send in Emails because I do kind of just like to hear what people are liking. I can push the Podcast in whatever direction you know, listeners want to go. So, if I get it a lot of feedback on a particular episode. That it’s something people particularly like? I can push off in that direction. And I know this is sort of a screenwriting Podcast. And I wonder how much this sort of producing, and getting into the nuts and bolts of producing. How many people are really interested in that? So, feedback is very much appreciated. If you have a minute drop me a line.

Anyway, that’s the show, thank you for listening.

 

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