Buying My Documentary

gophergrrrl

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Because I'm eager and highly impatient, I was wondering if I could round up some bits of information on a situation I'm currently invovled in. I can't be too specific-- not yet-- but I'll try to keep this coherent.

I'm a full time screenwriter, film student, indie filmmaker but I moonlight in an odd research field. Because said research field is a bit trendy these days, producers seem to be snatching up other people like me and creating reality shows that feature them. My colleagues and I have been offered a televised show by a producer. This producer is also interested in a documentary that I've made and doesn't want it marketed to another prodco until she has a first crack at it.

So far, my colleagues and I have had to submit various mini-projects to the producer and she's conducted several meetings and conference calls about this show and documentary. I've filmed and submitted a ten minute demo reel of the feature documentary, individual bio reels for each member of the team (my "colleagues" that I keep referring to), and I've created a short "us-in-action" demo reel which showcases the work we'll be doing for the show currently being developed by the prodco.

The first thing I'd like to know is whether or not I should be trying to get an agent. Secondly, this producer has spent a lot of time with the two projects, this is a good sign, right? Third, she's keeping quiet about a lot; she's not exactly avoiding questions but she seems like she knows when to hold 'em and when to fold 'em.

Again, I'm eager and impatient and I was wondering if anyone could throw me some hints about this process, what's going on, what I can expect and what steps I need to take to ensure everything goes well.

I'd greatly appreciate any information, a little or a lot. Thanks. :)
 

writerterri

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Here's the only thing I can offer, wait on the producer with patience. Don't blow it by chomping at the bit with her. In the mean time agents are a good thing and you could focus on getting one while still submitting.

Good luck!
 

gophergrrrl

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Haha, thanks and no problem. Like I said, any info is appreciated. And, I don't email or contact her until she requests something of me. I do as I'm told.
 

IceCreamEmpress

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I'm a full time screenwriter, film student, indie filmmaker but I moonlight in an odd research field.

I would suggest posing this question to the forums at DoneDealPro.com, where you'll find a lot of people more familiar with the current state of affairs in TV.

Also, mods, maybe it should be moved from here to the Screenwriting subforum, because nmstevens and CreativeExec and the other folks with useful feedback probably won't see it here? (gophergrrrl, I think all of the agents who have posted here to date are literary agents who deal with book publication.)
 

Stijn Hommes

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This producer is also interested in a documentary that I've made and doesn't want it marketed to another prodco until she has a first crack at it.
It sounds like they want to option your documentary. Make sure you get something on paper. I'm not sure if the market for documentaries is similar to feature films, but if it is, there could be money in an option. Just make sure their exclusivity is for a limited amount of time.
 

WriteKnight

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At the very least, you should register your treatment with the Writers Guild.

I've shopped a reality show to several of the major cable channels. The Production company is your entree to the development execs. They will be pitching the concept along with you. (Or not - depending on your agreement.)

And that's the rub. You need an agreement in place with the production company. Something that outlines your part in the process, and what your role is expected to be. You can allow them, or OPTION to them, the right to pitch the concept for a limited amount of time. Typically you will go round to the offices, give the song and dance, and perhaps screen the sizzle reel. That's been my experience at least. They'll ask for more information and either 'pass' - 'we'll get back to you' (which is a polite pass) - or they will 'pitch it up' to the next level - which is a good thing. HOPEFULLY you will be invited to pitch again - what you DON'T want is someone who is 'excited' by the idea, to then re-pitch it without you while screening your sizzle reel. They won't have the same energy, no matter how excited they are.

Without knowing the concept, what part you bring to the mix and what your relationship is to the ProCo - that's about all I can offer at this point.

Good luck. It's a mad house.
 
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gophergrrrl

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It sounds like they want to option your documentary. Make sure you get something on paper. I'm not sure if the market for documentaries is similar to feature films, but if it is, there could be money in an option. Just make sure their exclusivity is for a limited amount of time.

Incidently, I've been reading a lot about options and producers and such this week in my production class-- aau student, motion pictures & television major. I know about options from a screenwriter's side of it but am learning the ins and outs from a producer's point of view. Could I trouble you to ask for an explanation about the "exclusivity for a limited time" statement? Does this allude to future usage rights of the doc?
 

gophergrrrl

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At the very least, you should register your treatment with the Writers Guild.

I've shopped a reality show to several of the major cable channels. The Production company is your entree to the development execs. They will be pitching the concept along with you. (Or not - depending on your agreement.)

And that's the rub. You need an agreement in place with the production company. Something that outlines your part in the process, and what your role is expected to be. You can allow them, or OPTION to them, the right to pitch the concept for a limited amount of time. Typically you will go round to the offices, give the song and dance, and perhaps screen the sizzle reel. That's been my experience at least. They'll ask for more information and either 'pass' - 'we'll get back to you' (which is a polite pass) - or they will 'pitch it up' to the next level - which is a good thing. HOPEFULLY you will be invited to pitch again - what you DON'T want is someone who is 'excited' by the idea, to then re-pitch it without you while screening your sizzle reel. They won't have the same energy, no matter how excited they are.

Without knowing the concept, what part you bring to the mix and what your relationship is to the ProCo - that's about all I can offer at this point.

Good luck. It's a mad house.

I will get that treatment cranked out and registered, asap. Thanks for mentioning that. :)

The woman I've been in contact with is the executive producer. She has developed several VERY successful shows so I'm confident that she's putting together something incredible. She's already pitched it and started to talk about the format and she mentioned that filming would begin at the beginning of summer and it would take about three months to shoot the first episode. This is a good sign, right? Wow, I am eager. *twitch*

My relationship to the show is that I will be on it as the subject-- or one of the subjects as there are several of us involved. The doc, however, a friend and I are independently producing. She asked if we'd also be interested in doing freelance documentary work. Hope that helps clarify some.

So, when this lady pulls the contracts out do ya'll think I'm going to need a third party to look it over or is this sort of deal more about the company's risks rather than mine as a subject of the show? Thanks a bunch for the information and I'll be sure to get that treatment under control. :)
 

WriteKnight

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Yes, have an attorney look over any contracts. In particular have an ENTERTAINMENT attorney look over them. You can probably find some sort of "Accountants and Lawyers for the Arts" program in your area. These are accountants and lawyers who donate their time to artists. They'll look over the contract and point out any problem areas for little or no fee.
 

creativexec

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To be honest, I think your post is confusing and probably has a little too much superfluous info.

But if I'm understanding this correctly, a producer has created a TV reality show and wants to make you one of its subjects.

In addition, you have produced a documentary in which the producer has shown intererest.

These are two separate business situations and should be handled differently.

As the subject of a reality show, you'll need an entertainment lawyer to handle the contract - preferably one who has experience in that world. You do not need an agent and most (real) agents won't have any interest in you. If the show catches on and you become popular and there are marketing opportunities (think Snookie) then you'll want to get a manager first. An agent might eventually follow if there are work opportunities for you that he can find and commission.

As for the documentary, I'm not sure where you are in the process. If you need more money and she plans to bring it to the table, then she sounds like a good addition to the team. If she's a reality producer and it's a TV documentary, then she might serve some purpose too. (You're not going to sell it to TV; you'll license it instead. Unless she envisions it as a pilot for a reality show.)

What did she tell you she is trying to do with the film? What are her plans? What is her role? What kind of cut is she expecting?

Rolling out a documentary should be strategic. And I'd be careful in handing it over to someone without fully understanding their intentions. She is not an agent. She is a producer. And if you produced the doc, you two are partners. There should be lots of communication between the two of you regarding the documentary. To sit quietly while this stranger takes your baby out for a walk is, IMO, foolish.

I don't know what you're talking about when you say "my colleagues and I have had to submit various mini-projects to the producer," so I'll skip that part.

But you make this whole thing sound like you're an indentured servant.