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Financing Your Independent Film, Movie and Animation

By   March 8, 2015

Independent film, television and animation players in Canada are always, it is very safe to say, looking for financing for their productions. One of the best ways to compliment your overall financing strategy in the three sectors of this industry (film/movies; television; digital animation) is to utilize your tax credits in a unique and innovative manner. Let’s explore what that is being done more and more, and some of the how to’s in this very unique area of financing in the Canadian entertainment industry.

The financing we are discussing is against the backdrop of very aggressive government assistant in this segment of the Canadian economy. Rather than back away from the sector after the 21008-2009 global economic turbulence provincial and government bodies stepped up to the bar, so to speak, and in fact increased their support in this area of the industry. Traditionally film and television were the focus of the tax credit assistance, and recently the government has included digital animation as another key vertical in this sector of the industry.

Is there a simple explanation to the financing we are discussing? Yes there is – it is simply your ability to convert your tax credits, which have in fact significantly increased, into cash! The ability to generate cash flow and working capital from your tax credit assists you in of course completing your project successfully, and at the same time ensuring stakeholders such as owners, investors, and debt holders view the project as financial viable a mutually profitable for all stakeholders. That’s a good thing.

Tax credits have been available in many countries, including the U.S. for years. We can surmise the governments have supported these strategies to help ensure the overall competitiveness of the industry. Clearly the revenues generated by the industry from box and gate receipts, let alone labour and production spending are very significant.

So what does the strategy entail? Simply speaking you should ensure you are working with a trusted advisor in this area – someone with credibility, experience. At the same time you should ensure you are filing for eligibility under any one of 6 tax credit available, using the province of Ontario as an example. Tax credits are available of course in other provinces also, with B.C. and Quebec industry segments flourishing equally as well.

Proper planning is the key to financing your tax credits, and if you can prove you have a solid budget and finance plan, along with management and operational capability you can even ‘ pre-finance ‘ your credits in most circumstances. Again, credibility is the key here, and a track record in the industry is not 100% mandatory, but certainly helps.

Financing is made similar to the concept of ‘mortgage lending ‘i.e. on a loan to value basis. Typically you can expect to receive anywhere from 40-80% of your tax credit claim in cash. Factors that affect this amount are the timing of your filing, the quality of the filing, and of course the amount of the claim.

Naturally the ‘pieces ‘of the complex film/ tv/animation financing puzzle can be complex – whether they are bank financing, gap financing, distribution sales, and of course our own tax credit financing strategy. Film, TV, and animation Tax credit financing is a great way to complement the other pieces of the entertainment financing conundrum.

Film Productions

By   March 7, 2015

Do you, or do you want to, work on film productions? If you want to expand in your career in film, this article will help you make it!

Why aren’t there more Film Directors making films. Props Masters, Sound Mixers, Costume Supervisors, Key Grips, etc. becoming Line Producers, Producers-For-Hire or UPM’s? Why aren’t more crew reaching the level of Department Head? Why aren’t more film school students finding work? I’m sure there are lots of reasons, but take a quiet moment to really look. Let’s see…. It’s not competence – most crew disappear pretty quickly if they’re slow witted and incompetent. Film students who graduate have shown they’re pretty smart. It’s not a lack of drive – again, for the same reasons. Wouldn’t you agree that the biggest hurdle is getting the opportunity? Well, that’s true and not true.

The biggest hurdle is MAKING the opportunity.

How do you increase the odds of landing a contract as a Film Director, Line Producer, a Department Head (if you’re not one already), or even a UPM on a small independent production? Lots of film school graduates are ready to burst with ideas to get their scripts into production; how do they get to produce their scripts? First you need to get the confidence of the person in front of you. That single person in front of you needs to believe that you can control your sphere of work so effectively that he/she can get on with creating their vision.

If you’re already a working professional in film, you can easily convince someone that you can control the heck out of your area of expertise. But, if you want to upgrade, what do you know about the relationship of your department to all other facets of film production? You need to be able to convince others that you understand the common denominator of all filmmaking. Nobody denies that you need to have a creative bent in film productions. But let’s lay it on the table – THE DRIVING FORCE BEHIND FILM PROUCTION IS MONEY!

By the time we, as working crew, start working on a film production, our creative bent is totally bent by the amount of MONEY available to us. We want to get the best product we can out of every buck. Like it or not, your performance in film production is measured, to some degree, by how well you control the money. It’s like ‘Directing’, only you’re ‘Directing the Money’.

Do you want to get that upgrade? Then, learn the language of those who ‘Direct the Money’. To my way of thinking, that’s the only way to be taken seriously.

Here’s the deal – you need to show them, with attitude, that you will provide them with a controlled environment from which they can create their vision. The only way I know of to do that is to graduate to a ‘Director of Money’. From that position you can be the go-to Line Producer, Producer-For-Hire, Department Head, UPM, etc.

Let’s pretend for a moment that you’ve met a hot new Producer, Director, Actor or Executive Producer, etc. with a script. Whoever you meet, they’ll be very excited to talk with you about it. After the first ½ hour or less, how do you segue into being their Line Producer, Producer or UPM?

Well you ask them some real questions that would knock their socks off and show that you’re the one to ‘Direct the Money’ for them – but those questions are beyond the scope of this article.

You get the idea. You need to know the ‘lingo’ of budgets and you need to understand that those budgeted numbers need to be directed. You’ll also need to inspire confidence in the Financiers, or the Bonding Company, that you know what the weekly financial report card is all about (that is, the universally standard Weekly Cost Report).

Most of those questions, with a little imagination, can also apply to anyone who wants to upgrade to a Department Head. A Production Manager would be completely blown away!

So how does a director or crew member get familiar with Budgets and Cost Reports? I’ve been a Production Auditor for 20 years and I’ve NEVER shown a crewmember a Final Budget or a Weekly Cost Report (the universally standard financial report card issued to the Financiers and Producers every week) in that entire time. They are considered sacrosanct by Studio Executives, Financiers and Bonding Companies everywhere.

Well, I’m about to tease you with some relevant articles that will open the door enough to let you walk through. They’re written for the complete novice, so be patient if you’ve already been exposed to budgets and cost reports. Remember, the articles are techniques on being FAMILIAR enough with budgets and cost reports to be able to ‘Direct the Money’.

Entertainment Lawyer In Film Production

By   March 7, 2015

Does the film producer really need a film lawyer or entertainment attorney as a matter of professional practice? An entertainment lawyer’s own bias and my stacking of the question notwithstanding, which might naturally indicate a “yes” answer 100% of the time – the forthright answer is, “it depends”. A number of producers these days are themselves film lawyers, entertainment attorneys, or other types of lawyers, and so, often can take care of themselves. But the film producers to worry about, are the ones who act as if they are entertainment lawyers – but without a license or entertainment attorney legal experience to back it up. Filmmaking and motion picture practice comprise an industry wherein these days, unfortunately, “bluff” and “bluster” sometimes serve as substitutes for actual knowledge and experience. But “bluffed” documents and cture production procedures will never escape the trained eye of entertainment attorneys working for the studios, the distributors, the banks, or the errors-and-omissions (E&O) insurance carriers. For this reason alone, I suppose, the job function of film production counsel and entertainment lawyer is still secure.

I also suppose that there will always be a few lucky filmmakers who, throughout the entire production process, fly under the proverbial radar without entertainment attorney accompaniment. They will seemingly avoid pitfalls and liabilities like flying bats are reputed to avoid people’s hair. By way of analogy, one of my best friends hasn’t had any health insurance for years, and he is still in good shape and economically afloat – this week, anyway. Taken in the aggregate, some people will always be luckier than others, and some people will always be more inclined than others to roll the dice.

But it is all too simplistic and pedestrian to tell oneself that “I’ll avoid the need for film lawyers if I simply stay out of trouble and be careful”. An entertainment lawyer, especially in the realm of film (or other) production, can be a real constructive asset to a motion picture producer, as well as the film producer’s personally-selected inoculation against potential liabilities. If the producer’s entertainment attorney has been through the process of film production previously, then that entertainment lawyer has already learned many of the harsh lessons regularly dished out by the commercial world and the film business.

The film and entertainment lawyer can therefore spare the producer many of those pitfalls. How? By clear thinking, careful planning, and – this is the absolute key – skilled, thoughtful and complete documentation of all film production and related activity. The film lawyer should not be thought of as simply the cowboy or cowgirl wearing the proverbial “black hat”. Sure, the entertainment lawyer may sometimes be the one who says “no”. But the entertainment attorney can be a positive force in the production as well.

The film lawyer can, in the course of legal representation, assist the producer as an effective business consultant, too. If that entertainment lawyer has been involved with scores of film productions, then the motion picture producer who hires that film lawyer entertainment attorney benefits from that very cache of experience. Yes, it sometimes may be difficult to stretch the film budget to allow for counsel, but professional filmmakers tend to view the legal cost expenditure to be a fixed, predictable, and necessary one – akin to the fixed obligation of rent for the production office, or the cost of film for the cameras. While some film and entertainment lawyers may price themselves out of the price range of the average independent film producer, other entertainment attorneys do not.

Enough generalities. For what specific tasks must a producer typically retain a film lawyer and entertainment attorney?:

1. INCORPORATION, OR FORMATION OF AN “LLC”: To paraphrase Michael Douglas’s Gordon Gekko character in the motion picture “Wall Street” when speaking to Bud Fox while on the morning beach on the oversized mobile phone, this entity-formation issue usually constitutes the entertainment attorney’s “wake-up call” to the film producer, telling the film producer that it is time. If the producer doesn’t properly create, file, and maintain a corporate or other appropriate entity through which to conduct business, and if the film producer doesn’t thereafter make every effort to keep that entity bullet-proof, says the entertainment lawyer, then the film producer is potentially shooting himself or herself in the foot. Without the shield against liability that an entity can provide, the entertainment attorney opines, the motion picture producer’s personal assets (like house, car, bank account) are at risk and, in a worst-case scenario, could ultimately be seized to satisfy the debts and liabilities of the film producer’s business. In other words:

Patient: “Doctor, it hurts my head when I do that”.

Doctor: “So? Don’t do that”.

Like it or not, the film lawyer entertainment attorney continues, “Film is a speculative business, and the statistical majority of motion pictures can fail economically – even at the San Fernando Valley film studio level. It is insane to run a film business or any other form of business out of one’s own personal bank account”. Besides, it looks unprofessional, a real concern if the producer wants to attract talent, bankers, and distributors at any point in the future.

The choices of where and how to file an entity are often prompted by entertainment lawyers but then driven by situation-specific variables, including tax concerns relating to the film or motion picture company sometimes. The film producer should let an entertainment attorney do it and do it correctly. Entity-creation is affordable. Good lawyers don’t look at incorporating a client as a profit-center anyway, because of the obvious potential for new business that an entity-creation brings. While the film producer should be aware that under U.S. law a client can fire his/her lawyer at any time at all, many entertainment lawyers who do the entity-creation work get asked to do further work for that same client – especially if the entertainment attorney bills the first job reasonably.

I wouldn’t recommend self-incorporation by a non-lawyer – any more than I would tell a film producer-client what actors to hire in a motion picture – or any more than I would tell a D.P.-client what lens to use on a specific film shot. As will be true on a film production set, everybody has their own job to do. And I believe that as soon as the producer lets a competent entertainment lawyer do his or her job, things will start to gel for the film production in ways that couldn’t even be originally foreseen by the motion picture producer.

2. SOLICITING INVESTMENT: This issue also often constitutes a wake-up call of sorts. Let’s say that the film producer wants to make a motion picture with other people’s money. (No, not an unusual scenario). The film producer will likely start soliciting funds for the movie from so-called “passive” investors in any number of possible ways, and may actually start collecting some monies as a result. Sometimes this occurs prior to the entertainment lawyer hearing about it post facto from his or her client.

If the film producer is not a lawyer, then the producer should not even think of “trying this at home”. Like it or not, the entertainment lawyer opines, the film producer will thereby be selling securities to people. If the producer promises investors some pie-in-the-sky results in the context of this inherently speculative business called film, and then collects money on the basis of that representation, believe me, the film producer will have even more grave problems than conscience to deal with. Securities compliance work is among the most difficult of matters faced by an entertainment attorney.

As both entertainment lawyers and securities lawyers will opine, botching a solicitation for film (or any other) investment can have severe and federally-mandated consequences. No matter how great the film script is, it’s never worth monetary fines and jail time – not to mention the veritable unspooling of the unfinished motion picture if and when the producer gets nailed. All the while, it is shocking to see how many ersatz film producers in the real world try to float their own “investment prospectus”, complete with boastful anticipated multipliers of the box office figures of the famed motion pictures “E.T.” and “Jurassic Park” combined. They draft these monstrosities with their own sheer creativity and imagination, but usually with no entertainment or film lawyer or other legal counsel. I’m sure that some of these producers think of themselves as “visionaries” while writing the prospectus. Entertainment attorneys and the rest of the bar, and bench, may tend to think of them, instead, as prospective ‘Defendants’.

Enough said.

3. DEALING WITH THE GUILDS: Let’s assume that the film producer has decided, even without entertainment attorney guidance yet, that the production entity will need to be a signatory to collective bargaining agreements of unions such as Screen Actors Guild (SAG), the Directors Guild (DGA), and/or the Writers Guild (WGA). This is a subject matter area that some film producers can handle themselves, particularly producers with experience. But if the film producer can afford it, the producer should consult with a film lawyer or entertainment lawyer prior to making even any initial contact with the guilds. The producer should certainly consult with an entertainment attorney or film lawyer prior to issuing any writings to the guilds, or signing any of their documents. Failure to plan out these guild issues with film or entertainment attorney counsel ahead of time, could lead to problems and expenses that sometimes make it cost-prohibitive to thereafter continue with the picture’s further production.

4. CONTRACTUAL AFFAIRS GENERALLY: A film production’s agreements should all be in writing, and not saved until the last minute, as any entertainment attorney will observe. It will be more expensive to bring film counsel in, late in the day – sort of like booking an airline flight a few days before the planned travel. A film producer should remember that a plaintiff suing for breach of a bungled contract might not only seek money for damages, but could also seek the equitable relief of an injunction (translation: “Judge, stop this production… stop this motion picture… stop this film… Cut!”).

A film producer does not want to suffer a back claim for talent compensation, or a disgruntled location-landlord, or state child labor authorities – threatening to enjoin or shut the motion picture production down for reasons that could have been easily avoided by careful planning, drafting, research, and communication with one’s film lawyer or entertainment lawyer. The movie production’s agreements should be drafted with care by the entertainment attorney, and should be customized to encompass the special characteristics of the production.

As an entertainment lawyer, I have seen non-lawyer film producers try to do their own legal drafting for their own pictures. As mentioned above, some few are lucky, and remain under the proverbial radar. But consider this: if the film producer sells or options the project, one of the first things that the film distributor or film buyer (or its own film and entertainment attorney counsel) will want to see, is the “chain of title” and development and production file, complete with all signed agreements. The production’s insurance carrier may also want to see these same documents. So might the guilds, too. And their entertainment lawyers. The documents must be written so as to survive the audience.

Therefore, for a film producer to try to “fake it” oneself is simply to put many problems off for another day, as well as create an air of non-attorney amateurism to the production file. It will be less expensive for the film producer to attack all of these issues earlier as opposed to later, through use of a film lawyer or entertainment attorney. And the likelihood is that any self-respecting film attorney and entertainment lawyer is going to have to re-draft substantial parts (if not all) of the producer’s self-drafted production file, once he or she sees what the non-lawyer film producer has done to it on his or her own – and that translates into unfortunate and wasted expense. I would no sooner want my chiropractor to draft and negotiate his own filmed motion picture contracts, than I would put myself on his table and try to crunch through my own backbone adjustments. Furthermore, I wouldn’t do half of the chiropractic adjustment myself, and then call the chiropractor into the examining room to finish what I had started. (I use the chiropractic motif only to spare you the cliché old saw of “performing surgery on oneself”).

There are many other reasons for retaining a film lawyer and entertainment attorney for motion picture work, and space won’t allow all of them. But the above-listed ones are the big ones.

Independent Film Funding and the Canadian Film Tax

By   March 7, 2015

It seemed like a short project and challenge at the time! However most independent film finance becomes somewhat of a journey, and that’s of course an understatement. But the Canadian film tax credit can help you play a huge role in pulling the financing for your project together.

Call it a challenge, call it, as some have, ‘ tricky’ or call it skill, but the monetary part of your film, tv or digital animation project becomes a huge part of the producer and owners direct efforts for successful completion of any project.

We are often amazed at how little it takes, in funding, to complete a professional project in any of our 3 entertainment genres (film, television, and digital animation). Yet even smaller budgets have huge financing challenges when you don’t have the financial backing of a major studio. Therefore your total costs of securing rights, paying actors, and actually producing the project often requires a long timeline.

Enter, at stage left, the Canadian tax credit. This is clearly the savior of many a production that is domiciled in Canada, often paying for 30- 40%, and more of a total production. We certainly not saying the rest of your financing becomes a ‘cake walk ‘, as the expression goes, but our clients routinely maintain that the additional equity, debt, and co production and distribution agreements are much easier to put in place when you utilize the Canadian tax credit.

Naturally the more film funding you can rise via the film tax credit in Canada, as well as debt you can arrange simply means that you are not diluting your ownership position and therefore positioning you well for any financial success on your project.

Its all about partners in business today, and film finance is no exception. By partnering financially, in the right manner, with either co production agreements or Canadian film tax incentives you are able to maintain proper ownership of your project, and that’s of course what it is all about.

Let’s circle back to the Canadian film tax credit. The credits have become increasingly more generous over the years, and apply to all Canadian provinces where you might choose to shoot, film or product your project – depending on your genre again. By properly budgeting your project in a realistic manner an experienced Canadian film financing consultant can assist you in determining the exact amount of dollar eligibility for your tax credit. The tax credit becomes a part of your financial statement filings for the specific legal entity you have created for your project.

You can then finance the credit, which is a non repayable grant/credit from the government. Naturally you can simply wait for the credit, the ‘ cheque is in the mail ‘ so the saying goes, but many of our clients choose to finance the credit as soon as they have it certified. Receiving this funding in advance often creates a huge and positive working capital injection that actually helps finance of course the cost of the film. The tax credit is in essence the collateral for the bridge loan you arrange for the film tax credit itself.

Financing and film funding utilizing your Canadian film tax credit can be accomplished in a manner of weeks, and its all about having a budget, a tax credit calculation, and a firm finance plan that identifies the other parts of your project as complete.

Speak to a trusted, credible and experienced Canadian film tax credit financing advisor as to how you can maximize your return on investment for your owners and lenders via the film tax credit in Canada. It’s a cash flow 101 great strategy!

Music For Independent Films

By   March 7, 2015

With tight budgets and very limited resources, the independent film maker often falls short when working to bring their vision to the big screen. With hundreds of film festivals taking place annually in the United States, the platform is in place for budding producers and directors to find their place in the ‘reel’ world. But between hiring cast and crew while ensuring that equipment is up to par when it comes to lighting and photography, the film score often becomes an afterthought. Writers devote much time and effort not only to developing their stories but in searching for the perfect cast and crew to transform their visions into a tangible reality.

As the words on paper transition to the big screen, the final production should appeal to our emotions, stimulate our thoughts, challenge or support our beliefs and excite all 5 of our senses. Through actors, lighting, photography and even special effects imagery, the audience can not only see, but can also imagine the smell, taste and even touch of the various scenes. But without a relevant, suitable film score to accompany the work, what we usually ‘hear’ may end up lacking, leaving us uninterested and unimpressed.

The background music and sounds that comprise your film score are integral to the success of bringing that film to life by helping to define and add additional insight to your scenes, situations and characters. Who can forget the eerie, orchestrated sound of “JAWS”. We always knew when that shark was about to take a bite. It was also no surprise when Freddie Kruger was lurking, because of the familiar creepy composition that made our hearts beat frantically as we cautiously looked over our shoulder, waiting to scream. These two instances confirm how the film score was used to establish the actual presence of these characters, even before they were visible in the scene. You just knew they were there.

Additionally, the film score is used to create an emotional response from the audience and draw them into the situation. Characters in a film will laugh, cry, live and some die, and the audience should literally feel that they are part of what is happening. Music sets the tone, mood, energy level and intensity of the various scenes and scenarios. It helps to define the time period in which the film is taking place, the location, atmosphere, environment, and the various emotions the characters are experiencing. So why is it that the film score is often times one of the lowest priorities on the production budget? Mistakenly, many believe that high quality, original film scores are reserved for big budget films produced by major Hollywood studios. But that is definitely not the case.

For every struggling writer/director, there is a music composer who is also trying to make a name for themselves in the business. They are often described as ‘free-lance’ composers. This simply means that they do not have a contract or agreement with any of the major production companies or they are not part of the preferred music vendor network that services the film industry big boys. But, many of these free-lancers are extremely talented, creative and, most importantly, available to dedicate the time and effort needed to provide you with a unique film score that captures and enhances the true meaning of your film.

So, how do you find one of these accomplished free-lancers, and better yet, convince them to collaborate with you on your project even if your budget is limited?

1) Search the internet for Film and TV music producers/composer or production studios.

2) Join local Film Meet-Up Groups or Film/TV related organizations in your area. There are likely a few composers on the membership roster and memberships are generally free.

3) Look for someone who has a complete music library available that provides multiple genres and various track lengths, stingers, bumpers and theme music. They should also have an affordable down-load option.

4) Listen to samples of their music and ask for additional samples if they don’t have what you are looking for. By doing this, you can test their capabilities and speed of delivery.

5) Make sure that their music is original, copyrighted, royalty-free and 100% owned by the Composer. This helps to avoid nasty disputes and legal issues such as copyright infringements and violations of any pre-existing contracts or agreements.

Once you’ve identified a potential candidate, call or send an email to discuss your project and talk about your plans. If you are going to be entering multiple film festivals or submitting your works for review by major film companies, that composer’s work will be exposed as well. Having their name in the credits and their film score published as part of your overall project is a means for them to rack up some credentials for their own portfolio. You can use this advantage as a price negotiation tactic. Most importantly, avoid being cheap! Don’t try to record or re-create samples using low quality equipment, bad sound and cheesy sound effects. Your film deserves broadcast quality sound and a composer with the skill, experience and talent to underscore your film, giving it the life and personality it deserves.

About Music in Movies

By   March 6, 2015

In this exclusive interview, Todd Cericola, owner of Clocktower Pictures, talks about his movie studio, about music in movies and about the independent productions world.

Manuel Marino: When did you start your movie studio and how did you have the idea?

Todd Cericola: Clocktower Pictures was started in February of 2008. We are a new company in the Philadelphia area that specializes in independent film. We started it after working on a t.v. sitcom pilot called “Two One Five.” Myself, and my two partners Keelen Monahan and Matt Tomko had all been working individually on producing, directing, and writing and decided to put our efforts into one basket by opening up what would eventually become Clocktower.

How much is difficult to manage a movie studio?

I don’t know that it’s as difficult as it is fun. We are all doing something that we thoroughly enjoy doing. There is a strong workload, especially since we are a new company, but we wouldn’t have it any other way. We are a very hands on company working directly with our actors on a one on one basis. We try to cater to all of their needs as well as our own.

I’m a music composer, so the question is natural, how much music is important in the production?

As a musician myself, I think that music is one of the most important thing in a film. If you’re trying to paint a picture to set up a scene, background music is key to setting a mood. A good song will always have the scene set perfectly and you may not even notice it in the background, but when you have a bad song you, as the filmgoer, will always notice the mistake of choice.

What is your latest production? Can you tell us something about it?

Right now we are working on a few things. We are working on a feature film called “Describing the Moon,” about a guy in his mid-twenties struggling with trying to please his friends and complete his life’s goal of becoming a script writer. It’s a fantastic script that’s really dialogue driven, and very funny. We will be finishing up auditions for that next weekend, and should begin filming in October. Two One Five is a big priority as well, we are shopping around to try and sell and make an entire season. As well as entering short film and television festivals to get the name out. The entire episode is up on our website for free viewing at Clocktower Pictures. We are also looking into opening up a second branch of the company under the banner Clocktower Music helping to produce local artists and independent musicians. So we have a lot going on.

How we can define an independent movie and why it’s important that indies are supported in their work?

I think independent film is a very important thing because it brings out more creativity in people. When you’re writing without cause and shooting without big budget you’re working harder at making something the way you see it, so you’re getting the original vision of what you’re going for. It’s like an artists painting, you want to express your own ideas in your own way, not someone else. Too many hands in the cookie jar is never a good thing.

Do you think internet can help indies?

I think the internet is a great advantage for people in any area of creative arts. You can reach out to millions of people at the single click of a button for your company, your movie, your art, your music anything you want. I think with the advent of Facebook, MySpace, mandy, Craigslist, and countless others we’re living in an age where getting yourself out to the masses of people is just that much easier, and that much better.

How do you see the future of movie production?

As far as movie production in general goes, I see it bulking up even more. Budget’s for production are getting larger by what seems daily, actors are making more and more money, and the intake is getting outrageous. On a smaller scale, Philadelphia is getting its own studio soon which has already scene production in the city jump up ten fold.