* No script development. It doesn't work. Seek out great scripts on spec.
* Never take those executive producer fees unless you have something to offer and are really excited by the project. However, if a studio is willing to pay you $400,000 for something you want to work on, take the cash and roll it back into the picture. If you make money on the back-end, roll it into the next picture.
* Forgett about opening weekend. Think about your legacy.
* Take final cut so you can give it back to the director.
* Work with brilliant young directors.
What do you think about this? Sounds prety awesome to make a picture with these guys as producers.
sounds great in theory, huh?>
Quote from: kotte* Take final cut so you can give it back to the director.
I especially like this one.
Quote from: kotte* Never take those executive producer fees unless you have something to offer and are really excited by the project. However, if a studio is willing to pay you $400,000 for something you want to work on, take the cash and roll it back into the picture. If you make money on the back-end, roll it into the next picture.
clearly this one is the best.
i like the one about jerkin off at least ten times a day.
One thing forgotten on the list:
* Ditch longtime, supportive collaborators (John Hardy) for pretty boys inexperienced in producing (George Clooney).
Oh, and does 'brilliant young directors' apply to Soderbergh's assistant director (Gregory Jacobs)?
I wanna work for this company.
Did he ditch John Hardy? That sucks. I was happy to see his name in the credits of Oceans 11, figured they were still working together.
Otherwise, those ideals are great. Where's my phone, I need to be ready when they call me...
From what I hear, his exec. prod. credit on Ocean's 11/12 is the last we'll hear of Hardy and Soderbergh working together.
Quote from: kotte* No script development. It doesn't work. Seek out great scripts on spec.
* Never take those executive producer fees unless you have something to offer and are really excited by the project. However, if a studio is willing to pay you $400,000 for something you want to work on, take the cash and roll it back into the picture. If you make money on the back-end, roll it into the next picture.
* Forgett about opening weekend. Think about your legacy.
* Take final cut so you can give it back to the director.
* Work with brilliant young directors.
What do you think about this? Sounds prety awesome to make a picture with these guys as producers.
As close to Dogme 95 that Hollywood will ever get. And since it's less constricting, that's a very good thing.
Quote from: themodernage02sounds great in theory, huh?>
many said the same of communism, and look what happened.
not to be sidetracked, these rules seem good to me. I dont know how well they will work in terms of keeping funding
Here's to Section Eight NOT going the route of American Zoetrope in the 70s.
Anyone have a link to some section eight info? This seemed so incredibly random when it was first brought up.