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for a studio. If you don’t make money, you’re going to have to find new investors (and explain why your last project didn’t turn a profit).

      This book deals with funding your film. Film sales are a different story. As a producer, it’s your responsibility to set up a film to succeed financially as best you can. But film investment is a risk. Even people who invest in film all the time will tell you that. You need to keep this in mind as you look for investors. You will try like hell to make them money, but, at the end of the day, it’s all a gamble. This book will deal with how to get those people to take a gamble.

      When I refer to “those people,” I’m talking about HNIs. HNIs are the folks everyone is after. They’re not the ones who know the people (though they can be valuable too). They are the check writers. As I’ll discuss in Chapter 10: The Finder’s Fee Approach, the HNIs are not producers, and many of them are not even related to the film business at all. They have become successful in other industries and possess the financial resources to fund your movie. These are the people to target.

      Your HNI network needs to be protected. I’ve had people “encroach” on my HNIs numerous times. It’s part of the business of swimming with sharks. A way around this is to have producing partners sign a non-circumvent agreement, which states that they cannot approach your HNI for their projects. I highly encourage you to have a boilerplate version of this contract on your computer, and to hand it out to anyone who’s talking to your investor. Getting an HNI is incredibly tough. The last thing you want is to put in tons of work gaining an HNI’s interest in your film, and then watch as another producer swoops in and grabs that investor’s money for his own project.

      SIDE NOTE

      Another way to combat this is to restrict yourself to high-level relationships. HNIs who are your good friends will let you know when someone with whom you’re currently working approaches them.

       Essentials

      Before we start, there are some essentials we need to cover. These are tools you should have in your arsenal prior to beginning your efforts to start raising money.

      IMDbPro

      IMDbPro, the subscriber version of IMDb, has become a fixture in the film business. An invaluable online tool, it lists people’s credits and contact information. Once you activate your account, you can do tons of research through this site’s database. I run into people at festivals who frequently list their credits for me. I collect their business cards and, the next day, go right to IMDbPro. About 80% of the time, their credits aren’t listed and I learn the person is full of it.

      SIDE NOTE

      Always follow up with everyone you meet at a festival or at a networking event. If I had to attribute one thing to my success in financing films, it’s the ability to follow up and stay persistent. Following up makes the difference between closing a sale and wishing you closed a sale.

      With iPhones, Blackberries, and all other communication devices that come with built-in Internet access, you have access to IMDbPro right at your fingertips. Recently, I was trying to get into one of the hottest clubs in L.A. and I went to the front of the line. The bouncer asked if I was in the film business. I told him I was and rattled off a couple of credits. He pulled out his iPhone and IMDb’ed me right there, honest to God. I got in the club, so I guess my listing was okay.

      I’ve also been on the opposite side, where I was doing the IMDb’ing. I was at an AFM (American Film Market) party and this guy told me he was a producer. His name sounded familiar, so as he was talking, I pulled out my Blackberry and IMDb’ed him, all the while pretending I was texting. Within a minute, I knew all of his credits and was able to use that to my advantage.

      Remember to update yourself on IMDb. If you don’t know how to do it, read the instructions or email the help desk. This is essential. The interface is not the easiest to use, and I’m saying this as a former computer guy. But you have to learn it because no one’s going to update your listing for you. It’s all about Starmeter if you’re an actor, and it’s all about credits if you’re anything else. Whatever you are involved with, do the update yourself.

       Variety or Hollywood Reporter

      A subscription to one of these (or both) is more than essential. These periodicals are the lifeblood of the industry, the only publications that really cover and speak to our world. Years ago, I would read the articles in both and have no idea what they meant. Nowadays, I know or I am friendly with at least a few people in each daily edition.

      I used to cut out pictures of studio executives or agents that appeared in the back of these magazines. That way, I could identify who these people were if I ran into them. It’s your responsibility to know who the important people in your business are. This is your industry, and this will be how you make a living and perhaps support a family.

      As you start to feel connected to the business, you’ll realize why the trades are so crucial. You’ll be able to use articles to your advantage. If you read in Variety that a friend just got promoted, make sure you call him or her and offer congratulations. If the Hollywood Reporter notes that 1234 Entertainment is buying scripts about trampolines, and you own the Chinatown of trampoline scripts, contact 1234 Entertainment. You’ll find out quickly how to work the trades, the true glue of the industry.

       Storymakers

      This is the only TV show I know of that deals with the film business issues that true industry professionals care about. Hosted by Hollywood icons Peter Bart and Peter Guber, Storymakers (formerly known as Sunday Morning Shootout) on AMC is like a master class in producing. If you wish to be in the film business, watching the show is a requirement.

      I wish that Variety would create its own cable channel one day, addressing the real business of film, with topics such as what spec scripts are selling and what financial deals have been made. Right now, all we have is E!, a channel most concerned with what Britney Spears was wearing when she left the airport, and whom Madonna was seen kissing.

      For now, all the serious people have is Storymakers. Watch it religiously.

       Computer Skills

      Bottom line: If you haven’t done so already, you need to gain computer proficiency. Most important, you must be able to email. This is kid’s stuff. If you think you can be connected and not know how to send and receive email, you’re very wrong.

      I would also recommend getting a Blackberry, an iPhone, a Palm, or any phone that can send and receive instant email. I prefer the Blackberry because it’s the only one with truly secure email capability at the moment.

      Hundreds of emails go in and out of my account each day. It’s just part of the business. You also need to be ready to bang the phones at all times, so get a good plan with a lot of minutes, and get a Bluetooth headset for your car.

      In addition to emailing, you need to learn how to use database programs such as Microsoft Excel, and word processing programs like Microsoft Word. Both are vital. We’ll explore these crucial tools more fully in later chapters.

       Business Cards

      Your presentation is so important. As you build your network, you’ll start to give out and collect business cards on a daily basis. I have thousands. I can assure you, though, I’ve followed up with 90% of them.

      VistaPrint is an Internet company that offers free business cards. All you have to do is pay the shipping and handling, which is under $5. The cards come with the VistaPrint logo on the back. If you think I’m giving you a tip here, think again. The second someone hands me a business card and I flip it over and see the VistaPrint logo, I know that person is full of shit.

      Think about it. Say I’m talking to a guy who claims he’s Mr. Producer. He’s telling me he’s got all kinds of projects in development. Okay, sounds great. But that VistaPrint logo indicates he can’t afford to spend more than $5 on his business

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