Well ladies and gentlemen, the time has come for me to wrap up this three part article about the need and greed of Hollywood. It’s plain and simple…the more Hollywood gets, the more they want, and the more we crave. I guess it’s a vicious cycle where in a sense, we all win. They get more business, we get more entertainment, and well, everybody is a winner! Yes, I know it’s not that simple or easy, but why can’t it be? The end result could be that simple, so what more shall we ask for? Before I depart, however, I would like to say that it’s been a pleasure writing about what I am most passionate about. Movies for me are what they are for most people, which is a sense of relief, and an escape from reality for around two hours (unless if you’re watching the four hour Director’s Cut of Dances With Wolves, which I highly suggest against….Best Picture? Really? Come on!). Not only are movies something that I love, but I have a passion for them. Passion is a very important thing to have, to be passionate about something, whether it’s painting, writing, biking, hiking, or just laying out in the sun and enjoying the weather. My passion for watching movies really fulfills me, and even if I watch a movie that is just absolutely horrible, I do not take it as a complete waste of time. Since my family and friends truly confide in me having great movie taste (since I’m the “Movie Guru”), watching a bad movie is like saving them time.

Recently, I have started to be more passionate about something else as well: 104Inc. 104Inc. is an unbelievably new, innovative, and technologically advanced website that seems to be the new wave of the future. Just the basic idea of 104Inc. is amazing, and where it could be headed, and what it could become one day is almost hard to imagine. As of right now, it is functioning as an internet advertising site, having business listings on all of its 2000+ domains, such as 104Books.com or 104Travels.com. But eventually, rumor has it, it is going to be the one stop shop for everything that you will need on the internet, whether you are looking for a business listing still, wanting to connect with family or friends, or just to read the local news or check the current weather forecast. 104Inc. is on its way to become something massive, and every day, there are more and more additions to this new business idea, a business idea that us, the public, and regular users, can build on and become a part of. What other company allows you to actually build it from the ground up and even have the opportunity to be a part of, without even an interview? None! And that’s why 104Inc. is different than anything anyone has ever seen before. How could I not be passionate about that?

Being able to watch movies online will set you free from the troubles of going back and forth to the local movie rental shop to find the movie of your choice. In fact, when you visit the websites that cater these services, you will find it very easy to navigate around and locate the movie that you want to watch with just a few clicks. Lots of people patiently wait for the local or cable channels to show the movie that they like to watch, and most, if not all of them endure sitting throughout the commercial breaks just to get by. However, given the option to free movies online, you don’t have to go through the same troubles that those people have gone through, and you’ll be able to enjoy watching the full length of the movie right in the comfort of your own home.

With the passing of time, every people are leaning towards “instant” solutions: from instant foods to instant money withdrawal like ATM, every place you go to have instant services. Perhaps this is the reason behind the innovation of websites which enable us to watch movies for free instantly, serving as the perfect solution to uplift the declining fulfillment of our viewing pleasures.

There are a lot of websites that cater such services, with some of them only requiring the installation of a flash player in order to watch, while others require membership before being able to watch online movies in their site. If you want to go with those that require membership, I recommend joining the one that won’t charge you with every movie that you want you watch, because although they only charge a minimal amount, these charges could actually accumulate to quite a hefty amount, depending on your actions. And since you’re actually paying to watch the movie that you want, you may also want to join one that not only lets you watch movies but also gives you the option to save a copy of the movie and enjoy it to the fullest by adding it to your movie collection.

The movie industry is totally a massive business, with the movie producers spending millions and millions of dollars to make movies because they are aware of the fact that people are willing to go to theaters to watch them, or to rent at the video rental shops and even purchase certain movie copies at retail stores. However, we already know that spending unnecessarily to watch a movie is considered as a luxury in these dire times, and we’d rather use the money for something more necessary. Fortunately, we could watch films online at any time we want to, without having to spend as much, or for free, thanks to the Internet’s breakthrough in online entertainment.

The rapid growth of online medium has given us freedom from over dependence on local movie-renting libraries and even to movie theaters. In those traditional modes, there are uncertainties regarding enjoying movies. Moreover cost factor at the theaters is a major worry. Ticket price is increasing like never before. Plus add the refreshment cost like buying popcorn’s or beverages during breaks. The sum total is simply mind-blowing at a time of recession. The local renting shops may not possess film DVDs of according to your choice. Just avail a good and speedy Internet connection and say goodbye to traditional movie watching options. Just watch movies online for free and get freedom from worries. There is no more need to plan in advance for watching a particular movie. Relax in your warm home and watch movies online for free.

Today we are becoming impatient due to intense work and family pressure. So, in that situation people want instant solution. We have no time to stand in queues to avail some service. Online marketing has become a common shopping platform. Instant foods like noodles have become hot favorites. In this ready made atmosphere, entertainment is no exception. Once you start to watch movies online for free you will be able to grasp its appeal. You will refuse to turn your head from free movies online.

However, you have to take protection against certain hidden hazards. For example, the threat of virus is always there. Since several free movie sites accept films from contributors, there is no guarantee of protection against online malicious elements. Moreover, various sites promote ad-wares for their own benefits. Moreover, there are several sites, which proudly announce that they offer quality movies free of cost. But in reality some of them offer worthless films and charge a certain amount. It would be better if you arm yourself with sufficient knowledge about the quality of several free movie sites. Watch movies online for free but take care. You have also to keep in mind about the legal aspects of downloading movies from certain sites.

In pre-production, the producer reads scripts and is pitched ideas from writers, directors and agents. After choosing an idea, the producer has to raise money to fund the entertainment project. One route is to get the backing of a major movie studio. Another is to go independent and seek funding from individual investors.

Now the producer has to hire a screenwriter, a director, production staff, casting directors, art directors, camera and lighting crews, and editors. It’s the producer’s job to make sure that the project stays within budget throughout production and post-production. A good producer not only makes good films, but makes money for the investors. Like most jobs in the film industry, producers work their way up. You might start as a production assistant or a script reader, learning how to spot a good idea and how to bring it to fruition. Or you can just leap right in and learn by trial and error, making small, low-budget films and working up to bigger ones.

Directors oversee the artistic vision of a film. Directors aren’t usually involved in the financial side of filmmaking, unless they’re wearing multiple hats as a producer-director. In pre-production, the director works closely with the screenwriter and the producer to figure out the best way to visually represent the script and its themes. An experienced director will have a preferred list of cinematographers, art directors, cameramen, casting directors and even actors. Even if the producer does much of the actual hiring and location scouting, it’s the director who has the final say.

During filming, the director coaches actors on the best way to read their lines and express emotions. He works with the cinematographer to make sure that the action is being faithfully and artistically recorded. And he decides how many takes are necessary before the crew can move on to the next shot. For more details http://www.dynastyresources.net

In general, it’s very important not to sell yourself too short OR price yourself too high. What determines this is not just the “market rate” for the services you’re delivering. When you’re setting your fee for a job, take the following into consideration – every time:RATE “CALCULATOR”

1) What the market rate range is for the gig;

2) What experience you’ll gain;

3) What contacts you bring;

4) What contacts you’ll gain;

5) What relationship(s) you’ll form with whom;

6) What credit you’ll receive;

7) Who is issuing that credit (it matters!);
What experience you bring to the table;

9) When you will be paid.

Seems like a lot! Believe it or not, ALL of these are monetized in the entertainment industry. So do that 9-point checklist on every offer and adjust accordingly. Let me quickly break down how to use the list:

1) Market Rate. This is your opening number. You can always start with Guild tables; for screenwriting and teleplays, for example, the Writers Guild posts a Schedule of Minimums for payments. If you AND your potential employers are novices, this quote will probably be too high for you, for the reasons on the rest of the list. So beyond the various guilds and unions for your industry, a great way to research the market rate is to ask someone who recently was promoted past the position you’re considering. They’ll be happier to quote their former rate than reveal their current one! How to find them? Get online on the industry forums and boards! Join a Yahoo! Group in your field and post away.

2) Potential Experience (“-”). If you’ll get important professional experience from the gig, this is worth lowering a quote in negotiations with someone who cannot pay much. The new work experience will help you get better jobs (and pay) as you rise. If the employer is a complete newcomer, however, be realistic about what kind of training you’ll actually receive. The key question to ask is, “What are the credits and background of the most experienced person I’ll actually be working with?” That will let you know how much you’ll learn in the process of doing the job.

3) Your Contacts (“+”). If you are bringing key industry names to the project, and that is part of what you are expected to contribute, that’s a bump for your fee.

4) Potential Contacts (“-”). There’s nothing worth more money in this business than personal contacts. If you’ll walk away with a great database of vendors, staff, crew and other industry contacts you connected with, take that into consideration as you set your price.

5) Potential Relationships (“-”). Beyond contacts, if the gig has you working closely with major players in your field, it’s worth flexibility on your fee. This isn’t just who will be on set with you. Which legitimate agents, managers, designers, network execs, bookers, casting agents, etc. will be part of the project and seeing you shine? Relationships are worth MORE than money in Hollywood.

6) Your Credit (“-”). If you have to choose between money and a better credit, in the beginning, go for the credit – as long as it is an accurate one! In other words, don’t trade a writing credit for a “co-producer” (meaningless) or “producer” credit if you only wrote the script. Your producer credit will be vetted and tossed out in any credit dispute if the project goes anywhere. But if you’re working on a TV pilot and they can’t pay well, but you can get an Associate Producer rather than a Production Assistant title, that is worth money in the bank on your next job. So work with them on your fee.

7) The Credit Source (“-”). A credit only means as much as the person who gives it to you. If a major company offers you a lesser credit, don’t dismiss it outright. That company’s good reputation and position in the industry might give you more heat when you go to your next gig – and it certainly can open that next door a lot faster.
Your Experience (“-”). If you’re new in the game, this is where you’ll potentially shave quite a bit off of your quote, and that’s a wide open range. If you’ll be working for an established company, there still are minimum expectations for rates (again, check with outside people at the level above where you’re being hired). Established companies are offsetting the lower rate with a list of career and future financial benefits. Newcomers are not. So if you are providing a real product or service to a fellow industry newbie, you must be paid for it. And not on the “back-end” (where unicorns and Bigfoot and other myths live)!

A producer who can’t shoot a film without your script…can’t shoot a film WITH your script – because they don’t have money. It costs money to make a movie, and part of that should go to compensating the writer, especially since, unlike the crew, you are getting no other tangible experience in the process, and your writing credit will be skeptically received on an indie film that never saw the light of day. But if you’ve never had a script produced or done a modeling shoot or been in a play, and a newcomer wants to hire you, don’t even think about holding fast to union minimums. Work with them on a fee or some tradeoffs, per the list above and the tip that follows.

9) The Pay Date (“+”). The later someone is going to pay you for your work, the more you can bump (slightly increase) your fee. Almost everyone reading this has been approached by someone who wants them to do work for free (on “spec”), with promises of payment “on the back end.” That’s meaningless because you’re pretty much never going to see a back-end payment (it’s possible; just not likely!). So here’s a rule. If you are doing physical work for someone (writing a script, walking a runway, doing a photo shoot), you must arrange to get physical “payment,” of some sort, when you do the work.

If the employer is an established company and you are a working professional, do not do spec work for them. Once you do it for free, you will always be expected to do it for free – or at least for too little. Thank them for the offer of employment, let them know you don’t work for spec but are excited to work with them, then work out a deal memo through your lawyer, offering them an introductory fee for this first project and establishing a minimum “floor” for any projects that follow. Established companies are never shocked to talk to lawyers (that’s how we do things in Hollywood), and they are more than used to paying for people’s work.

Newbie employers can offer you “deferred payment” – but also request a guaranteed in-kind benefit you can leave that gig with (and sign that in a deal memo, too). If you’re doing a fashion show for someone, ask them if they will at least hire a professional digital photographer (or let you bring one) so you can get shots (free clothes aren’t enough – those won’t get you your next gig!). Ask the designer to alert the photographer that you’ll be bringing a laptop or memory stick to download your images before you leave, and bring a thank you note and truffle for the photographer. If you’re writing the script for someone’s film, ask them to buy a copy of professional screenwriting software and turn over one of their access codes to you. Work with strapped newbie employers to see what they can offer you in exchange for your labor – since they’re not offering you entrée to the contacts, relationships and respected credits that would otherwise make a lower rate worth it.

ONE LAST WORD. As you work more steadily in this industry, your “rate” transforms into your “quote.” Your “”quote” is what you were paid on your most recent gig(s), and it’s the magic number everyone expects to pay you on your next gig. So once you begin working more steadily, you must be very protective of your quote, regardless of the additional benefits a certain gig would offer. Be particularly wary of being asked to accept a lower rate in exchange for a higher credit because that sets a ridiculously low quote for your new credit level. Sounds pretty sticky and uncomfortable? That’s why people have agents.

First, writers often (mistakenly) interchange “story” and “structure.” These are two separate elements of the writing process. Story is the creative experience that only you can uniquely express from your vision. Structure is the foundation for that story, and the rules of structure have been accepted for thousands of years. The easiest way to grasp the distinction is to think of a dinner party. What you cook is entirely up to you (story). But you must serve your guests the appetizer first, then the entrée, then the dessert, in that order, and those dishes have to complement each other (structure). If not, no matter how great the food is, your guests are going to think you have no idea how to make dinner. And they won’t come back to dine with you again. Writing seminars tend to focus on teaching structure, NOT story, so that creative genius has a chance of being understood and enjoyed by buyers and audiences who innately expect a certain foundation to a script. And story instincts can be honed and expanded with professional guidance, as well.

Second, virtually all professions have rules for writing. Just as lawyers must learn proper structure and format for legal briefs and programmers do the same with software code, screenwriters must learn and apply rules of structure and format to screenplays. Most professions have training expectations, too. Just as no one is going to give you $100,000 to perform open heart surgery on a patient just because you’ve always dreamed of being a doctor, no one is going to give you $100,000 to write a script just because it’s your lifelong fantasy. Doctors, lawyers and other professionals get degrees and regularly attend seminars to maintain their chops and their edge, and so do writers. No matter how strongly emerging writers believe that Hollywood is a get-rich-quick-with-no-effort industry, in order to succeed, you will have to replace that belief with the simple acceptance of show business as a business.

There simply is no benefit to railing against the industry’s insistence that writers get some training before they attempt to get paid for their work. Any time you are asking someone to pay you, you must anticipate their establishing rules for that income. If you don’t want to have to learn the insider rules, the simplest solution is to write for free. But if you want to sell your work, just as in any other business, you have to respect the guidelines. The good news is that the rules of writing get far more flexible after a first sale!

Third, it’s common for people to mistrust writing teachers as unnecessary snake oil salespeople who are not personally successful themselves. Yes, the rules of story structure that Hollywood subscribes to are fairly standard. The laws of physics are standard, too, but not many people easily grasp and apply them! Training helps writers master the rules so they can craft solid scripts that can actually be sold. And just as you learned better from some teachers than others in high school, you will find in the variety of books and workshops at least one approach to structure that will help you effectively integrate it into your work.

Remember, selling a script is neither a requirement for nor a guarantee of being able to teach screenwriting. I’ve produced many writing panels and seminars, and many successful screenwriters lack the communications skills and the clarity of process to adequately guide another writer to a successful script. For my part, I teach from the point-of-view of the buyer instead because that was my background and because my personal business strategy is to always understand what the person who writes the check is looking for. Believe this – whatever an individual teacher’s approach, the ability to teach a subject well enough for students to grasp it is its own gift.

Finally, let me be a bit frank just to give you a glimpse into the perspective of your potential buyers. From the industry’s point-of-view, writing exactly what comes out of your head, spirit and heart, with no structure or training, is not screenwriting…it’s “typing.” For a parallel, dancing around a living room on your toes is not professional ballet, and it does not warrant the expectation that you should be equally respected as trained ballet dancers in the world of classical dance. Next, I can think of few industries that offer as accessible an education in the basics as screenwriting’s swath of books and seminars. Please compare those demands on your time and wallet to what dentists, accountants, attorneys and other professionals must do before they can earn a professional paycheck. If attending a well-respected course for a few hundred bucks helps buyers have confidence in you, do whatever helps you crack those barriers to entry! Last, try very hard to name any industry where training destroys natural talent rather than enhances or develops it. Still a skeptic? Buy a couple of writing books and take some classes just to prove everyone wrong. What I know you will discover, instead, is that training can take what’s good and makes it great.

Happy screenselling.