What Goes Into An Indie Film Proposal?

Based on your hit list targets and call to action goals, your package may or may not include all of the following material (you may not even have or have a clue to some of it – but it’s a living, breathing, evolving document – part of the process is doing this research and homework so you’ve earned the answers – and own them).

What goes into a Film Proposal?

Based on your hit list targets and call to action goals, your package may or may not include all of the following material (you may not even have or have a clue to some of it - but it's a living, breathing, evolving document - part of the process is doing this research and homework so you've earned the answers - and own them).

You may highlight certain elements, reposition the order and deliver it in a variety of formats. Maybe you give a one-on-one pitch over coffee with a sizzle reel on your iPhone. Maybe you snail mail a full blown business plan with a PPM to your cousin on Wall Street. Maybe you put it all up on a password-protected website for friends and family to invest and/or support. Maybe you create a PowerPoint or KeyNote presentation for a group presentation is a small rented ballroom or private home dinner. Maybe you Skype a web-based conference call. It all depends on goals, access, timing, expense - relationships, value of the outcome, etc.

For an Indie (or possible Studio Co-Production),
here are the guts of what you ought to have lined up and polished to shine:

PACKAGE/PROPOSAL

Executive Summary

The Who, What, Where, When, Why and How top notes customized for the purpose of this pitch (you may or may not have all – or any – of these elements)

Project: Great Title, Logline and/or TagLine

Talent

* Wish List

* LOIs

Distribution info

* Targeted Hit List

* Expressions of Interest or Personal Contacts

* Contracts

* Pre sale info

P&A

* Source of Funds

* Marketing and Distribution Plan

Property

* Script

* Synopsis

* Treatment

* KeyArt

* Rip-o-Matic Sizzle Reel

* Source Material (Book Reviews, True Life Story News Article, Graphic Novel, Video Game, etc.)

People
Who's involved at this point? Don't feel the need to add a soul - sometimes "attachments" who don't really deliver the goods can just be a daisy chain of albatrosses around the project. Be very clear who you're legally obligated to versus who you have just circling the project. Photos can be nice if they're uniform (or flattering!). Custom written bios (specific to the project/undertaking) are great, resumes less so, IMDB links - or personal websites and reels, all the better. In an interactive/dynamic presentation, the more full color or moving visuals, the better.

* Production Team

* Writer/Director/DP/Editor

* Dept Heads or Key Crew Members

* Line Producer, Production Designer, Composer

* If its a period piece, maybe the costume designer

* If its a horror, maybe make-up and special effects

* You get the idea - what matters to whom at this stage of the game?

Any other key attachments

* A-List Actors or Directors (or well-respected, credible in the biz, high star power ranking pros)

* Famous race car driver/builder for a race film

* Famous Greenpeace Captain for a seal saving environmental/animal activist film

* Famous musicians for soundtrack possibilities, etc.

Talent Wish List

Tread carefully here so as not to mislead but if you're very clear these are your HIT LIST TARGETS, photos and credit highlights can be helpful illustrations for key roles - if you really think you can get them at those rates and terms or through your relationships.

The Numbers/The Plan

* Film Comps

* The Budget

Could be just the top sheet or the whole 50 page version - or just the figure - or even a ballpark range mentioned in the Executive Summary - again, depends on who's asking (and if its any of their business):

Investors - yes

Distributors - not necessary if they are a...

* BUYER or a VENDOR - it's none of their business what your true hard costs are or were or how you cut corners and finagled deals or what your relationships favored you)

* PARTNER (and sharing the risk - i.e.: putting up money) - yes

Who else has skin in the game?

* You?

* Other key figures?

The Waterfall Scenarios

Any MOUs or LOIs for Distribution, Talent, pre-sales, grants, tax incentive lottery placement, etc.

P&A plan and budget

If you know:

* Estimated Start Date

* Projected Release Date

* Shoot Location(s)

* Tax Credits

Heather Hale is a film and television writer, director and producer with over 80 hours of credits. She currently produces Lifestyle Magazine, the #1 life coaching broadcast television talk show. She wrote the $5.5 million dollar Lifetime Original Movie The Courage to Love (2000) which starred Vanessa Williams, Stacy Keach, Gil Bellows and Diahann Carroll. She directed, produced and co-wrote the million dollar thriller Absolute Killers which was distributed theatrically then sold at Walmart and Best Buy.

She has books published by the two major entertainment industry publishers: Story Selling: How to Develop, Market and Pitch Film & TV Projects (2019, Michael Wiese Productions) and How to Work the Film & TV Markets: A Guide for Content Creators (2017, Focal Press/Routledge).

The Independent Film and Television Alliance approved her as a qualified independent producer to pitch projects to NBCUniversal for their annual development fund. As IFTA’s Industry Liaison, Ms. Hale booked all the speakers for the 2013 American Film Market, including their flagship Conference series as well as launching their Producer’s Workshop. Ms. Hale served as the Vice President of Event Programming for NATPE (the National Association of Television Program Executives) for whom she also booked speakers and designed curriculum as well as consulting professionals to polish their pitch packages and sizzle reels to prepare them to pitch their TV concepts at their annual TV markets. She has written many “How to Pitch TV” articles and executive profiles for their membership newsletter and website.

A popular international speaker and in-demand consultant, Ms. Hale has taught custom pitching workshops to ABC/Disney Drama Executives, a weeklong screenwriting retreat in Australia (integrated with concurrent directing and acting programs). She teaches webinars and online classes for the Writers Store, Screenwriters University and Stage 32. She is a member of The Academy of Television Arts and Sciences (The “TV Academy,” the entity that awards the Emmys) and ShowBiz Mensans.