Lost in Deception
March continued, the days got longer. The lies continued, the deceptions became stranger. Larry was in Los Angeles at the funding conference, and there were some emails back and forth and far too many marathon telephone calls. At the same time, Frank hit the ground running, as he always did, regarding GO WEST. I wrote to him on the 12th.
Dear Mr. Krejci,
Frank Cmero asked me to write to you and send you information about the Lost Myths Ink film fund. After our split with ShadowHawk in July of 2006, our agent, Scott Ferguson, joined forces with a corporate fund-raiser to establish a film fund for our work. This took about six months, and the fund was established in January of this year. It is monitored by Larry Withowski, the fund-raiser, and funded by a company in New York – an old, established company that has been in business for 30 years and funding films for 16 (we didn’t want anymore debacles like the ShadowHawk disaster).
I have enclosed information about how it works, below. Originally the funding company set a top budget limit for funding, but that has changed, I learned last week. They are now willing to fund up to 85% of GO WEST, YOU IDIOT! Provided the production companies taking over the production have their funding in place.
The script has changed considerably since you first read it; it now runs 2.5 hours and has a lot of added back-story, character development, and one additional major character. I’m waiting for Frank to give me the ok to send it to you.
We realize at least two production companies will be needed – one in Eastern Europe and one in Australia. You may want to handle all that from your end; I do have a contact at Beyond Films in Australia.
Please let me know if you are interested in proceeding.
Sincerely, Debora Hill
On the 13th I heard from David Fairman at Grovesnor Films in London.
I don’t think I would want to embark on THE CHOCOLATE SPY, as I know that WW2 films are really difficult to get distributed. There is just not the audience out there for them anymore. I know of a few WW2 films that have failed to get proper distribution.
MURDER BY ECSTASY and A GHOST AMONG US sound interesting...or do you have any other edgy thrillers in your stable? Or a Romantic Comedy with some big stars could work...could you send me a short synopsis of your other scripts which could be shot in the UK?
Then I will get back very quickly with a proposal. We need to shoot all the movie and do post-production in the UK.
Best Regards, David
On the 14th there was a lot more activity surrounding GO WEST, YOU IDIOT!.
I had a letter from Tom Krejci today, referring me to the Los Angeles production assistant, Daniela Humlova. I spoke to Daniela, who is very excited about the production – she’s only been in Hollywood for two months. She now has the script, and will hopefully be talking to Larry Withowski, the fund coordinator, later today. He is in Los Angeles this week and next.
The next step will be for her to prepare a working budget for the film; I don’t know if this can be done until an Australian producer is brought onboard, but we discussed this and I told her you and I both have some connections with Australian companies; she may want that info.
I will keep you posted.
I hope your seminar is going well, and you were able to connect with Aaron Schuster this morning.
Daniela Humlova is the Los Angeles producer for Milk and Honey Productions. Tom Krejci, their Executive Producer, has been interested in GO WEST, YOU IDIOT! For a couple of years, and he now wants to enter the film fund and has the final draft of the script.
Daniela would now like to speak to you; she has your contact number, and you can reach her at these numbers.
That same day Frank sent this letter from Don Reynolds in Australia, the producer we were hoping would take over the Australian production for GO WEST.
Dear Mr. Reynolds,
Frank Cmero sent me your letter regarding your interest in GO WEST, YOU IDIOT!. I am attaching the script now in pdf and Final Draft formats. If you are interested in becoming involved in the film, I will put you in touch with Larry Withowski, the film fund coordinator, and the Easter European Producer. I am also including our company biography and information about the film fund, below.
Thank you for your interest.
Sincerely, Debora Hill
Lost Myths Ink LLC
Larry wrote back to me that day and asked me for more information about Daniela Humlova. He told me about the conference and people he was meeting, none of whom would ever prove to be of any use to us.
The seminar is great! I met David Stanley the other day and had a 2.5 hour talk with him and one of his producers Marty Poole. Then he spoke for 90 minutes last night, and then had a party in his suite. I learned a lot from them. I am now in a class about raising funds. All about compliance, etc. Aaron is seeing me later today.
On the 15th Scott Ferguson and I discussed the situation with ScriptBroker, and I wrote to Larry to see what could be done, if anything.
Scott Ferguson telephoned me this afternoon. He suggested I write to Martin London and tell the situation with ODESSA and ScriptBroker. I won’t violate the chain of command by writing to him without your permission, but here is Scott’s thinking;
By telling me he would have the fee agreement signed and back to me by Sunday and then not delivering it at all (the 15th was a Thursday that year), Chad has clearly gone over to Ahmed’s side of the fence. On Monday, Ahmed said they would like, say, four or five months to pay the fee, which violates the agreement from the beginning.
How much time should I give them? Until the end of March? If we wait too long, they’ll get the final LOI from Martin, and once that happens, Scott feels they will attempt to not pay us the fee at all; this is pretty common in Hollywood, apparently, as people manage to postpone payment for years.
Hope you’re having another great day at the convention! Were you able to connect with Daniela Humlova at Milk and Honey today?
Mot having endured 3.5 years of agony with ShadowHawk, Larry was naturally more patient than we. His response:
Hello from L.A. Very interesting people are teaching all day and evening here at the seminar. I have made some great new contacts and possible new clients. I have someone contacting you in regard to books that need a screenplay and then funding.
Which script is for Aaron? I need a budget and of course the script. I am going to start to do diligence on the producers and their investors. This is because I do not want to waste anyone’s time in the future.
With Scriptbroker I still feel they will come through. They are very hungry to produce films. I did if you remember speak to them a number of times and felt that they were ok...let’s see what happens with their LOI with Danny Glover.
On the 15th Don Reynolds wrote back to Frank.
Thank you for getting in contact regarding your film GO WEST, YOU IDIOT!. I would be very interested to get involved with you on this project. If the director of the film was either an Australian national or resident it could be possible to access government funding for the film to cover off the 15% gap. I think you may also find by doing a substantial amount of the filming in Australia and the post in Australia that there would be significant budget savings.
If the director was not to be Australian we would still be able to access a different government fund, which provides a rebate 12.5% of the Australian budget, providing the budget is greater than 15 million Australian dollars and the Australian budget was at least 70% of the budget. However, if the budget is greater than 15 million Australian, then the requirement for the 70% is not required.
In addition it may be possible to get a distribution advance from a local distributor and there are funds available from the various state funding bodies in Australia.
I would be happy to read the script and see where we go from there.
Regards, Don Reynolds
So we waited until the 21st of March for word from ScriptBroker and a signed agreement, with no results. Larry met with them while he was in Los Angeles, but still nothing. Sandra wrote to Larry that day.
This is Sandra. I’ve talked to Debora and Tom and we’ve agreed that the end of this week is too soon for everyone. However, an agreement to pay must be signed by the 30th, or we will send that cancellation note, much as I hate the idea. ShadowHawk did drag us into a morass of agreements, with no money ever actually changing hands. We’re not going there again.
I know that your efforts are genuine and real and I appreciate them. I also trust you, instinctively. Young men in the film business don’t fall into your category.
Thursday, March 22, 2007
We have decided to pull THE DANGER CLUB from production by ScriptBroker, and we will be informing Martin London of our decision. There are several reasons for this, mostly having to do with their behavior concerning ODESSA. Since there has been deception and manipulation on their part in order to gt us to present ODESSA for funding, we don’t believe we can trust them with one of our projects.
I’m sorry it turned out this way, but there were bound to be a few false starts at the beginning of the fund. There are too many other producers involved at this point to continue with a company we feel we cannot trust, we have placed THE DANGER CLUB back into the roster of available projects.
Sincerely, Debora Hill and Sandra Brandenburg
I talked with Larry late yesterday and have a better clarity on all this. Chad and Ahmed do have the $3 million – yes, but it is in a separate LOI with others so they would not be able to draw off the ODESSA fee from that in order to pay you.
Approaching Chad and Ahmed on paying within days or a week’s time-line will be uneventful as they will not have the funds to pay even if they want to. And, sending the fee issue to Martin would not work and might well seriously weaken the existing framework for financing of your other projects in Marin’s shop now. So, please don’t do that as a solution. We will have no other options on this but to wait.
Larry strongly believes, as I will agree, that Chad and Ahmed will come through on The Danger Club completion funding but, it may take them upwards of 2-3 months. The bottom line is that we must put aside both the ODESSA fee and THE DANGER CLUB as ongoing progressive funding situations.
Larry knows all this does not solve the ever looming problem of your immediate money needs. He has viable ways to relive that for you and is working on that now. My own thinking is that we all conference call to explore those and other viable ways to resolve our immediate money needs while waiting on the projects.
The last week of March Larry decided to open his own film production company, and asked us to become involved. This was a rather nasty Deja Vu moment for us, but we decided to play along and watch what happened.
Thursday, March 22, 2007
On the time-frame on the Martin London LOI 10-15 days is good. Let me review it before you send it out. Why are you pulling THE DANGER CLUB? Let Scott and me talk to them together. ML just sent them an LOI on ODESSA. Does that mean they have the 15%? Sounds good, we are moving ahead. A lot will happen very fast real soon for all of us. Our time has finally come!!!
Where are we with GO WEST? I spoke to Daniela the other day; we should hear something by Friday. I want to propose a NEW VENTURE with you. It will include the following:
Debora, Sandra, Thomas, Scott, Larry and Alfred (one of Larry’s partners, in Los Angeles). Funders will be ML and a new source (I will be on the telephone with them in a day or two). I have their bios and they have done a lot. The NEW VENTURE will do the following:
Write for us and others
Train new writers
Mentor (interns, build a support staff, etc)
What do you think? Any other suggestions? I ran this by ML; he likes it. So does Scott. By the way, Alfred is a friend, he has 7 projects with ML now (with more in-progress), he is also my partner on any West Coast real estate projects and he is my banker on P/O and LC financing. I also have about 10 projects in different stages now. I feel that this will be a powerful NEW VENTURE. A force to be reckoned with. And remember my new sourcing on projects, plus I have many other marketing ideas to get more projects.
Friday, March 23, 2007
We are intrigued by your concept for a new company, tentatively entitled NEW VENTURE FILMS, in which we will all be partners. As it is evident you are already meeting people interested in the services of this entity and of the partners of Lost Myths Ink LLC, we thought this would be a good time to clarify and outline our position on outside projects.
At this time (or at any time in the future, as we can envision it now) we are not available to do outside work without half our fee upfront. In other words, we are not willing to take on ‘spec’ work. In the film and publishing industries, ‘spec’ work is generally confined to projects close and dear to the writer/editor’s heart – their own work or that of close friends and loved ones. However, there are those who are always willing to take advantage of the services of industry professionals without paying them, or at best offering payment at some undefined and tenuous future date.
The industry standard for an exchange of work between professionals who have made a contract is for one-half of the agreed fee or estimate upfront, before the work is done, and the remainder on completion of the work. This is the method we will be using for any business outside our own work.
The obvious exception to that rule will be producers who have signed on to produce one of our scripts and want to obtain funding for other projects – we feel they are now our colleagues, and we are happy to read their scripts and recommended them to you and M.L. as we did for ScriptBroker/Odessa and I have agreed to do for David Fairman/Grosvenor Films. Also, our own fund was only made viable in January, and we want to give it a chance; it is much too early days yet for us to know how much time we will need to devote to our own productions this year and next. It is our dream and we want to give it a chance, and still have time and energy to continue our own writing at the same pace we have maintained up until now – this is why we have such a large body of work available; because we devote ourselves to it everyday.
So, how would New Venture work? Would we all be employees of the company? We think it sounds interesting; we will need more information, of course.
On GO WEST; Tom K. Is due back in LA tomorrow, and Daniela is planning to make a presentation to Howard Woffinden, the President of Milk and Honey, with her timeline, projections, etc. Give her until Monday, and we’ll check with her. I sent her the info on the Australian producer.
Aaron Schuster said he would have his budget finished tomorrow.
We are thinking of pulling THE DANGER CLUB from ScriptBroker because we honestly don’t trust them anymore, and don’t feel they could do a good job. What do you think? Are they even working on it, as far as you know?
Talk later, Debora
Martin London had somehow decided it was our fault that ScriptBroker turned flaky on him, probably because we brought them in. And that was fair, but I had told him upfront that this was new for us, and he seemed fine with it. Then again, he was a much older man who should probably retire but refused to do so. Larry weighed in with his thoughts.
These are all valid points, but the best way to get even is to get the money. Martin could see the issue as completely in our court of action – not his and might frown at our not handling ‘the boys’ earlier before it got blown out into a conflict that is set before him.
The boys have two LOI’s (really three) that have to turn into production money on two films, and they are on the clock. Tall order. Let Chad and Ahmed swing in the breeze on this problem all by themselves. Make it their problem and not yours.
And on trying to save things before they got too far out of hand:
Hello. It has always been my intention to get paid upfront; unfortunately it is not usually the case. As I am new to this field it will be hard for me to say no. I have always been the type of person who needs a lot of action around him to be satisfied. Also to me it is wise to ‘fill my cup’ with as much as possible. In the mtg business as in many others there is an adage that says it all. ‘Throw enough against the wall, eventually something will stick’. I realize it is not great to continue my policy of ‘free’ services, but there are a lot of terrific present-day actors, directors and producers that if never given a chance would not be where and who they are today. I also know that Lost Myths et al has just began and has to take baby steps now.
I am going to get funds to continue my quest of providing goods and services so that everyone will be able to have a scheckles in their pockets to at least for now survive, and then of course all we need is that one project that feeds the machine to be able to use my model.
If you have not realized it, I am an ‘energizer bunny’ who cannot and will not stop until I obtain financial and mental freedom. So I am on a quest for that on many fronts.
I’m also talking to ML who loves the idea (of Larry’s new company, NEW VENTURE FILMS) and I’m having breakfast with one of my new connection sources to the other hedge fund and two major money production companies. Which in the last 20 years or so have committed to and completed and funded over 75 films. I am seeking capital from them in order to have some funds available to pay bills and survival for all of us. Since they will also benefit from my model.
Also on another front, my other ventures are waiting for some details to break, I am on the cusp with at least 3 now. I will then be able to self-fund this NEW VENTURE FILM PRODUCTIONS LLC that I am so hot over.
So to recap, I feel for all involved because as of now I am in the same boat, and am trying very hard not to sink with the boat. I am a very determined individual and I will not let anything get in my way of completing my endeavors in this or my other ventures.
I need support from all involved and understanding, and just now a little more time to get over our most pressing issue of available money.
I had a thought on ScriptBroker. Suppose I email them on the questions we had outlined below for the next conference call. But, I’ll do that independently as a part-owner in the DC project and sharer on the ODESSA file. Then follow it up on the conference call. This way it’s not you but me this time with concerns.
Let me know your thoughts on that and let me know the history on the script agreement. Is that generated by us, or Larry? Do they have it now? And, send a pdf of the ODESSA agreement that I can attach to the ScriptBroker message – likewise with the script agreement if you have that.
I think that would be a good plan. There is no script agreement yet for DC, they haven’t generated one because they didn’t have their 15%. But they did agree to the $350,000 fee for the script and co-ownership of the novel. This does need to be addressed as soon as possible.
I am attaching the fee agreement for ODESSA, and fowarding the email in which Chad told me he would have the signed agreement back to me the following day, the 11th. I changed the last sentence.
I will write to you on Monday after I have my telephone conference with David Fairman, with his news regarding production under Grosvenor Films.
March 25th brought more attempts to clarify our situation and that of Larry, but not with a lot of success.
Thank you for your efforts for all of us. I have been talking to Sandra and Debora about the introduction of outside projects and the involvement of Lost Myths Ink in expanded ventures. Since we exist primarily to promote Debora and Sandra’s works, other people’s projects are not their primary focus. They are working writers, which means their time is spent on their own work, mostly. I am the business manager, etc. My focus is to help the writers be productive. It is difficult for them to shake loose from their current projects to consider other people’s works.
The best solution seems to be for me to become the main contact on those items, freeing up Debora and Sandra to promote and expedite the production of our projects. When you want to talk to me personally, my contact information is below. I am also on Skype at Lostmyths2. Skype calls are free if you are both members.
Hope you had a terrific New York day, Tom
I have a lot of ideas that once we have some money rolling in then there is a lot to actually start working on. I am calling you now and yes, I have Skype but do not like my log-on name and have not had the time to alter it. My phone provider is Cablevision so there is a flat fee, on my cell I have free incoming and after 6 pm free.
Another weekend passed with much confusion, and on Monday we resumed what was becoming a rather tiresome dance. I had a telephone conversation with David Fairman that seemed quite productive, but I was to learn in the future that when producers told us how much they loved our work it didn’t mean anymore to them than a preference for an entree at dinner.
Monday, March 26, 2007
I had the long conversation with David Fairman. He is prepared to move quickly but hasn’t made the decision about which of the two projects he wants to produce – he is leaning towards SOUL MATES at this point, but may want to take A GHOST AMONG US for 2009.
He will be getting back to me later this week, and at that point I will pass him along to Larry for discussion about budgets and such. He’s already started talking to people about the production, and he has the 15% on-call, and can produce a budget quickly.
No word from Aaron?
Cheery bye, Debora
On March 24th Larry introduced us to a man named Christopher Staser, an Art Director who was attempting to get his own film funded. He was nice, but so many people had come through our lives at this point that we had no idea who would actually prove to sustain a relationship. Approximately 1%, as it turned out. Talking to him on the telephone, I really had no idea what we could do for him or he for us. He wrote me a note on the 27th.
It was great to spend a moment on the phone with you last Friday with Larry. I spent sometime on your website and I’m impressed with all the kinds of writing you’ve been involved in. As I am part of the IBI community, let me know what kind of resource you might be seeking out as part of your expansion into film and beyond.
As I mentioned, I am a brand developer/Art Director by day. I’m restructuring my schedule to begin to produce/direct a series of films and it would be great to share ideas and resources as we run parallel processes. I work in production now, professionally, as a corporate video producer/director and I’m looking forward to the transition to personal projects.
I’d be glad to spend some time on the phone at your convenience.
All the best, Chris
We continued on with Martin London, attempting to fulfill his requirements for the funding. On Thursday, March 29th I sent this letter out to everyone involved at that point.
I have sent the script of GO WEST, YOU IDIOT! To Larry Withowski for M.L. and his readers, and I indicated where Tom K. Is thinking of ending the film.
Daniela; you will need to get a statement from Larry Withowski regarding his fee for the budget.
The script fee will be $500,000 U.S. to be shared amongst the four partners who own the script; Frank Cmero, Debora Hill, Sandra Brandenburg and Scott Ferguson. This does not include the novel, which is approximately half-written at this time. You’ll need this for the budget as well.
Talk soon, Debora Hill
This would be the start of our feud with Tom Krejci over GO WEST, YOU IDIOT!. His first idea was that the film should end halfway through, so there would be no resolution to their family quest to find sanctuary. We didn’t like that idea, but it was early on enough in our dealings with producers that we went along with this idea. It turned out a dismal script, however. On the 29th I heard from David Fairman with what looked like fabulous news.
I’m trying to call you urgently. Need to speak today if possible. Please call me on 208-340-7166. GOOD NEWS. We want to go ahead with SOUL MATES...a really high-concept picture, GREAT SCRIPT with some great potential. And if we do it through your financiers together with our film CARMEN’S KISS as a two-picture-deal you would get extra credits with extra fees. It would be a more efficient way of handling cash flow and production timings. On timings I need to speak to you personally on the phone.
Best Regards, David
Saturday, March 31, 2007
I read CARMEN’S KISS. This is the film David Fairman needs finishing money for; the one he wants to combine with my film, SOUL MATES, for his own funding ops. Well, it’s different – high violence level, about the same as RIVER STREET, with a lot of similarities. Gritty, low-life people, good hero and heroine amidst them.
But, and here’s where there could be a problem with M.L. – there are some very graphic sex and rape scenes. What is your advice?
Sex sells! Not sure how he will handle it, I will call him to see his take on it. Remember it is Passover, so I do not know if I will get him until after Tuesday. My only concern: is this another ‘Lost Boys’ where we do his film at the same time, and then whoops I cannot perform on your film but ONLY on their film. Send it through, but before I had it over I am going to proof him up. I am calling him in England on Sunday.
P.S. Chad called I will get back to him now. The reason he called was for my advice on signing the LOI for M.L. I will keep you posted.
Re: David Fairman’s Other Film
OK, I’m going to send you CARMEN’S KISS – I’m attaching it as a pdf. I know sex sells, but this is pretty graphic; brutal rape scenes – an integral part of the story, but do talk to Martin about it. Not during his religious holiday time, perhaps!
Do definitely discuss the procedure with David Fairman. I don’t think you’ll get him on Sunday, though – Monday, yes. I have told him how this works, and he definitely told me he wanted to make both films a package. I’m glad you’re being vigilant for us, though – no, we don’t want another Lost Boys episode!
On April 2nd David Fairman wrote to Larry.
Good to speak to you today. I think we are both straight-forward, no BULLSHIT guys and I believe we could certainly work together on this and future projects. My strategy is to get the most films I can make with whatever it takes.
In negotiation most people believe that everyone should be at least partially happy...and if I get my films made I am always happy. Please send any agreements to this email and I will look forward to speaking with your Marty after Wednesday and moving these projects onward.
Best Regards, David Fairman
And there was some news from Scott Ferguson on the 3rd.
I called Larry this afternoon and he wanted me to pass along a few things to you. Martin gave Chad a 30-day extension (I assume on the ODESSA bridge funds – DC I don’t know. But, as you already know Larry expects release of the ODESSA fee in 2-4 weeks and stressed strongly to Chad that we must be paid first.
Larry asked that you send DREAM LOVERS on to Martin, and that you please ease up on Aaron for now. Larry needs more information on finding Ovation Financial. Also, he wants us to include Name, Company and Phone numbers on all companies we reference to him in our communications – will make it easier and faster to follow-up.
I got this from Scott Ferguson tonight. I am sending the script of DREAM LOVERS as he tells me to do in the third paragraph, but he doesn’t mention the budget, so I’m holding off on that for now. What on earth does ‘Please ease up on Aaron for now’ mean? I’ve spoken to him once on the telephone and I changed his budget twice at your request. From now, I’ll pass people on when they are ready, then they’re your responsibility until and if production begins on a particular project. I don’t need this kind of headache.
So I was becoming more than a little testy, partially because Larry Withowski was proving to be one of the most irritating and confusing individuals I’d ever known. Talking to him on the telephone proved to be mostly an exercise in futility as he boasted, aggrandized and generally talked loudly for 45 minutes. By the time I was able to escape from him I had a pounding headache, so I was trying my best to communicate only through email.
April was a month of revelations and more confusion, as if our lives needed anymore of that. On the 5th of April David Fairman wrote to me to say he was waiting for a conference call to be arranged between him and Martin. On the 6th he wrote this:
Deb, Larry –
I will be out from 4pm GMT picking up my girlfriend from the airport, so not sure how that will happen with timings...I can still do Tuesday. Monday is a holiday in the UK and I will be out.
Yes, we have a budget for CARMEN’S KISS at 3 million U.S. but it may go up to 8 million as we have just put out an offer in L.A. for Viggo Mortensen.
I got this from David this morning. I don’t think he understands that he can’t talk to Martin London until there’s a budget for SOUL MATES – he may have misunderstood because he already has the budget and some of the funding for CARMEN’S KISS. You need to explain this to him before we can move forward with this – it’s very important to me, because SOUL MATES is my solo script. Anyway, can you explain this process to him so we can move forward?
Does M.L. have SOUL MATES yet? David, I need a budget please before we submit. Also on any projects I need the following:
Resume of principals involved (to include all info on same)
Attached Talent (or LOI in place)
Pre-Sales (if in place)
Distribution (if in place)
Tax Credits (if have or State or Country shooting & editing)
Proof of Funds (LC, Standby LC, Attorney Escrow Letter)
I’m on the phone with Sandra; wow, we’re confused by this letter. No, ML. Doesn’t have SOUL MATES yet – didn’t we decide a couple of weeks ago, that the script AND the budget had to go to him at the same time??? No?
I asked to make sure if M.L. had received the script already. I need a budget for BOTH SOUL MATES and CARMEN’S KISS. David does not understand that Larry and Lawrence are one and the same. That also I am a rep for M.L. in relation to film financing and as such I know how it all works. We will get ANY producer on the telephone with M.L. in relation to them putting in funds on a project. Since M.L. is the money there is no reason why they cannot talk to him.
Communication with Larry was becoming more and more difficult, disjointed and sometimes, as in the above letter, somewhat incomprehensible and bordering on a rant. On the 6th of April there was a short note from Scott Ferguson that I answered just as Tom called to tell me he was talking to Larry on Skype.
Larry called me late this afternoon. He tried to reach you and also Tom today without success. Anyway, he wanted me to ask you to please let him respond to David on all his questions at this point. That was the extent of his request.
He’s on Skype with Tom now. We’re convinced he’s an alcoholic; sometimes he seems coherent, sometimes not...two days ago he couldn’t remember who David Fairman was, and then he was convinced that he’d dropped out of the fund. In the meantime, David Fairman was sending me notes about a telephone conference he wanted to set up – as of this point, I’m withdrawing. If he screws it up, so be it. I’m not his secretary; everyone seems to think I’m the secretary here; I’m not. He constantly asks me to do things for him – today he sent me a note to ask if Martin London had SOUL MATES yet – this seems like something he should actually know.
I was organizing my emails and came across this. You told me to send SOUL MATES directly to Martin last Tuesday! So I did...I think we’re overwhelmed by all this; we’re going to have to keep a better flow chart. I’ll try to keep on that.
Tuesday, April 10, 2007
I am now back on my game. The trip to L.A. took a lot out of me because I missed some emails; after I saw them on my Blackberry they went ‘out of sight, out of mind’. That is why I need all info, especially telephone numbers, on each person (so I do not have to fish for that info). Once I facilitate one of my deals, I will open an office here in New York and then another one in L.A. with Alfred so I will not have things fall through the cracks. But yes, checks and balances are important. We need to watch each other’s backs. So thank you very much for not dropping the ball.
David’s call finally happened late today with M.L. It went well. We are moving ahead with his and our project.
Aaron is sending me via FedEx a package, I should have it in a few days. Will keep you posted.
M.L. needs to do a call with the Lost Boys in regard to ODESSA. I will set it up on Wednesday between 1 pm and 6 pm.
Any news from GO WEST, YOU IDIOT! Producer Daniela Humlova?
I found the info on Ovation Financial which you asked me about months ago. They seem to be a pain in the ass, but I will be in NY all day on Wednesday and could pay them a visit. I already emailed them. I am working on two other funders in L.A.
Alfred has a phone conference with the former head of a major studio seeking additional financing. This should be interesting because if it works out, it sends instant recognition to the funding group. This is huge.
I am also working on three new groups that have many film projects with major players involved. This could bring Lost Myths some business (maybe even paying clients). Please say hello to all.
Even if all is good to go it would take 30-60 days for release of funds. The idea here is of course to get paid, but also to get a pipeline going which will be at a rate of 1 project every two months actually funding.
I was on the phone yesterday with the Lost Boys in two separate conversations with and without M.L. I am not happy with who their funding source is for their share of the kitty. Now that said I have GREAT NEWS.
I am working on not one, not two, but three separate people with deep pockets/hedge funds as we speak. This is also not including the other four production/financing/distributors that I just started to work on. Also on another note from now on the rules have changed in the pursuit of money. They are as follows:
Under no circumstances do I not know who, what, where, why and how investors are about. Nobody who thinks they know how to produce or fund a film gets to any of my funding sources, until I check them out. If they do not have experience i.e. the Lost Boys or they have no clue as to what they are doing, we will see how I want to proceed on a case by case basis. The Lost Boys put someone on the telephone with M.L. and I was not privy to that call. This cannot happen again under any circumstance. I am handling it. I did already with the Lost Boys.
Tell Scott I had a nice conversation with Laurie, John and Mike on ‘Pittsburgh Powderkegs’. I want Terence to let LMI work on his script before I submit it (also this abortion of a budget). I will not waste M.L.’s time with trivial deals or uneducated producers. That is what I am here for, with Alfred once we become official partners.
Things appeared to be moving forward with David Fairman, who wrote me this letter on the 13th.
I had a good conversation with Larry and Marty. I will begin preparing the new budgets for the two films next week. This will take up to two weeks to finalize. As for shooting schedules this is all down to how long it takes to raise the last 35%. Marty will come in with 50%...we then have to raise the last 35% from pre-sales, bank gap, soft monies, etc. Marty understands that I am a player and an experienced producer/director, and we all believe we can work together on these projects. Which is the first film you are making, and who the producer on that one?
Best Regards, David
As will be revealed in the following chapter, the outside projects and our involvement with them was eating up time and energy, and they would become so difficult and useless they would have to be jettisoned wholesale.