Why Is The Art Of Negotiation So Important? An Interview With The Producer From Bluegate Entertainment, LLC: Robby Brooksby.

     On September 3, 2014, I had the chance to discuss an interesting situation involving the recent wrap of a parody series filmed and produced by Bluegate Entertainment with it’s producer, Robby Brooksby.  The parody was based on the Emmy award winning Television series, Breaking Bad.  The negotiation conversation that we discussed for the purposes of this interview has to do with the actor involved in my colleague’s everyday process of being an entertainment industry producer.  More specifically, a film producer, because Robby Brooksby actually has been doing this for a number of years, and his most recent parody series available on his YouTube channel, is where I mean to focus the scope of my interview with my production colleague.  To Mr. Brooksby’s credit, he is a student Emmy award winning film producer, who graduated from Ball State University, Interned in Los Angeles with a production company, produces privately for an array of clientele, and is also working on feature films in the pipeline.    
 
      Our Interview went as follows:

MF:  So Robby, how would you say that you handle separating the people you are dealing with from the problems that you are handling when it comes to negotiating?
Also, do you have any tips for negotiators who are trying to do this, like myself and other producers in this business?

RB:  You have to realize that everyone is human.  You need to focus on people’s strengths and weaknesses.  By that, I mean what they bring to the table, or what they are lacking.  In what they are lacking that is where I try to get them to understand how it is to their advantage to team up with us at Bluegate Entertainment, because working with us on a project we are able to bridge a solution towards developing the person’s weaknesses into strengths.
     I really think it is all about compromise.  What you are comfortable giving up, and what they are comfortable receiving in the deal.  You go into the negotiation knowing that you are not going to get 100% of what you want, and I really think that is a good middle ground to start on (a foundation if you will).  Most importantly though, don’t bend over backwards to someone who does not have the bigger picture in mind-achieving the goal of the overall project.  Know that you can always walk away!

MF: Great advice. Interesting that you consider the developing of the other party’s talent in your negotiation.  I think that gives credibility to your leadership skills as a producer in this industry, and I like the fact that you are not afraid to walk away.

MF: How would you say that you handle positional bargaining tactics?  Like for example, when you told me about an actor who offered to “help” you by acting a part in your parody movie and you had him sign a “model release,” then that same actor decided to ask for compensation after the project was wrapped.  How would you handle that situation with the positional bargaining tactics?

RB: That situation can be stressful, but that is exactly why I have an entertainment attorney who I discuss theses matters with and colleagues I confer with, who both agreed that I have an “at arm’s length” business relationship with this actor.  In general, my counsel advised me to inform him of the 29 contract releases he signed, plus the expenses covered during the project’s promotional campaign by the production company.  However, when I spoke to the actor I point out the advantages of having such work on his C.V. and the doors it will open for him in this business.

MF:  True.  Thank you for that.  Not an easy circumstance to handle but it is inevitable.  So on another and final note, would you give me an example how you worked mutual benefit into negotiating a deal with a client of yours?

RB: I often have to hear out the clients’ concerns while expressing my own professional concerns for the project’s completion.  That being said, I took creative control once when I had this bridal client whose wedding shoot I was producing with a sun setting feature involved.  The bride wanted the actual shot of the sunset captured, but I knew it was not optimal for capturing the actual shots of the wedding due to the glare, the spectral light issues reflecting of the tops of people’s heads and into the lenses of the cameras, etc.  Therefore, I took editorial/creative control and during the editing process I entered the “sunset” using a “green screen” image to satisfy the client’s needs and my own professional integrity to produce an excellent product and it ultimately worked out- or as you like to say, “ it was mutually beneficial.”

MF:  Awesome.  Robby thank you so much for your time, knowledge, expertise and input.  I know negotiation can be tough sometimes, but you have a great way of going into it and looking at it with a positive attitude.  I learn from you, and I hope others who read this sharpen their skills in the art form of negotiation as well.

  Thank you for reading,
Michelle Fernandez
LIVMOR Producknz, LLC

Evolution is the Key!

Evolution is the key to unlocking the potential of the future candidates for entry- level job opportunities, based on the Article in The Wall Street Journal titled “Where did all the Entry Level Jobs Go?” That is exactly what is happening in the job market today for young adults; it is getting a makeover!  The definition of an entry level position, which is crucial for most first timers entering the professional labor force of today, has been eliminated or redefined by the technological evolution of tasks that previously were available as positions for entry level workers to be employed as viable personnel.  Due to the economic bruising companies experienced from the recession, the automation of tasks and outsourcing of core functions were just a couple of streamlining examples that contributed to the redefined concept of what the “entry-level job” existential dilemma now is.  Companies have slashed training budgets and payrolls in order to stay in business.
 The unemployment rate for 20-24 year olds is declining as the economy recovers, but with this recovery comes the new expectations and evolution of what it means to be an “entry-level candidate/employee”.  College degrees are more important than ever, but sophisticated and experienced professionals who can show up and sit in front of clients as experts is now the redefined “role” of this era’s entry level job existential evolution.  The keys to success in gaining positions in companies that are among Fortune 500 categories like Humana, Inc., Oracle Corp., and 3M Co., are possessing abstract and sophisticated skills like collaboration and problem solving skills versus basic report preparation or checking boxes on a list and data entry (Korn & Weber, 2014). But the challenge still lies in the fact that companies have seriously slashed their training programs for positions that handle multimillion- dollar accounts. These training programs used to be 2 years long and encompassed sales training, product information, market trends for distributors and end users but now they are lucky if there is 6 months involved in the training process.  This professional selling analysis was noted by the expert Andrea Dixon who is the Executive Director of Baylor University’s Center for Professional Selling ( Korn & Weber, 2014).  Ultimately, the set of high expectations for low-level employees translates into the imperative essential of early experience.  It really just feels like young adults who are experienced and have the skill set and education are these horses with a carrot tied to a stick that is dangling out in front of their face to keep them going towards this path of a promising career opportunity.  Especially noting that the unemployment rate is still at a historic 11.3% for young adults, yet we still keep it going and keep our faith and raise our children and build our brands and businesses, because we believe that we are more than just a number or a statistic.  Our evolution is a force that causes change and will succeed because we are greater than the roles defined by “entry-level.”

   Thank you for reading, and please believe in yourselves.
      Michelle

“Where did all the Entry Level Jobs Go? Many Firms Expect New Graduates to Arrive Job-Ready from Day One.” The Wall Street Journal, August 6, 2014.

Jeff Knoll Lights Up TED!

   
       In the realm of movie production and for all of the right reasons Jeff Knoll has got that special spark or the three ingredients TED curator Chris Anderson speaks about, Light, Desire, and Innovation.  He is an agent provocateur for social media as an instrument to instate global change.
As bright as his plans have been in carrying out his success in gaining independent financing through his startup company "Ebay," he found himself in the throngs of needing to do something to demonstrate to the world's audience that each person can contribute to his belief in change toward an existence of peace, sustainable life, and education of each other to become agents of change.  His organization Participant Media does among many things, produce films that inspire true instances of social reformation like the law against violence against women especially in the workplace and the film released simultaneously to the Congressional vote on the law was North Country.  It didn't perform well at box offices, but it was given credit for enabling the law to get re-passed in the United States Congress.  Jeff invites each person to participate in any way and gives people a way to visualize themselves getting involved in his revolution of social change on his brand's site. He inspires me and is a person I now look up to very much as an industry hero due to such raw and real momentum and passion and reminds me why I want to work in film and be a producer/philanthroper.
Thank you Jeff Knoll, and thank you TED.  Please check out Jeff's organization and Media Brand, Participant Media.

  Take Care of each Other, and Thank you for Reading,
Michelle

"I want to be a Producer!"

 Film Producer
           There's this great line in a song from the Broadway Play and Film, The Producers, and Matthew Broderrick belts it out... " I want to be a Producer!"  It kind of lightens up your mood when you realize that there is such a huge mountain to climb in order to become one.  So doing the research   on how to actually get myself into the position and really walk the walk led me to some great advice.
  The funniest, and truest form was on the getinmedia.com web cite hosted by Full Sail University.  It is a real world-entertainment industry career based advice source that is clear, concise, and doesn't beat around the bush.  Therefore, I looked into "Film Producer," and it starts off by saying unless you're neighbors with The Weinstein Brothers or Stephen Spielberg, or unless you have the unlimited funds to put up yourself for the projects, you will need to start off as a "Production Assistant."

 Production Assistant 
     I am determined to accomplish this career goal through all necessary means.  So it's a big risk, but  getting through to Mr. Harvey Weinstein, my industry hero, is my first task on my goal sheet.  Also, I am working on a project where I do have to come up with the funding for the film, method number 2.  But method number 3, getting a position as a Production Assistant is my current task at hand as well.  And it really does help reviewing the Production Assistant information within the getinmedia.com web cite, so that I have a deeper understanding and I am prepared for what it demands and how it helps bridge the gap from where I am professionally and where I want to be ultimately in Producing Films.

  Building my worth or any film producer's worth in this industry is understanding the finances and what is going on with how films are being shot, where, and what it is doing to the economic workforce as it is now becoming more dispersed outside of Hollywood due to financial benefits mainly decrease in costs and increase in overall value to get quality pictures made.  This is so interesting because it affects everything involved in film production from tax breaks to Production Assistant job availabilities outside of Los Angeles, California.  The main benefits are the tax credits that states such as Louisiana, Georgia, and others, offer  to Producers.  By offering these credits to make movies in their states this augments the corresponding states' economies-because the film industry is considered a "Base" industry, therefore it brings money into a place and will need to utilize the local services or pump money into local business structures.  Hence the tax credits given are substantial enough to  enable the Production team to remain within their designated budgets.  I have to be honest with you, that is music to this new comer's ears.  Examine this article from the Wall Street Journal further. I have included the link.
As Movie Production Scatters, So Do Tinseltown's Hired Hands
 

Net Neutrality, The FCC, and What's hot in the Film Industry

      It is that glorious time of year when all of the ultimate of ultimates make their way across the Atlantic and into Cannes.   After reflecting and reviewing the pages of discussion on Ryan Gosling's directorial debut, and the insane chatter over the "fluff" or gossip that really has nothing to do with the films or the competitive nature of the festival, I noticed a pretty big political concept catching the limelight of the Jury at the 67th Cannes Film Festival Press Conference: female directors and their presence in the festival.  Sofia Coppola and her film Valentino were displayed well.  You have to love the fact that Jane Champion got Thierry Fremaux to admit the undemocratic nature of the selection of the films.  Her quote is precise and factual, but it does feel a bit strange in a sea of ever ready and exceptional coverage of women as these femme fatales in gorgeous haute couture that do sell the films.  None the less, here it is:

     He (Thierry Fremaux) told us that only 7% of 1,800 films submitted to Cannes festival were directed by women.  It does feel very undemocratic.  We don't get our share of representation.  It always seems to be a surprise for the world when a woman does come out a success.

Jane Champion at the 67th Cannes Film Festival Jury Press Conference
Cannes 2014

    The whole reason I even decided to blog on Cannes had to do with my passion for film, and following my hero, Harvey Weinstein.  The controversy over Princess Grace of Monaco by the royal family, and the fact that Tim Roth stars in it, collides brilliantly with the festival's celebration of Pulp Fiction's 20th anniversary ( Tim Roth was in the opening scene for the film, Tarantino directed, Harvey produced it).  You can't ask for better press.  He even declined the attendance to the film, I am not sure why, but hey he's done a fantastic job as it is the charm of the festival.  The guy is a genius when it comes to competing and producing results in this industry.  I can't wait to see what happens next.  But don't take my word for it, check it out on the website I have posted on the hyperlinks.  This brings me to what else has occurred in this industry that is worthy of discussion and should concern us all... The FCC and Net Neutrality.
     In an article by Matt Mason on IndieWire, titled: "Here's Why Hollywood Needs Net Neutrality,"  the chairman of the FCC- Tom Wheeler- proposed a process to establish new neutrality rules for the Internet.  This proposal is up for public comment for a period of four months.  Essentially the motivation for Mr. Wheeler is that he ,"won't allow the national asset of an open Internet to be compromised (Mason, May 2014)."  Under his new rules there would be a "fast lane" for ISPs that enables companies who are willing to pay for publishing or access/interface media conductivity at a faster rate than those who are unable to afford the "fast lane."  What does this mean for the entertainment industry?
     Well I could argue for both sides.  But I have done my research, and I have seen a huge future in the distribution over the digital world from huge names like Disney, Viacom, and Sony, and the status of the American and Global markets in film.  So Mason's point that in our current "open Internet" we have equal access to media and publishing content.  Furthermore, we have equal and protected rights to freedom of expression as well as free innovation under the current Internet structure.  There is also the documented fact that this version has fueled two decades of unparalleled creative and economic growth.  So to sharpen the dagger, Matt just flat out declares that Tom Wheeler: "proposes to close this(Mason, May 2014)."  The article will further enlighten us to understand the risk of never having another "Facebook, Google, Twitter, or Netflix, iTunes," revolution of innovation and how Hollywood needs to get on their horses and get up in arms about this.   I know that it is not humorous or probably appropriate to make a joke at this juncture in my blog, but... "They are in Cannes Matt!"
    Seriously, I do have a young daughter and I am attempting to be a part of the innovative movement through our time in the creative film industry and the production of such great works of art and works by great artists.  I do ask that you reflect on this, ask yourself how it will affect you as a professional in the industry, and make an informed decision.  The regulation of a platform where art is free to flow is very slippery when you decide to start giving away bits and pieces of it's freedom.  Reflection should be the premise of the Internet, not Regulation, but that is my opinion.
  Net Neutrality and the FCC

   Take care and be aware,
Michelle Fernandez

Ways to enhance my Industry Hero Knowledge and Innovative Company Research

http://www.prologue.com

       Ways I wish to enhance my personal learning network regarding film production industry heroes and innovative companies include these strategies but also the website information has a wealth of information and inspiration, and so does IDMb.com.

         

       Really learn more about Prologue Films and the way they are interconnected to film, media, and entertainment in general.  I am so drawn by their entire model and overall presence, as well as the product design outcomes and who they have collaborated with.  

       Kyle Cooper and Danny Yount are innovative artists and businessmen who are definitely worthy of serious research and understanding.  I plan on utilizing every tool I can trying to see how their creative and business models came to be and ultimately succeed in the entertainment business field.   

      Follow The Weinstein Company, and Paladin Films and their corresponding projects (pre-production, acquired, current, and previous, et. al.), as well as news surrounding the companies, the pieces put out by both.  

     Continue researching how and where Harvey Weinstein pours his presence into marketing films and projects, i.e.: Cannes, Toronto and the like; he’s a genius.  

http://www.weinsteinco.com

My plans to get involved with the Entertainment Business Field

           I have definitely decided to pursue the volunteer/internship opportunity for the 2015 South by Southwest Festival held in Austin, Texas.  I hope to get a spot in the conference production department, but I will settle for any.  I do have the contact information and my planning has begun to take on this intense journey
                                      (Career Advisor: 1(800) 757-5105 http://volunteer.sxsw.com/internships/).

            SXSW has 5,000 events and over 60,000 attendees from all sectors of creative fields: film, interactive and music.  It is a Mecca for students looking to break into the entertainment industry.  Having said that, I need to be beyond prepared. First, have to read E-book, Unofficial Survival Guide to South by Southwest 2013, by Jodi Jill. It gives great pieces of advice about how to pitch yourself to possible creative collaborators.  Next, make sure I have something to show potential creative partners when a networking opportunity comes up, as well as update my online portfolio to contain samples of the best work I have accomplished in the past.
       
           Also, it is important to research who I want to connect with via the festival’s “official SXSW schedule,” it’s a place to find full bios on festival speakers, and information on sponsored parties and lounges.  Once I find a few, writing an email to them and asking for some face times the next move.
http://volunteer.sxsw.com/internships/Finally, but perhaps the coolest part, this festival has a deep commitment for newcomers to connect with mentors and offers its own mentoring program.  You can actually set up seven-10 minute- one-one-one meetings with industry insiders!