Lee & Thompson LLP’s Post

From Ted Hope Streaming and Cinema are very different businesses, and they are profoundly different arts and entertainments — and needed to be treated as such. Look at what succeeds on Netflix and then look at what wins festivals or box offices — they are two very different things and should be treated as such. The number one priority of film executives is to keep their job (and the easiest way to do that is to say “no” to projects). I have called this the #1 Rule Of The FKAFilmBiz. The film business is full of narcissistic, lying, cheating, scheming, malcontents and misanthropes. But it could be worse; we could be working in politics. You need to know how you are going to last a good long time despite it all. Ask yourself “What will make you feel better in fifteen years from now, even if you are doing the same thing as you are now. Talent representatives are NOT going to represent you (generally speaking) until you no longer “need” their help.  It is really hard to make a good movie. Or rather: it is really, really, really, really, really, really, really, really, really, REALLY hard to make a good movie. There are not enough “really”s to capture how hard it truly is. Filmmaking is about things going wrong. It is all but a miracle when things go right...

HOW ARE PILOTS CAST? Most pilots have about 6 weeks to cast anywhere from 5-25 roles. In the TV world where you have 2 days to cast 12 roles, 6 weeks is A LOT of time, meaning A LOT of actors can get seen. However, because producers want to sell their idea, they usually jam pack that pilot with well known actors if they can. First, lists are made up of first choice actors – the A-List – then second choice – the B list- (hence the term A-List, B-List etc.) Later in the season casting will pull from agent submissions. Often actors on the aforementioned lists will opt out of auditions for already-established TV programs during this time. The reasoning behind this strategy is that most actors (and their agents) would rather bet on booking a pilot that gets picked up, where they sign a multiple year contract, than take a week’s worth of work on a current show. Lessmoney upfront, but it could pay off with more money and work in the future if the pilot goes to series. WHERE CAN I FIND OUT MORE? #Email: info@latalentagency.com LA Talent Agency Office: (310) 331-8393 Toll-Free: (800) 490-0688 Email: info@latalentagency.com 9350 Wilshire Blvd Ste. 203 Beverly Hills, CA 90212 LAtalentagency.com #actor #VoiceOver #TalentAgency #Youth #LosAngeles #newyork #phoenix #Scottsdale #directors #studios #moviemaking #entertainment #fashion #filmmaking #comedy #CorporateVideo #Commercials #Theatrical #television #films #media #marketing #Actress #SagAftra #latalentagency #LTA

Global Film & TV Production Volume Rollercoaster 📈📉🎬 Some insights from Vitrina's latest report on production trends, with an illuminating graph confirming the industry's tumultuous journey. Key takeaways: 1.    Industry resilience through global challenges 👏🏻 2.    Global production volumes show month-to-month fluctuations 3.    Drama remains the top genre, Scripted 77%, English 38% 4.    Streamers account currently 21% of total deals -> with evolving strategies 5.    Regional production shifts continue to unfold, with some regions experiencing significant declines Source 👉🏻 Vitrina https://lnkd.in/dv88Sgpt

State and industry leaders expected film and television production to have a strong rebound from last year’s strikes by Hollywood writers and actors. But soundstages across the metro Atlanta area haven’t had much action lately. About 36% fewer scripted projects were actively filming in the first quarter compared to the first quarter of 2023, according to data from global production tracker ProdPro. What’s behind this slump in production? Here’s what you need to know 📽 🎬 https://lnkd.in/euqQBECX

Risk it. Risk it all. If you truly believe in it, risk it. Art is risky. Creativity is risky. You’ll probably regret it if you don’t risk it. You’re not alone. There are others like you. Find them through the risk journey. Risk it. Risk it all. #filmmaking #actorslife #storytelling #creativity #nevergiveup #goals #entertainment

Even when global film and TV production is down 7 % in Q1 of 2024 as compared to last year, there is a 45 % increase on committed spend than last year. The biggest increase is in the $40M-$100M range, for episodic projects and medium budget studio films. The next big increase is in the $100+ showing that focus has increased on marquee projects. The struggles of independent cinema are only increasing with the degrowth in Q1, though it can change with some shining examples that get released soon. #film #tv #contentspend #global

Interesting data factor I just considered: Sony’s film on Netflix in the U.S. are NOT available for ad-tier customers. So...if you're comparing Sony theatrical films to Netflix originals, then Sony films reach 10-25% fewer customers than Netflix. Interesting...

In the last three years the amount of "Shoot days" in LA went from more than 7,000 to a little less than 3,000 days. The insightful article from The Hollywood Reporter examines the decline in film and TV production in Los Angeles, emphasizing the following key points: _ Rising Production Costs: Increasing fees and expenses for permits and labor are becoming prohibitive. _ Strict Permitting Regulations: New guidelines limit the number of locations and days for shoots, adding financial strain. _ Better Incentives Elsewhere: Competing regions like Canada and the U.K. offer more attractive tax credits and financial benefits. This analysis highlights the significant challenges threatening Hollywood's status as a production hub. For more details, check out the full article here: https://lnkd.in/dtgxf-QH #Hollywood #FilmProduction #TVIndustry #LosAngeles #Streaming #EntertainmentNews #FilmIncentives

The New Normal One year after the strikes that gripped Hollywood the “new normal” continues to evolve. Film and TV production in the US (in particular LA) is down almost 15% from 135 in March 2022 to 157 in March 2024. The need to make profit (not adding subs and figuring out how to make money later) is the main reason. Or cost, we can call it cost. At the same time globally 148 scripted TV show are in production vs 140 YAGO. The direction is clear and once again cost is one of the drivers, amongst other things. Recent survey from talker news stated the obvious, #genz is very open to subtitles growing up on YouTube. More and more audiences are watching stuff from outside the US, as investment follows (or leads) this will continue. Get onboard the new normal Los Angeles Times #subtitles #foreigncontent #globalfilm #streamingwars https://lnkd.in/gA6ARAmu

Are web series generating big money for filmmakers? In an exclusive interview with Business Today TV, Siddharth Roy Kapur, MD of Roy Kapur Films, discusses the impact of OTT platforms on the film industry. He doesn’t see OTT as a threat, but rather as another medium for content distribution. Drawing parallels with past disruptions, Siddharth points out that similar fears arose with the advent of cinema, radio, and TV, yet all coexisted. He emphasizes that technological changes are inevitable, and content creators should embrace all platforms. Watch this insightful interview to learn more! #OTTVsCinema #indianfilmindustry #ottplatforms #webseries #filmmaking Watch: https://lnkd.in/gn6Sh6Bb