Customer Reviews

From Reel to Deal: Everything You Need to Create a Successful Independent Film

5 star:		(51)
4 star:		(6)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

I am a producer-director with over 50 local and 30 national commercials under my belt. I have gone to film school, spents 4-years and wasted (now in retrospect) almost $120,000. Why? Because I should have read Dov's book for only $18.95. For "FROM REEL TO DEAL" gives more practical, realistic information about how to break into the film industry with your initial independent feature film then I acquired after 4-years at NYU Film School. If this book was available when I was in film school, and I had read it, I guarantee you I would have dropped out of NYU and launched my feature film career. Thank you Mr Simens for giving the real information about how Hollywood and the Film Business truly works with respect to independents. Buy this book!

Like everyone else, I agree that this is a straight to the point book and I'm telling you to read it. I could'nt put it down. Yes it is that good. Some people on here claim that they went to USC or NYU and learned nothing but theory. I always thought these schools were decent since some of the big shots went there but I went to Columbia college which supposibly is the best film school in chicago.

This is the scoop on going to film school:

You first must take theory classes(watch old movies, silent films yatta, yatta!! Along with an asthetic class.

Then you take classes like development and screenwriting which arent what they seem. Columbia teaches this thing called Development and pre-production which is nothing more but a class to take up time and steal your money. You learn how to write a treatment. Thats all you learn. Even my teacher called it BULL SH**. YOu can learn how to write one in 10 minutes from a book or someone. The screenwriting course is a joke for the teachers dont know how to teach. THey will teach you what a program like Final Draft will do automatically for you maybe even better.

Then you take a production class which is the only class that you will make a short film in. WAIT! Columbia gives you a world war 2 film camera and a 750 watt light kit and tell you to go make a film with it. Yup that is what you get for $20,000+ a year. So what happens in this class? You actually learn how to make a crappy film "BUT YOU LEARN". THen comes the confidance part of school. They will get a Yokel called a top advisor to come to you and his advice is to take sound classes because there arent too many sound people out there. Boringest job out there. And then he tells you that if you just work really really really hard then you just might get paid. For years I watched all those poor students' faces as each of them were convinced that they will never be George Lucas! I got angry. Very angry and I chose to fight the system.

This is the bottom line. All you need to do is take 1-2 production classes where you make a short film. Then you need an open mind and listen to those who work in the industry. But listen to only those who are positive. Film school teachers are not professionals. They are past film students from the school they teach at who have no [...]. This is why they lecture film and not make films. You go to school to network with other students. THATS IT!! you can do this for free just walk in, no one will stop you. the security guards are just there for display. If you want to prove me wrong spend $80,000+ on a film school and 5 years later visit me and tell me that I was right. I'm not bashing these schools but FACT: all of these schools will admit to you that they are just a business. SO shut up, buy this book, Robert Mckee's book "STORY", "film director's intuition" and directing actors" Now watch me, i'm going to be a millionare this year thanks to being open minded and listening to the right people. Good luck and God bless you.

Yeah yeah yeah, I read everyone else's rave reviews about Dov Simens's classes. And yes yes yes they're full of energy and facts. While Dov fills his classes with eager faces, and fills these eager faces with fascinating facts, Mr. Simens fails us all in one major respect: he conveniently leaves out the part about how to really really really get the money from potential investors.

I was excited about calling up those "stupid dentists," as he calls them, and asking them to come to a local theatre where I'd have the DP's 35-mm reel to show them. Bummer when I discovered that NOT A SINGLE DP IN HOLLYWOOD USES 35-mm REELS. They all have their stuff on DVDs. So, Mr. Simens's theatre model is now shot. Ok, no problemo. I booked a local hotel conference room and rented a big-screen TV for the DVD viewing.

When I invited everyone over for the party, one stupid dentist, who was also a former securities attorney, asked, "Will you be giving us the PPM this evening?"

PPM?

The stupid dentist--one of 50 stupid people I invited to come hear my presentation--educated all of us about the Private Party Offering Memorandum, or PPM, which is used to educate prsopective investors about the offering of a security.

Security!? Are you kidding me!?!? I though Dov said this was a freakin' "unit" I was offering! Security!?

Yes, the stupid dentist went on. In fact, you have to file with the SEC.

Please allow me to interrupt this short horror film right now, and just say this: if you want to raise money for your movie, and you're looking for more than about 5 investors (Dov suggested 50 or so), you'll need to consult with a securities attorney who knows the film business. Period.

See you at Sundance, Dov, you freaking schmuck.

Still I'm making this film.

And so should you continue. Just know that there's no easy way, as Dov suggests so blithely in his book.

He does offer an excellent overview of everthing else. Hence the four stars.

Wanna produce, direct or write a movie? Buy Dov's book. Period. This 400+ volume should cost $100,000 dollars on the open market, 'cos that's what it's worth, in valuable information alone. You've all heard how film schools like USC, UCLA, NYU all teach film theory? They do. And it's a waste of time, unless you wanna teach theory or study theory in Hollywood.

If you wanna make movies, forget those $80,000-dollar film schools, take Dov's 2-day course, and start your career in film producing, directing, shooting, lighting, writing, selling, dealing, financing, etc.

If you can't do your own film after taking his seminar or reading this gem, then stick with your day job and tell everyone you "tried."

Dov's book, FROM REEL TO DEAL, is transcribed from his seminars, so it sounds VERY conversational, like he's sitting right in front of you, while you kick back in a comfy wingback chair, and he's showing you everything you need to succeed in Hollywood. It feels like your own private lecture, and it's not the typical college lecture, either. This man stimulates, drives, energizes, empowers. He shows and he tells.

What's most important in Dov's book is that he cuts to the chase and leaves out the film-school theory. This is a practical approach to film making, from A to Z and beyond that jumps right into (abbreviated list):
1. Producers: who they are, what they do, how they do it
2. Indie vs. Studios: which one are you? Do you have the money to write those 38 different checks during preproduction, production and postproduction?
3. The SCRIPT: it's gotta be great! Dov shows you the formula all the A-list scripters use, the TOP SECRET one with all the plot highs and lows that stimulate an audience
4. Registering and Copyrighting your work: you only need it if you're going to court. Just make the movie!
5. Forming your own production company: set up an LLC, get partners, option scripts, etc.
6. Financing: call on those wealthy dentists in town, the ones who donate to the ballet, theatre, symphony. They don't get back anything from those entities, do they? Tell them how they'll make a mint from financing your movie. If not dentists, call lawyers, other doctors, wealthy grandmas!
7. Budgets: what it REALLY costs to make a movie in Hollywood! I mean, the REAL DEAL here. How much producers, directors and actors get paid for each type of budget; how much film stock costs; how much the belwo-the-line talent costs, etc.
8. Equipment and Film: how to get the best deals with a little haggling, and how to get them to help you find a great crew.
9. Sound and Lighting: finding the best sound and lighting technicians, with their own equipment, and what to look for in each type of worker
10. Directing: a crash course in how to talk with and move those "movable props" called actors
11. Production Crew: how to find the best, hire them for cheap, feed them well, treat them like gold, and have them do the best jobs for you
12. Postproduction: picture editing, sound editing, music score, ADR, Foley, mix, M&E and opticals
13. Filmmaking, from A to Z: how to do a low-budget medium-budget, and a high-budget movie; how to maximize your resources
14. Publicity and Film Festivals: how to get your movie seen by the Who's Who of Hollywood and the World
15. Distribution: who they are, what they do, how they do it, and how to get the best deal from them
16. The Game Plan: a. get the script; b. get the $$$; c. hire great people; d. publicity (trades); e. get ready to shoot; f. more publicity . . . and read this great book to find out more!

Quentin Tarentino, Robert Rodriguez, Guy Ritchie et al. all took Dov's course and launched their careers! Will Smith, Queen Latifah, Michael Jackson et al. took Dov's course and enhanced their careers.

Are these people much different from you? If you have talent and drive and energy, you can do it. Dov's book shows you how.

The book is excellent, and I highly recommend it.

I also wanted to point out that Barry Timmons review was a bit unfair in that Dov does in fact discuss Offering Memorandums in his book in Chapter 12: Form a production company (do your legal work).

I have to agree with Barry that it is not a very comprehensive look at the legal process, but Dov does make it clear that you will want an attorney to prepare the memorandum as part of your start up of a production company.

To Quote from Page 95:

"Additional work you'll want the attorney to do is to prepare the paperwork to properly solicit funds (chapter 14) from investors. This will include creating a limited partnership (LP) or a limited liability company (LLC); establishing an escrow account with your bank; and preparing an 'offering memorandum'. He should charge no more than $2,000 for this."

Again, this is in no way comprehensive, and I can see that if you arn't familiar with offering memorandums (I happen to be) it's easy to overlook this brief mention. Still, I thought it was only fair to the author to note here that the information is actually in the book, albeit briefly mentioned.

That being said, take heed from Barry's example. You may want to review the SEC's Regulation D for private placement memorandums prior to getting an attorney. It's available on their website at www.sec.gov.

Best of Luck to all the filmmakers out there!

I've wanted to take one of Dov's workshops but they're never close to where I live so I bought this book which I like. However, with a copyright of 2005 I would have thought it would have more web information (urls, etc) in it. I suspect most of the information was compiled before the web got popular which has been a while. Oh well. I emailed Dov last year too and nobody bothered to reply. Still, for the price, very good info.

The book is amazing. Here's why. I spent 4-years and probably over $100,000 at USC film school and this stariaght and to-the-point book taught me more filmmaking how-to info in the first three chapters. From learning Screening, to Budgeting, to Financing, to Directing Mr Simens has it all here in easy to understand sentences. As a BONUS Mr Simens gives an amazing chapter-by-chapter list of who to contact (complete with adresses, phone numbers and e-mails) and what to say when you have them either on the phone or on the web. Imagine calling a big agent and he answers the phone. What do you say. Easy just turn to the chapter in "From Reel to Deal" and you'll be in control. This book is a MUST READ especially to any adult who thinks that they are missing something by not attending a 4- or 2-year film school. Now that I have read Mr Simens's book I am ready to be the next female Tarantino or feminin Spike.

Thanks Dov,

If I'm ever on the podium there'll be a thank you for you.

Jane Smithson

I have a degree in screenwriting.
I have been writing my "calling card" or more hopefully, "break in" scripts for 4+ years, having studied 25+ screenwriting books, many films and screenplays, etc.. I mention all of this because what I've been gathering and learning is it is incredibly difficult to write a "great" script, and even after I hopefully do this, although I may sell it, it will still be difficult to make much money until your 2nd or 3rd script is bought (assuming mainsteam Hollywood), and excruciatingly likely my vision will either never see a theater (won't be made into a film; 6/7 scripts that are bought sit on shelves, or something like that ratio), or perhaps more painful, will be altered until it is unrecognizeable.
ANYWAY, I've recently realized that my best path to bringing my stories to the screen, and seeing profits, may be to make the films myself! I did about 15 minutes of Amazon research, found this book read the above reviews, and now here I am.
Like I said, the book is great. Extremely accessible, really fun to read, actually, and packed to the gills with data. Specifics on how to make a low budget film. I really appreciate Mr. Simens willingness to write it. (I get the feeling it is not only for the money.)
The details for aspring new filmaker hopefuls are incredibly helpful. Yes, as a few reviewers pointed out above, many sections only skim the surface of what you would need to know/do to make a film, and the guy who had a horror story with the dentists and all that; I can easily see that happening, should you follow all his advice ver batim.
I think the book aims to give you the basics, and probably more accurately, helps you understand how complex the process is, and what your frame of mind needs to be to attack it at all. Creativity, tenacity, and plenty of smarts... not to mention talent.
Anyway, if you are considering making a real independent film, I definitely recommend this book.
A comment on where he mentions that the filmmaker might try writing the screenplay him/herself: he mentions you need talent, and it is very difficult to write a great script. He's right on about this. The fact that he make it so clear that your film has no chance from the start if your script is not GREAT helped reassure me that the guy is informed and talking straight.

This book is old.
About a quarter of this book are listings of books, services or agencies placed at the end of each chapter, most of them not very usable anymore.
Most readers will shoot their movie with an HD digital camcorder nowadays. The book touches on digital filmmaking only in one chapter at the very end.
It is also very optimistic about landing a distributor. It says 200 independent movies are made every year (at the time the book was written). Modern sources claim the number increased to 3-5000. If no names are attached to a movie, it is next to impossible to attach a distributor.
It also overestimates the labors of self distribution of today, web based in particular. Without ever leaving a house, anyone can sell video on demand or a DVD on amazon.com free of charge via [...] (they charge only once an item is sold). Also, [...] accepts independent films for distribution, though only if they are of acceptable quality.
The book touches the surface on many subjects from the very start of preproduction to the end sale. It does not tell all of the ins and outs of industry trade, but it does outline the basic principles involved in the film making.
It lays a ground work for anyone who wants to get a sense of the business. It gives a notion how to work with people in Hollywood, who does what in production and how to get it done, basics of distribution etc. Besides the points I listed above, most other are still applicable nowadays. This is good book to learn about independent producing without being overwhelmed by too many particularities.
The reason I gave this book five stars is its optimism. It is interesting to read and easy to understand, The subtext throughout the book reads 'you can do it'. Keep it simple, know your priorities, know your job, know how to do it and despite all difficulties, do it.

Marko
11320vp@gmail.com

I attended NYU film school ('76-'79). It cost me $100,000. It was good but when I gradauted I still was confused of what to do, where to start and how to start. Then I stumbled on this book, written by the guy who created the "2-Day Film School". I was very cynical when I bought it. However, after 1 hour of reading 50 pages, I now no more about what to do and where to go to re-launch my career, then after 4 years and $100,000 at NYU. This book is so valuable to every first-time filmmaker, producer, director that it should be priced at $100,000.