The Big Seminar, Part II

So we went to the Big Seminar, Hubby and I.

E.L. told those in attendance what he told me, and what I've already told you:  no Big Studio is even interested in looking at your screenplay, let alone buying it.  And most definitely not for a jillion dollars. 

They may be pursuaded to distribute your screenplay, maybe.  If you can get it made into a movie.  And if they deem it marketable.

A big collective *sigh* heaved from the hopefuls in attendance.

Then E.L. talked about the 181 deal.  This is a huge tax break for Indies.  It makes it more attractive for would-be investors to invest in your screenplay production.  If you'd like to research it in all its painfully boring details, it's found under:  The American Jobs Creation Act of 2004; Internal Revenue Code Section 181.

Highlights of 181: 

Investments are 100% tax deductable for the year they are made; and
A guaranteed 30% return on investment if the movie turns a profit.

Downside of 181: 

It will expire at the end of 2011 - but a movie can be grandfathered if it has a screenplay and one scene shot prior to the end of 2011.

There were three Others speaking at the Big Seminar:  A sucessful Distributor, and two Producers.  They talked about product placement, ethnic casting, and European marketing.  Interesting. 

Also something known as "affinity relationships."  This was new - and here's an example:  you're trying to make a movie about a little-known sport such as Curling.  What you do to get your movie made is try to enlist the support of members in the Curling community.  Hopefully wealthy Curling members happy to invest.

And "Casterbating:"  The act of imagining the actors you want in your screenplay actually being in your screenplay.

The Speakers spoke.  Questions asked.  Notes taken.

General schmoozing then:  introductions made, complements bestowed, business cards exchanged, promises given.

Hubby said, "If you can convince people in Hollywood you're sincere, you've got it made."