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Alexi Ouzas
Australia
เข้าร่วมเมื่อ 2 ต.ค. 2011
I'm opening up the gated doors to the film industry by sharing everything I know about the business side of show biz.
And I don't just talk the talk (though clearly, I like to talk!).
Since starting my company Exile in 2015, I've:
*Produced 7 feature films as a Lead Producer and helped finance another 15 feature films
*Had a film premiere in Official Selection at the Venice Film Festival (Orizzonti)
*Raised over $1m in private finance
*Raised and managed production budgets totalling over $15m
*Had films acquired by Netflix and Stan, released theatrically and sold to territories around the world
*Distributed 20+ films in Aus/NZ including Gaspar Noe's Love and the Vice documentary Chemsex
*Sold my films directly to distributors in North America, China, the UK, Aus/NZ
And I don't just talk the talk (though clearly, I like to talk!).
Since starting my company Exile in 2015, I've:
*Produced 7 feature films as a Lead Producer and helped finance another 15 feature films
*Had a film premiere in Official Selection at the Venice Film Festival (Orizzonti)
*Raised over $1m in private finance
*Raised and managed production budgets totalling over $15m
*Had films acquired by Netflix and Stan, released theatrically and sold to territories around the world
*Distributed 20+ films in Aus/NZ including Gaspar Noe's Love and the Vice documentary Chemsex
*Sold my films directly to distributors in North America, China, the UK, Aus/NZ
Next Steps To Produce My 9th Feature Film
A look inside the mind of a film producer
Learn more: go.exileent.com
Join 5k+ filmmakers who subscribe to The Friday Filmmaker: www.exileent.com/newsletter
LinkedIn: www.linkedin.com/in/alexiouzas
Instagram: aouzas
TH-cam: th-cam.com/users/alexiouzas
Website: www.exileent.com
Learn more: go.exileent.com
Join 5k+ filmmakers who subscribe to The Friday Filmmaker: www.exileent.com/newsletter
LinkedIn: www.linkedin.com/in/alexiouzas
Instagram: aouzas
TH-cam: th-cam.com/users/alexiouzas
Website: www.exileent.com
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วีดีโอ
The 3 Different Types of Producers on a Feature Film
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Understanding these roles is crucial if you are going to partner with a producer. Learn more: go.exileent.com Join 5k filmmakers who subscribe to The Friday Filmmaker: www.exileent.com/newsletter LinkedIn: www.linkedin.com/in/alexiouzas Instagram: aouzas TH-cam: th-cam.com/users/alexiouzas Website: www.exileent.com
4 Steps To Successfully Sell Your Film
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A-Z of selling your film to a distributor, studio or streamer. Learn more: go.exileent.com Join 5k filmmakers who subscribe to The Friday Filmmaker: www.exileent.com/newsletter LinkedIn: www.linkedin.com/in/alexiouzas Instagram: aouzas TH-cam: th-cam.com/users/alexiouzas Website: www.exileent.com
How Much Should You Spend Marketing Your Film?
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Spend big where it counts. Learn more: go.exileent.com Join 5k filmmakers who subscribe to The Friday Filmmaker: www.exileent.com/newsletter LinkedIn: www.linkedin.com/in/alexiouzas Instagram: aouzas TH-cam: th-cam.com/users/alexiouzas Website: www.exileent.com
How To Make 3 Feature Films As A Director
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Make one, make many. Learn more: go.exileent.com Join 5k filmmakers who subscribe to The Friday Filmmaker: www.exileent.com/newsletter LinkedIn: www.linkedin.com/in/alexiouzas Instagram: aouzas TH-cam: th-cam.com/users/alexiouzas Website: www.exileent.com
6 Things Producers Look For In A Pitch
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Nail your pitch. Work with me: go.exileent.com/apply Join 5k filmmakers who subscribe to The Friday Filmmaker: www.exileent.com/newsletter LinkedIn: www.linkedin.com/in/alexiouzas Instagram: aouzas TH-cam: th-cam.com/users/alexiouzas Website: www.exileent.com
My plan for 2024
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My plan for 2024 and beyond. Work with me: go.exileent.com/apply Join 5k filmmakers who subscribe to The Friday Filmmaker: www.exileent.com/newsletter LinkedIn: www.linkedin.com/in/alexiouzas Instagram: aouzas TH-cam: th-cam.com/users/alexiouzas Website: www.exileent.com #2024planner #filmmaking #productioncompany
Inside Look At My Production Company Workflow
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A step-by-step guide to how I manage multiple feature film projects. Work with me: go.exileent.com/apply Join 5k filmmakers who subscribe to The Friday Filmmaker: www.exileent.com/newsletter LinkedIn: www.linkedin.com/in/alexiouzas Instagram: aouzas TH-cam: th-cam.com/users/alexiouzas Website: www.exileent.com #featurefilm #filmmaking #productioncompany
New Movie Trailer: Time Addicts by Sam Odlum
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Check out the trailer for our new feature film, Time Addicts! Had a cracking time (pun intended) producing this. Check it out and let me know what you think. IN CINEMAS DECEMBER 7 - umbrellaent.com.au/movie/time-addicts/ Synopsis: In desperate debt to their volatile drug dealer, best friends, Denise and Johnny, agree to a sketchy job to pay off their last hit - breaking into a decrepit stash ho...
How Tax Incentives Can Supercharge Your Film Budget
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Turn $1m into $1.5m with ease Work with me: go.exileent.com/apply Join 5k filmmakers who subscribe to The Friday Filmmaker: www.exileent.com/newsletter LinkedIn: www.linkedin.com/in/alexiouzas Instagram: aouzas TH-cam: th-cam.com/users/alexiouzas Website: www.exileent.com #filmtaxincentives #filmfinance #filmmaking
Unlock The Secrets To Film Finance
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This is how you attract investors to your film Work with me: go.exileent.com/apply Join 5k filmmakers who subscribe to The Friday Filmmaker: www.alexiouzas.com/blog. LinkedIn: www.linkedin.com/in/alexiouzas/ Twitter: alexiouzas Instagram: aouzas TH-cam: th-cam.com/users/alexiouzas Website: www.alexiouzas.com #filmmaking #filminvestors #filmfinance
5 Steps to Landing Your Film on Netflix or Amazon
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5 Steps to Landing Your Film on Netflix or Amazon
From Production Company To Solo Filmmaker
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From Production Company To Solo Filmmaker
12 Mistakes I Made Producing 12 Feature Films
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12 Mistakes I Made Producing 12 Feature Films
Warning Signs Your Filmmaking Career Has Stalled
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Warning Signs Your Filmmaking Career Has Stalled
The Secret Behind A Positive ROI for Film Investors
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The Secret Behind A Positive ROI for Film Investors
How to Find The Perfect Producer For Your Film
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How to Find The Perfect Producer For Your Film
How To Finance Any Film Budget From $0 to $10m
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How To Finance Any Film Budget From $0 to $10m
An Inside Look At The Corporate Structure of My Indie Film Studio
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An Inside Look At The Corporate Structure of My Indie Film Studio
From Fruitvale Station To Black Panther: Wakanda Forever
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From Fruitvale Station To Black Panther: Wakanda Forever
5 Pieces of Advice That Will Destroy Your Film
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5 Pieces of Advice That Will Destroy Your Film
How To Make Film Investors An Offer They Can't Refuse
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How To Make Film Investors An Offer They Can't Refuse
Should You Attend The American Film Market 2022?
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Should You Attend The American Film Market 2022?
Framework To Become A Successful Filmmaker
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Framework To Become A Successful Filmmaker
Is 25% ROI good?
Alexis, you are a gem!
The most valuable 10 mins I have spent in teaching me the steps available to me in selling my film. Thanks mate. Liked and subbed.
Hey Alexi, I am starting to looking into funding for my film in Maine and did research on Maine Tax credits and saw some options and would love to talk more about it with you to get a clear understanding. Would love to chat more
Hey, I can’t get any contact details for Netflix South Africa and I have a series that I want to pitch to them. How can I get in contact with them or someone that can assist? Can you help?
Easier said than done.
What your thoughts on doing a series on TH-cam. Something that looks and feels high end streaming but with a fraction of the budget and great writing/story
Crucial education, Alex. I have done some considerable reading and have been in the relevant Media Production classes at UTS in Sydney. But: now that I have big plans, you stimulate me to get going. With what you tell us, I believe I can devise a series of plans which will sector into the budget ahead of involving my EP and my major funding prospects. You are indeed a scrupulous and a necessary operator in the local film-maker world. BLUEY QUILTY, MA for the TOM QUILTY PROJECT ASSOCIATES 2024
can you sell a trailer you already made to Netflix
Mr Ouzas, Your advice is extremely sound.Your four case examples resound with my thoughts. My Exec to be was on the King's Speech. I would like to ask for a conversation about my up-and-coming epic. It is an extraordinary romance conducted on national scale. I am forming a creative group of 6 of the best known creative media figures. I believe the Indie approach can easily lead to a highly successful international production. The hero is little known outside the Outback and the world of horseriding. Within that world, his name is known to hundreds of thousands. However, pundits say that the history of cinema is full of unknown characters who become heroes owing to a first class production. My Older Actor will be Jack Thompson. My best known outside-US prospect is Hugh Jackman and is a prospect owing to his relations with the RM Williams company. Whereas I have a desire and a need to work on set with you for experience - and I am a Grad Cert Media Arts of UTS Sydney - I cannot tell when I can let up until the Draft is in the hands of the Editor. I have business in Melbourne which can be anytime. Do email TQ2@AHQ.com.au . I am convinced you will find yourself in a rattling conversation. RSVP, Alex. BLUEY QUILTY, MA Copyright Producer AUSTRALIAN HERITAGE QUANTA Film and Televison For the TOM QUILTY PROJECT ASSOCIATES
U really don't understand how great it is to have u demystify this stuff. So appreciated 🎉 thank u from NYC. Cheers!
Another strategy that parallels #3: Find the next true up and comer, and approach them through a network of friends if possible, or directly. Some newer actors are on their way, and perhaps yours is the film that puts them over the top - like River Phoenix and Keanu Reeves in Gus van Sant’s My Own Private Idaho.
Absolutely, this is a great strategy. If your film is good and their career takes off, you also have an evergreen film as people will want to continue to go back to that actor's earlier work
How I got Colman Domingo: invited him to participate in a public reading of the script. After that, asked. To my delight, he said yes - which made for a better more marketable movie, and me a better director (because he taught me so much). Now, that was a few years ago. Mine was one of the last indie films the man made. But the higher his star rose, the better it reflected on our film. Sometimes just ask. The worst they can do is say no. Or ignore you.
For the #3 strategy: Is George Clooney passed his prime?
No
George Clooney will never be past his prime, he's like fine wine...
@@AlexiOuzas What strategy would you use to cast George C.?..I'm thinking I can use the #1 strategy
I have a well written Sci Fi script that I would like to pitch to Netflix can you help.
do you have this template available to download? I would love to utilize this amazing tool!
Yep it's in the description
Staying within the 250K budget range is excellent advice because like you said you can turn that budget into 650K and that is more than enough money to make a smash hit genre film and open the doors to attract more BIG FISH in the future.
Yep!
very helpful thanks, it aint easy!
You're welcome!
Please help me with a streaming platform distributors , this as been giving me stress
Konnichiwa Alexi, Greetings from Okinawa, Japan. How goes? Got a Q for you from this one, about it being our right as filmmakers to get a screening fee when our films play at festivals. I’ve come to find that some festivals do not offer screening fees to the filmmakers. Have you found festivals saying that films that are in competition are not offered screening fees?
It differs from festival to festival. The key is to always ask if they offer a screening fee. In my experience, if you ask they will tell you. But if you don't ask, they don't tell you either way.
not at all
Well done! Thank you soo much Alexi !!!🙂
No problem 😊
What is your formula for figuring out low, medium, and high projections? What if your self-financed film only made $200? Should that stop you from trying to get $50-100k? if you're pursuing the correct way to get money back from the film, ie. distributors, sales, agents, etc and all you did before was post your film with Filmhub? How do I put together the percentages and commissions for an investor before I've secured funds from an investor? How do I know if I should be attaching distribution to the project at the financing stage or after?
Love this.
Cheers!
Can you hire someone to pitch a script, or help you sell it? It's a true Story, About Evel Knievel's Body Guard. Gene could be famous for several things that have been written in a Hollywood movie. He was a motorcycle jumper, heavy weight boxer & more. Gene's father is the subject of THE ODD COUPLE movie. His real Father is Ernie Nevers. Who has fame in 3 Professional Sports. He invented the hook shot; Pitched to Babe Ruth; Saved the NFL & has the oldest 4 NFL records. Ernie was a first inductee to the NFL Hall of Fame. George Clooney made a movie; Leatherheads about him. Gene's GREATEST privilege is about the lives he has saved, even famous people. Just by an inspired thought that came into his head... instead of using his fists. His fists that were going to fight Ali, Joe Frazier, George Formen, and the heavy weights of His day, before Rocky Marciano died in a plane crash. He even had a thought come into his head when he invented the first Skido, and did a stunt in San Francisco. He sent the blue prints to Honda and Kawasaki with no patent. But that voice in his head said "undo your helmet strap", and it kept his head on his body to respond. The movie script starts with his famed WW2 Command Bomber Pilot mother, buzzing him and his brother in a Crop Dusting Plane, bombing them with toilet paper rolls. Gene was the longest touring motorcycle jumper in the world, flying a bike through flames of fire, when there were only 5 motorcycle stuntmen in the world. He's highly regarded in the stunt world. You can watch him speaking to a King, or doing Evel Kneivels Funeral on our channel. Thanks for your advice. Ceci
Yes there are EPs / Consultants out there who will do this. You might try pitching it directly to Producers who have made similar films or whose work you admire
A Screenwriter wrote a movie about my husbands very interesting life. Is there a way to sell a Movie Script?
Yes you could get it optioned by a Producer or Production Company
Respect is a big one. Team work makes the Dream Work!
100%
Bravo
Cheers
If you're George Lucas, you do it all...
Once again thank you very much for each and every one of your videos dear Alex!!! A query about the rights of the film. The 100% of the rights are shared exclusively between us EP, unless, as I understand from your explanation, the Producer, who is responsible for the film, is the one who can also have a percentage of the rights if he has invested a certain amount for the budget of the film. Am I right? Thank you very much once again.
Thanks for checking them out! Do you mind rephrasing your question, not sure I'm clear on it but I'm sure I can help!
@@AlexiOuzas Can the producer be an EP as long as he/she is an investor, i.e. as long as he/she contributes money to the project? Or can he/she also be EP if he/she brings other elements of value, such as "his/her work", "his/her conections", etc., to the project? etc..
This works perfect in theory. However it never works like this in practice.
Why not?
@@AlexiOuzas Many reasons Alexi. For each production actually their own reasons, but let me focus on a low budget feature. There's so many unknown unknowns involved and other unforseen hickups that in practice funds need to be reshuffled and re-allocated all the time and other disastrous stuff needs to be solved and mended with ingenuity and sheer luck, that a film finance plan is in our experience only good to give financiers something to hold on to when drawing their check books.
Hi Alexi, thanks for the very interesting and viable information on financing and ROI. You are a great resource to writers and filmmakers. Peace
Thanks mate!
Love your content but disagree on this one. It prioritises immediate monetary gain over the quality and long term monetary gain from the film. Better to defer fees as much as possible to make a higher quality film and attract better cast and crew plus get a better shot at success and royalties. What would you rather? Getting paid now for a worse film (which also diminishes your track record) or a better film for less up front fees? I think the film should be the priority. Otherwise why make films in the first place? Also I think that long term it ends up paying better anyway. In terms of career positives and even monetary return if you build up a history of high quality films that may start to produce royalties. I think the proposal here is a mistake, which is why so many Producers/Directors/Actors defer fees. So have to disagree on this one. Though I love the other 99% of your videos Alexi!
Most filmmakers do defer their fees or reinvest them. Which is why so many struggle financially. If the film doesn't hit you walk away with no financial benefit, and sometimes you are in the negative due to tax implications of investing your fees back in. I think you're also assuming that you can't make a high quality film with zero or minimal locations, which has been proven wrong many times. So the idea is to keep your BTL costs low, and increase your ATL fees (which includes main actors), creating a high quality film that ALSO pays well AND gives you upside from royalties because you own it. So in this case, agree to disagree!
@@AlexiOuzas Appreciate the response. I do understand where you’re coming from, I had the same opinion as I found it highly illogical to defer fees purely from a mathematical point of view (the math doesn’t work out as you are infinitely entitled to a percentage of earnings anyway so you will eventually hit the ceiling of earning potential no matter what, so you’re essentially giving up your fee) but the opinions and practices of highly experienced filmmakers including producers in Australia changed my perspective to look at the larger picture and I now believe it is best to fully or partially defer fees on low budget productions as the total value ROI is greater than immediate monetary gain. Some quick examples: "The Babadook" (2014): Director Jennifer Kent deferred her fee, allowing more funds to be directed towards production and post-production. The film had a budget of around $2 million and became a critical and commercial success. "The Nightingale" (2018): Producer Bruna Papandrea deferred part of her fee to support the film's budget constraints. The film had a budget of around $2 million and received significant acclaim. "Animal Kingdom" (2010): Producer Liz Watts deferred part of her fee for this low-budget film, which had a budget of around $5 million. The film received critical acclaim and commercial success. "Lion" (2016): Producer Emile Sherman deferred part of his fee to help manage the budget of approximately $12 million. "The Water Diviner" (2014): Director Russell Crowe deferred his fee to manage the production budget, which was around $22.5 million. “Deferring fees is a standard practice in the Australian low-budget film industry. Producers and directors commonly engage in fee deferrals, it demonstrates their commitment to the project and its potential success. The practice helps reduce upfront production costs, helps mitigate financial risk and allocates limited funds to other essential aspects of filmmaking, it also supports the creative vision, contributing to the overall feasibility of low-budget productions.” Really enjoy the channel, you are doing excellent work here. Good luck with your production!
Hi Alexis can you please guide me in what i should say when setting a meeting with a film distributor or a sale agent?
Why are you meeting with them?
@@AlexiOuzas yes
Yeah, these are great steps, but he's missing a lot. Like, a LOT a lot. How do you find the agent. What type? Should the movie be completed and shot?
You can find sales agents and distributors in many ways: referrals, online, markets. You can sell when it's completed/shot or during financing. I've done both. I don't think there's anything missing here
What about just selling a script outright?
But where and how can you find investors? Most importantly, how do you approach them? Like should I do it via email or something? If so; how?
Your personal network is the best place to start. You approach them with a detailed plan for how you are going to finance, produce and distribute the film. You can do an initial email and then meet over the phone/zoom or in person
If only there was a way to get those hefty personal entertainment lawyer fees down...😅
Excellent overview. Would you consider deferred fees and reinvesting fees essentially the same thing or is there an important difference? In my view deferred fees should be encouraged if the filmmakers/cast/crew truly believe in the potential of a project. You then have more funds for the production and possibly can push into higher tiers of cast and crew, all of which make a tangible difference to the final product. It also demonstrates confidence which I have heard from others is looked upon favourably by investors. Also deferring fees to increase the available production funds could mean better networking opportunities, increased exposure and experience with higher level crew, actors etc. Seems that the total value of deferred fees could out-weigh the downside. A better film obviously increases the odds of better royalties and profit long term. Terms could even incentivise deferring fees with increased fee if deferred. Seems like the way to go unless I'm missing something? Giving up a short term gain for increased probability of better long term return. Would love to hear your thoughts on this or even a video deep dive on the topic.
Deferred fees don't form part of the finance plan, whereas reinvested fees do. Deferred fees usually don't carry equity entitlement (though they can) and reinvested fees do. Reinvested fees will incur a tax obligation, because your fees are paid to you and then you put them back in, so it's income. Deferred fees aren't paid unless and until the film makes money. I've deferred fees a couple of times, but there's only so many of those you can do. They work well for micro budget films
@@AlexiOuzas Right. Of course, this makes perfect sense. Thank you for the clarification!
For a first or second time filmmaker having no experience with distribution companies is a major drawback because you have real no real profit numbers to share with private investors.
Agree, it's a big problem but also the reason why developing those relationships is so important
A follow up speculative video on changes that could've made to increase chances of a net positive would be interesting. Also, the math works out differently when you zoom out and look at it within the larger sequence of films for those filmmakers. Like Angel investing the hits can pay for the misses. Break even in that context isn't too bad, and there is other non-monetary value from having a feature made and successfully released that has positive effects.
Hi Alexi, fantastic Video. What sort of percentage share of the net profits (assuming 50/50 split with private investors) should a Producer expect of the remaining 50%, (say the Writer/Director had come to them with completed IP and the Producer was purely finance and production support), 10-20% seems to be the figure from my research. The remainder being split between the Director/Writer/Key Contributors backends, Co-Producer perhaps....does that sound about right in your experience? In terms of industry standards? Thanks!
The Producer will always keep the lion's share. Writers and Directors might get 5-10% of the Producer side and same with Actors, though agents prefer bonuses rather than net profit participation.
@@AlexiOuzas Hi Alexi, I recall you recommended approaching and setting up yourself and the Director as equals on a project, reflected with a 50/50 split of duties (finance/creative) and also a 50/50 split in ownership and profits, so neither is getting a greater share than the other. However, above you stated the Producer would keep the lion’s share. What am I missing? After key contributors' shares, wouldn’t it be a 50/50 split between the Producer and the Director of the remaining share, if using your suggested approach of Producer and Director being seen as equals on the project? I very much appreciate your insight as always.
@@silas1414 that's how I do it and in that case the Director is also a Producer. So I should have said Producer/s because there can be more than one.
Hi how can I get your contact details
Hi Alexis. Thank you for making this video. In few weeks I’m going to a film festival . My film was not selected but they send me an invitation to attend as a delegate. I’m not sure who are the professional hubs that are going to be there. Would you suggest me to contact sale agents or distributors for meeting? My film is complete
Yes contact as many as you can before the festival to set up meetings. Send them a trailer to your film and if they ask to see it, send them a screener
@@AlexiOuzas thank you Alexi I’ve DM you on IG.
This was really cool and helpful to see how you work on so many projects at once as an executive producer. Creating a system that saves you time is key on any project and any production. The fewer meetings the better. I am a person who strives off action and knowing what the next step is to accomplish the goal. Time is money. Time is what life is made out of so it's not good to waste it.
Yikes. Thats a lot of paperwork
Sure is!
This is helpful thank you. I have some experience working with the local tax incentives office in Seattle Washington. They still require you to have financing in place for your film before you can qualify for the tax rebates.
It varies state to state, and country to country, so it's always best to check the guidelines
Thank you Alexi for making the complicated simple. We lost our main Australian investor so I am back home in the DC area starting the finance game over. I created a video synopsis for the project to be sent to production companies that have a relationship with streamers and studios. th-cam.com/video/uS3oEGDNjPo/w-d-xo.html For now, I'm researching the Maryland tax incentives criteria (applications open July 5) and also looking at the Western Australian tax incentives with a partner, director Dean Head in Perth.
Sorry to hear your investor dropped out but it sounds like you're still moving ahead. Best of luck on the journey!
Thanks Alexi, this is excellent information. Would love to see more videos on this topic diving into the specifics of each even further. Long videos are not a problem when it's great information!
Sounds good! I'll line that up
Great video, Alexi! I'm at this stage now and have found a core team to execute. Do you recommend shooting an "in-demand" genre film (e.g. horror, sci-fi, thriller) for the first one? A standard drama would be cheaper/easier, but apparently these have almost 0 potential to make back any money unless there's a name in the movie. Thanks
What is the budget of the film?
@@AlexiOuzas Trying to keep it under $40,000 CAD (~44,000 AUD)
@@lensvana I've made my money back on a micro budget drama but it played at Venice. Generally with micro budget drama (and really dramas at most budget levels) it needs to play at a big festival to have a chance of recouping. But I do think dramas have a better chance of playing at a big festival due to how they are programmed. With a genre film you can still make money back without a big festival. So it really depends on a) whose money are you spending? If it's yours, maybe you're prepared to take more of a risk; and b) what is your objective? To make money back, to get into a big festival, something else? Ultimately you need to make the call.
@@AlexiOuzas Thanks for the advice! It's our money, so the priority would be to establish some credibility (look we can make a feature!) and recoup as much as possible. I'm sure getting into a reputable "genre film" festival can't hurt either. Congrats on the Venice showing! Great channel.
@@lensvana yep lots of great genre festivals
Very helpful brother but wanna discuss this more with you so i ca know better
Get in touch