@ozayevable Proves your English is poor , where are you from ?? you don't understand the context and my reply , tell me your language will translate and put it for you
Whoa...who is this interviewer? She's GOOD. She asked the questions, and the follow-up questions that I would've asked. Jeff got straight to the point with his answers too. A+ video.
Thanks Jonathan. We are glad you found this one. We are still in the process of working on this interview but in its entirety it is packed with information. The best is yet to come.
Yeah I agree, yet don't you think that now this is out there the other party will be swarmed with people who have watched this clip tried to do harder, and that they won't find ways to dodge us once and for all. (In part understandably)
Jeff's a baus. From the interview, he seems like he can get excited, super persistent, but without coming off pesky or annoying. He's also a truly great speaker and I'm sure that helped in his pitches as well.
I've watched a lot of your videos, this is the best one I've seen. He spells it out very well and quickly. The delivery of his answers are like short pitches in themselves. Great content, keep it up
We appreciate the support. We think this video with Jeff is great, but not his best one. Keep an eye out for a video in the future where he talks about pitching investors. You'll definitely want to check that one out.
When he finally got them to agree on the 3rd film, he had to deliver the film in 18 languages -- 25 versions of the film. I think it had more to do with Netflix not trusting that he could do all that on his own.
This is very invaluable, not only in movie industry, but also for anyone pitching to distributors/streamers/labels and so on. Many people concentrate on the quantity of followers they have and, while this can be an important factor in success during this digital age, never forget that all you need is one person in an office somewhere to say "yes" in order to get a breakthrough!
Love Film Courage. It is so helpful to me as a filmmaker without funds. I just write ✍ pray, get critique and learn 🙏🏽. Got a semifinal award from an international competition 👏
Forget having talent as a writer/filmmaker. Only those who have money, connections, or are good at gab get projects made. Hence the reason 99.99% of movies/shows are terrible.
I like guys that talk reality. I recon peeps need to be aware that each film has its own road. Every road is different. That includes how to get greenlite.
Jeff Deverett is a true professional, who didn't sugar coat the process needed to be successful. People "hate" rejection but if you really listen to his solid (life) advice...you can be successful as well. Keep at it everyone!
If every video on youtube was like this, the world would be a better place. *NO ANOYING INTRO, NO SPONSOR, NO ADS, NO 20 MINUTES OF USELESS TALKING* just straight to the point and exactly answering what the other person questioned
Watching the interview from Nigeria. Thank you for sharing this, shot my debut feature project some months back! i have slid back and forth from depression to mental breakdown! Filmmaking is really tough! i can say but i’m grateful for the opportunity to be a filmmaker.
I'd be very interested in the specific role of a distributor and the factors that differentiate such dealings from representation by an agent, including any likely fees or other expense involved, as well as contractual arrangements and payments involved in sale. It would also be super useful to note if the distributors themselves have a policy on unsolicited and unrepresented manuscripts.
@@mothratemporalradio517 Tgat probably Won't be an easy task as each distributor is human therfore is subject to their personal opinion, choice and decision.
@@Ghostfanofurs it was uber specific, wasn't it. I clarify that i assumed distributors were most likely companies rather than individuals. I had "shower thoughts" about this (well, if i'm to be completely honest, they were toilet thoughts, but i digress) and decided that even if you are right about the range of variables, it might be possible to establish certain parameters. For example, let's use an ordinary wage paid per hours as an example of variability. Obviously, there are loads of different industries, roles, and level of position in terms of experience and so forth. Very difficult to make sweeping generalisations ranging from unpaid work.experience to billionaires. However, for example, we could say for one thing that by definition, waged work is for a wage. Therefore we could point to positions that don't include this and classify those by way of comparison. For example, volunteer work and unpaid work experience, which aren't necessarily the same thing. The next factor might be whether there are any legal minimums for paid wages (and whether some employers pay under the table). This might extend to whether there is any unionised position on minimum rates of pay, and whether or not that is enforceable, and so on. In this sense, we could say that a person is most likely to be paid a wage of at least $1 an hour to distinguish them from volunteers or unpaid interns. Then in some situations we could observe if there is a legal minimum, and/or otherwise a minimum established by a union. So that might take us to $8 or $16 or $2000 an hour, depending on the poaition even before contemplation of any negotiation. So even though rates could differ by hundreds of thousands over the course of a year, it might be possible to establish a sense of the relevant parameters for a particular role. Perhaps in the same way there may be certain knowable parameters to be aware of and keep in mind if negotiating a deal about distribution. As an obvious example, if someone wants paid work and the negotiated arrangement was that they work for free, this would fall outside of the lowest parameter for a wage. I know absolutely nothing about distribution so it's hard for me to guess at any parameter, and i'm hoping that even with variables, there might be some useful information. Among that, it might be useful to know more from the distributor's point of view about the likes of realistic time and costs. Hope that makes sense, thanks for your input.
In terms of networking and as someone who has a couple friends in the movie business: Be genuinely interested in them, maybe even form a bit of a friendship and don't just approach them because you want something from them. My best friend is a director and he always feels a little used when someone just wants to have dinner with him so he can pitch him while not caring about other things. It's very difficult though - especially in Hollywood people are super sensitive, a lot of have been betrayed and it takes time for them to open up and invite you in "their club" so to speak. The way I would approach it is budget multiple months for this kind of networking phase from first meeting to the actual movie or tv show pitch. Always had the feeling that the elevator pitch doesn't work - fairly often I step with this friend in an elevator, a random person recognizes him and immediately starts his/her rehearsed pitch which is always a little...awkward :)
For an animated series you have to generally make a pitch bible. I'd recommend looking into pitch bibles. You also do have to speak on your own (not off the pitch bible) while answering any questions and filling in the essentials. And you have to do it all in a very short amount of time. Dress like it's an interview and be professional, but your welcomness and excitement for the project should show and be contagious. And you want a great hook. Also look into how animators you got their shows approved. Pendleton Ward brought a ukulele and suddenly sang the theme song. Connections and networking are also massively helpful and having some visual reference boards with you also massively helps (reference, not copy-cat. They need a rough idea, but don't use 1 thing as the reference unless you have the copyright to it.)
Love this! How do you do it in a bar? Then the follow up, I’ve never been good in a bar. So good. Chemistry. Jeff’s obviously all about integrity. No means, “not today.” Thank you!
The one thing that's unclear to me is what he's pitching. Is it finished movies, things that Netflix are supposed to finance or what? Otherwise very interesting
I believe he’s pitching completed projects. He mentioned bringing a trailer with his log line and pitch. While you technically “could” produce a trailer alone, they are typically cut from a completed project or at least a directors cut.
Since it's Indi, I think he's pitched the movies and they funded them for production. Remember he said he pitched for them many times that didn't lead to anything. That doesn't mean he has a vault of completed movies that Netflix doesn't want. That means he has a filing cabinet of ideas, pitches, bibles, and scripts that weren't bought.
The recipe for disaster: a movie that can be summoned in 2 minutes. Define The Godfather or even Alien in that much time. Even if you could convey the primordial elements, nothing of what made them eternal would be there. Good movies take listening, doubting, even fighting. You know, human stuff. If you land a good pitch today, that only means you have an interesting first act. That´s what premise-drive movies are and that´s what´s giving us this formulaic boring predictable lackluster cinema we have. Yes, like this guy´s movies you didn´t even see.
We believe this will be answered in an upcoming video segment with Jeff. And we believe the answer is that separate investors put up the money for Jeff's movies.
@Noé Rodriguez you need to find the acquisitions manager for your particular country or region. You can find acquisitions managers on LinkedInworking for Netflix. You have to find their internal Netflix emails. Then you’ll present your project through the mail.
@@nukliozz Hi! Thanks for that info. In terms of their internal emails, can i please clarify how one can ascertain these, if you know? Also, is there a general Netflix policy on unsolicited manuscripts that you know of? And/or info about any formatting, genres currently desired or excluded etc? Do we know anything about their slush pile? Cheers! Edit: i think i accidentally found part of the answer to this while seeing if i could find info about policy concerning foreign languages that the other dude was talking about above. Unfortunately, on paper, and this is not uncommon, Netflix do *not* accept unsolicited manuscripts, as set out in the page sourced by the link below. help.netflix.com/en/node/100386 In this case, and many others, you must first either have an agent representing your work, or rely on a third party who has a pre-existing relationship. A lot of people who are interested in breaking into the business don't seem aware of this principle. There used to be a good guide published annually which set out updated specs, and it included literary agents by area/genre. In effect, it might be essential to secure a working relationship with an agent in the first instance. Agents will have their own guidelines about who they represent. If you have a guide on this, whether a text or a person, it's a lot easier. Unfortunately i forget the name of the annual guide, which would be in a box somewhere and massively outdated. In other words, it's not what you know, it's who you know. But you can make approaches to certain agents with the intent of pitching to Netflix. There's no guarantees about whether they decide to represent you, but that's the first hurdle that has to be jumped, unless you have other connections. Sigh
Hello! Firstly, thanks for the content and thanks to Jeff for sharing his experience. One thought that just arose is to clarify that Netflix appears to have a policy that they do not accept unsolicited manuscripts, as set out here: help.netflix.com/en/node/100386 My suggestion is that if the title is "how to get a movie on netflix", this representation factor could be clarified with reference to current Netflix policy. Unless you have a pre-existing relationship with an affiliate of the business, which your average hopeful likely lacks, then, on paper at least, you must have an agent. Or categorically, you will not get a movie on Netflix. Edit:, i should have paid more attention. Jeff did explain that initially the Netflix business was a smaller size and did not have the same policy. The second time they required him to go through a third party distributor, providing a shortlist of 7, although it seemed like a pure waste of his money as a mechanism. And the third time he was able to bend their ear. I still think it might be worth further underlining, or explaining, so that no one gets the impression they can make a direct unsolicited approach if they persist enough when it will never fly. Jeff definitely covers the principle by reference to suggestion of personal recommendation from a third party that works in the business with Netflix. But for people who simply don't have those connections in their everyday life - a producer who conveniently believes in their work - then what? It's ultimately a different version of the same quandary; the vexed question of the how to get one's foot in the door. Representation by an agent is.a potential option that is not covered. It seems like Jeff does not go through an agent. It would be interesting to know more about that aspect. Including whether this was a deliberate decision, and for which reasons, and whether he encountered difficulty in securing representation. My sense is that his approach may be that if one can sell the product while avoiding the fee, then do that, based on how he spoke about the distributor in relation to the second pitch. But arguably paying a fee may be the only way people without showbiz connections can get their foot in the door. As such, ballpark figures for likely fees when dealing with agents and distributors including any commissions would be tremndously useful info. Speaking of this, ancient cogs whirred in my head and i remembered an annual writer's guide, which set out a range of publishers - its focus was probably more on books and journals - as well as agents, tied in with some useful information. It's been years and it's in a box somewhere. Do we know of a similar up to date, reliable guide for would-be writers that includes sections or focus on current policies of various production houses and agents regarding submissions? This can be invaluable when attempting to gauge, in particular, if an unsolicited, unrepresented manuscript can be sent anywhere, and on what terms. It makes direct comparisons easy, and makes the potential role of agents clearer. I think there was something else - it was where Jeff refers to directly approaching a clutch of businesses, after mentioning that they had to include the likes of subtitles for "delivery", if i got that straight. I was wondering if anyone can provide a few names of such businesses in order to gain a better idea of what would be involved.
This is one of the VERY few videos that actually *answers* the Netflix questions everyone has. Most videos that purport to discuss Netflix deals are filled with vague generalities and no specifics. I'm glad the interviewer asked him a second time "So what materials do you bring into the meeting?" since his first response didnt give the info requested. FINALLY we have some information that's useful!!
This interview was a catalyst for the gestation in the belief that if I could make a film then I could distribute it some how. Thank you for this very frank interview that was a gem for me.
What a gem...so glad I found this interview with Jeff Deverett! I found this to be invaluable information, especially for an indie woc filmmaker, trying to secure the resources, just to get my projects out of development and on screen.
Great info but makes my hope disappear. I'm just an ideas kinda guy, not interested in actually making what I write, though it would be cool to be allowed on set and watch it become a reality. My biggest issue is I'm autistic so networking, mixing with people, talking to strangers are almost impossible for me especially when I live in the UK so no chance of me flying over on my own. Its annoying as hell as I don't feel I'm good at anything BUT my ideas, its the only thing in my life i can honestly see good. I have all sorts of ideas from movie to TV shows, from horror to romance, animation, I feel like I'm sat on some big franchise or a big hit. Some of which I'm still shocked have never been done before, one Disney movie came very close to it tho. How does someone like me get heard? I wrote the first 5 episodes to a series idea, but turned it into a novel which is going through one more short rewrite before I look at publishing but this only a rare one I felt confident enough to turn into a novel esp since it was my first ever attempt
Dude i am in literally the same shoes as you!! Have soo many good ideas but not sure what to do or how to do it. I dont have much money either to shoot my own film or whatever. Where does one go after having a great idea?
Whoever did the interview-- I LOVE YOU! Your questions were so on point and exactly what I needed to be answered! Subbed and will be watching all these videos now! THANK YOU SO MUCH!!
I want the job of hearing the pitches. Or I want to be a distributor for Netflix. I get paid a commission for doing nothing - I’d get paid just for having the account!!! Yes….And I want to be at good at rejection as this guy.
There are companies out there that can put your movie in their catalog that is presented to all the streaming media services. The deal they make is 90% in their favor. I have a movie now on Amazon Prime where I will most likely be the only part of the chain that makes $0.
This is great. Thank you, thank you, thank you. This is one of the most sincere, genuine, worthwhile talk I've listened to on this topic. Since Mr. Jeff does consultation, I would love to connect with him. How can I connect with him please?
Great interview. Learned a lot here. I am curious though if he goes in with the film already made or just pitch a treatment and if they’re interested- do they discuss budget. Does streaming companies give you the budget or want to buy the finished product?
I live in Australia, I work a highly demanding yet very uncreative professional job. Have never written anything nor ever plan to. How did this series arrive in my recommended and why am I enjoying it so much? This is possibly the 10th video of yours I've watched
This video was sooooo helpful in so many ways. I'm not at the point where i'm pitching to Netflix but hearing stuff like No means not today is fuckin awesome and can be applied to so many aspects of the entertainment industries. Also the interviewer is amazing. To be genuinely curious is extremely important for a great interview. I gotta subscribe now.
Thank you for your kind words. We love this segment with Jeff and we have another one coming this Tuesday at 5pm PST entitled, 'Why No One Wants To Invest In Your Movie.' We highly recommend checking that one out.
It all boils down to people skills and people skills are an art. You have to practice your social skills, it's a muscle you need to work out to get better
I don’t do well at bars either, to many distractions. It’s kind of what’s held me back imo. I’m doing virtual networking at a festival and it works so much better for networking especially for someone like me.
When Jeff was pitching to Netflix, were his film already made, or did he have a packaged screenplay (e.g., script, talent, director, below-the-line talent, etc.)? Since he was asked to work with a distribution company, I assumed it was at least the latter, if not the former. I've not known distribution companies to work with just screenwriters unless they have an established track record, but perhaps I'm mistaken.
The biggest problem netflix has is the cost of its content library. It is estimated that their costs are going to rise to about 50 billion. The only way that I can see Netflix really succeeding is to have a movie rental platform that is seperate from their current platform. How can they really make money from a $100 million production?
It makes me wonder if they'll shift their model more indy and low budget perhaps if they are worried about the costs of their library ballooning super high idk Kinda like early Miramax maybe
@@franjes9999 The problem with going low budget is that the quality of the content will be impacted and they also have an issue with the volume of content that they have. I think they would struggle to make 400 million of a movie that they have paid $100 million for.
@@bighands69 it would depend on the type of stories they gamble on. With early Miramax what they were doing was taking contained stories with less set pieces and less flash but combining those stories with established talent in order to attract audiences (Pulp Fiction, Good Will Hunting, Rounders, Shakespeare In Love). By spending most of the budget on name talent you increase your chances of making a return, unless you're dealing with a Marvel or Jurassic Park level blockbuster type of epic. A24 I think is a similar extension of this idea with films like Moonlight, The Lighthouse, Uncut Gems, Goodtime and Midsommar.
@@franjes9999 All those films from the 1990s had great actors in them some starting out and others that were established. If a studio can do the same thing today it may actually succeed but I fear that culture is at an all time creativity low. I found Midsomer terrible at best and was the most unimaginative nonsense that was not a low budget movie and cost about $10 million to make. It struck me as something that should have been done for $500,000 my wife has still not forgiven me for selecting that movie to watch. Back when Goodwill Hunting came out culture was willing to go out and experiment with films at cinema but today people have a very low threshold for nonsense and most of what is out there is nonsense and they are not motivated to pay and watch the films.
I would like for someone to really break it down and go from being alone in their kitchen with a screenplay to getting a network or streaming service to accept your idea. Step by step by step. Thats what I'd like to hear.
@@mrbrownroyyal there’s no magic “step by step”, it’s an art form, and getting into a major streaming service is probably an art form unto itself because what you are really asking is “hey how can I achieve some success” .....it’s not like following a pecan pie recipe....takes a lot more than just a “step by step” lol
The most honest and clear response ever in the history of "getting the deal". I really appreciate him not sugar-coating truth and being poignantly direct that there is no definitive method to the madness.
The competition is extreme out there. For every movie a person has there is a hundred more movies out there to pick from. I used to investment entertainment and all I ever did was listen to project pitches. It ended up using up most of my time. And every person I use to have a meeting with was really motivated and wanting to succeed.
sir I am a new and independent filmmaker in India. I made few short films in Hindi.. Sir whom should I contact in Netflix in India to have a deal during pre production phase of a film
Thank you very much for this insightful and informative video. Yes, it was indeed helpful! I appreciate it greatly. "No means not today" is truly heartening and inspiring! Cheers to Film courage and Mr. Jeff Deverett.
one way you can tell a real "yes" from a "no" is if they start asking you questions. such as, have you signed with anyone yet? do you have an agent? Are you available for a follow-up meeting? etc Giving you any kind of answer without a single question following up is a No. Which can also mean "not today". 🙂
Okay slightly confused at what point in the process he is when he’s pitching. Is he pitching completed movies and wants to stream them, is he pitching ideas in which case are writers at Netflix writing them or is someone else writing them?
Here is Part 2 - th-cam.com/video/zDKe7f-WPdk/w-d-xo.html
No means not today. That's something always to remember. Thank you.
"Get an established producer"
"No means not today"
awefull , rather Call me
@@contactsan12 is awefull a good thing?... As opposed to awful
@@xianthegaian4060 pissed off with the video 🎥 what nonsense, who gives chance and why would,
@ozayevable Proves your English is poor , where are you from ?? you don't understand the context and my reply , tell me your language will translate and put it for you
@ozayevable 🤣🤣🤣🤣🤣
Whoa...who is this interviewer? She's GOOD. She asked the questions, and the follow-up questions that I would've asked. Jeff got straight to the point with his answers too. A+ video.
I think its because she really wanted to know for herself too. Almost all the time interviewers are told to interview someone.
@@XFactorDN im not sure that was Totally the case.
For real!
Can i buy books to them??
I mean sell
Single handedly one of the most direct questions asked and answered. Everything I wanted to know was cleared up. Outstanding interview.
1
My exact same thoughts.
@@MrRussel wow this Is life changing
Wow, I had no idea . Really wants to give folks a second thought as to whether or not they want to bother with Netflix. 👍
Yeah!
As if the interviewer was us!
This was one of the BEST interviews. No tangents, no BS or long anecdotes.
Thanks Jonathan. We are glad you found this one. We are still in the process of working on this interview but in its entirety it is packed with information. The best is yet to come.
But those things make life fun!
Great stuff! It's nice to hear the reality of pitching from a seasoned professional. It's definitely not an easy task.
Yeah I agree, yet don't you think that now this is out there the other party will be swarmed with people who have watched this clip tried to do harder, and that they won't find ways to dodge us once and for all. (In part understandably)
Damn good interview. Direct and to the point. Brought up scenarios I didn't even imagine.
Glad this one found you Kyle, thanks for watching.
Jeff's a baus. From the interview, he seems like he can get excited, super persistent, but without coming off pesky or annoying. He's also a truly great speaker and I'm sure that helped in his pitches as well.
Loved every millisecond of this
Great to hear DiMario. Thanks for watching. We have a lot more with Jeff to share.
fr
You write
I've watched a lot of your videos, this is the best one I've seen. He spells it out very well and quickly. The delivery of his answers are like short pitches in themselves. Great content, keep it up
We appreciate the support. We think this video with Jeff is great, but not his best one. Keep an eye out for a video in the future where he talks about pitching investors. You'll definitely want to check that one out.
I agree, people hate when you can't or won't get to the point and basically just ramble through an interview.
lol fr
"We're too busy to make an account for you" translated "We're too lazy to type 60 seconds of your info in our system"
that's a wild guess.
When he finally got them to agree on the 3rd film, he had to deliver the film in 18 languages -- 25 versions of the film. I think it had more to do with Netflix not trusting that he could do all that on his own.
They probably have to do a credit search, insurance check, set up new accounts payable etc. Not a simple process and more risk
This is very invaluable, not only in movie industry, but also for anyone pitching to distributors/streamers/labels and so on. Many people concentrate on the quantity of followers they have and, while this can be an important factor in success during this digital age, never forget that all you need is one person in an office somewhere to say "yes" in order to get a breakthrough!
“One person in an office somewhere to say yes in order to get a breakthrough” LOVE THIS ☺️🙏🏾✨
This is fascinating. I never knew the process before now. Thank you for posting.
Love Film Courage. It is so helpful to me as a filmmaker without funds. I just write ✍ pray, get critique and learn 🙏🏽. Got a semifinal award from an international competition 👏
one of the most useful videos I've seen about pitching - today. Where can I find that list of the 7 go-to distributors Netflix prefers?
I found it on Google in like 6 seconds of searching.
@@AdamBrianDada which according to him you'd be actually pitching your story twice.
Forget having talent as a writer/filmmaker. Only those who have money, connections, or are good at gab get projects made. Hence the reason 99.99% of movies/shows are terrible.
Facts
"No means not today" I will remember that.
Wow, his crap movies really prove that your script doesn't matter, just the way you present it.
Finally got the answer to a question I've been wondering for about 2 years now *hand clap*
I like guys that talk reality. I recon peeps need to be aware that each film has its own road. Every road is different. That includes how to get greenlite.
Woooow this was the most honest interview everyone about the business of Netflix. Thank you for this eye opening content 👏🏽👏🏽👌
Thanks for watching. Best is yet to come.
Jeff Deverett is a true professional, who didn't sugar coat the process needed to be successful. People "hate" rejection but if you really listen to his solid (life) advice...you can be successful as well. Keep at it everyone!
If every video on youtube was like this, the world would be a better place. *NO ANOYING INTRO, NO SPONSOR, NO ADS, NO 20 MINUTES OF USELESS TALKING* just straight to the point and exactly answering what the other person questioned
Have used the "clip" feature for the first time and shared on social media. Great channel with great content, and I love the honesty.
😂
Very helpful. I am absolutely certain now that I am never getting anything on Netflix. 😁
you get MORE of what you focus on
regardless the show must go on
Watching from Nigeria, I'm a filmmaker and this has been super helpful.. I admire his sincerity.
Sending you our best Kelvin. Thanks for watching.
Hey I’m interested in checking out more Nigerian films, what are your recommendations of some of the best?
It depends on what kind of movies you like...genre/niche
Can we linkup boss ...am in Lagos and i wanna venture ......
Watching the interview from Nigeria.
Thank you for sharing this, shot my debut feature project some months back! i have slid back and forth from depression to mental breakdown!
Filmmaking is really tough! i can say but i’m grateful for the opportunity to be a filmmaker.
Super useful. Can we get a video on working with a distributer on making delivery?
I'd be very interested in the specific role of a distributor and the factors that differentiate such dealings from representation by an agent, including any likely fees or other expense involved, as well as contractual arrangements and payments involved in sale. It would also be super useful to note if the distributors themselves have a policy on unsolicited and unrepresented manuscripts.
@@mothratemporalradio517 Tgat probably Won't be an easy task as each distributor is human therfore is subject to their personal opinion, choice and decision.
@@Ghostfanofurs it was uber specific, wasn't it. I clarify that i assumed distributors were most likely companies rather than individuals. I had "shower thoughts" about this (well, if i'm to be completely honest, they were toilet thoughts, but i digress) and decided that even if you are right about the range of variables, it might be possible to establish certain parameters. For example, let's use an ordinary wage paid per hours as an example of variability. Obviously, there are loads of different industries, roles, and level of position in terms of experience and so forth. Very difficult to make sweeping generalisations ranging from unpaid work.experience to billionaires. However, for example, we could say for one thing that by definition, waged work is for a wage. Therefore we could point to positions that don't include this and classify those by way of comparison. For example, volunteer work and unpaid work experience, which aren't necessarily the same thing. The next factor might be whether there are any legal minimums for paid wages (and whether some employers pay under the table). This might extend to whether there is any unionised position on minimum rates of pay, and whether or not that is enforceable, and so on. In this sense, we could say that a person is most likely to be paid a wage of at least $1 an hour to distinguish them from volunteers or unpaid interns. Then in some situations we could observe if there is a legal minimum, and/or otherwise a minimum established by a union. So that might take us to $8 or $16 or $2000 an hour, depending on the poaition even before contemplation of any negotiation. So even though rates could differ by hundreds of thousands over the course of a year, it might be possible to establish a sense of the relevant parameters for a particular role. Perhaps in the same way there may be certain knowable parameters to be aware of and keep in mind if negotiating a deal about distribution. As an obvious example, if someone wants paid work and the negotiated arrangement was that they work for free, this would fall outside of the lowest parameter for a wage. I know absolutely nothing about distribution so it's hard for me to guess at any parameter, and i'm hoping that even with variables, there might be some useful information. Among that, it might be useful to know more from the distributor's point of view about the likes of realistic time and costs. Hope that makes sense, thanks for your input.
Actually it sounds like making a movie on Netflix is a lot harder than I thought
Nothing in this business is easy.
They sell no's like hot cakes!
Netflix is now a juggernaut and now there's competition. They want to stay on top of the streaming world.
Why are you posting on TH-cam instead of working on your movie?
@@JonasPolsky He skipped the first step. He knew an agent.
“It takes 250 calls to get an appointment.” Absolute gold. A paradigm altering necessity to hear.
Nothing is easy when it come to Film The only easy part is sitting in your room eat popcorn and watch.
True.
"No means, not today." Absolutely brilliant. Can't tell you how much I needed to hear that.
This was absolutely a brilliant honest interview.
Perfection of an interview,I learned so much!
Jeff is excellent. Happy you found helpful information here!
Was he a gymnast originally? Strange that an odd looking og like dude write a successful gymnastics film/series just a thought
Odd looking ? Human looking.
man looks like the most normal lawyer ever
In terms of networking and as someone who has a couple friends in the movie business: Be genuinely interested in them, maybe even form a bit of a friendship and don't just approach them because you want something from them. My best friend is a director and he always feels a little used when someone just wants to have dinner with him so he can pitch him while not caring about other things. It's very difficult though - especially in Hollywood people are super sensitive, a lot of have been betrayed and it takes time for them to open up and invite you in "their club" so to speak.
The way I would approach it is budget multiple months for this kind of networking phase from first meeting to the actual movie or tv show pitch. Always had the feeling that the elevator pitch doesn't work - fairly often I step with this friend in an elevator, a random person recognizes him and immediately starts his/her rehearsed pitch which is always a little...awkward :)
Fantastic interview. I appreciate Jeff honesty about the industry in streaming. This will help other potential filmmakers pursue their career
Netflix systems it's just like theater, movies who not get upportunity in theater, go to netflix for their own theater
Great interview .
I want to pitch a animated show not sure if any of this translates. But helpful either way
For an animated series you have to generally make a pitch bible. I'd recommend looking into pitch bibles. You also do have to speak on your own (not off the pitch bible) while answering any questions and filling in the essentials. And you have to do it all in a very short amount of time. Dress like it's an interview and be professional, but your welcomness and excitement for the project should show and be contagious. And you want a great hook.
Also look into how animators you got their shows approved. Pendleton Ward brought a ukulele and suddenly sang the theme song. Connections and networking are also massively helpful and having some visual reference boards with you also massively helps (reference, not copy-cat. They need a rough idea, but don't use 1 thing as the reference unless you have the copyright to it.)
"No" means, not Today..... Very inspirational...and so true in Hollywood
It's ALL about timing, momentum, and reciprocity.
Love this! How do you do it in a bar? Then the follow up, I’ve never been good in a bar. So good. Chemistry. Jeff’s obviously all about integrity. No means, “not today.” Thank you!
The one thing that's unclear to me is what he's pitching. Is it finished movies, things that Netflix are supposed to finance or what? Otherwise very interesting
My guess is completed projects
I believe he’s pitching completed projects. He mentioned bringing a trailer with his log line and pitch. While you technically “could” produce a trailer alone, they are typically cut from a completed project or at least a directors cut.
Ok but how do we get them financed in order to complete them in the first place?
Since it's Indi, I think he's pitched the movies and they funded them for production. Remember he said he pitched for them many times that didn't lead to anything. That doesn't mean he has a vault of completed movies that Netflix doesn't want. That means he has a filing cabinet of ideas, pitches, bibles, and scripts that weren't bought.
He mentions the production of the movie in the first questions, he pitches the idea, then delivers on budget and schedule
The recipe for disaster: a movie that can be summoned in 2 minutes.
Define The Godfather or even Alien in that much time. Even if you could convey the primordial elements, nothing of what made them eternal would be there.
Good movies take listening, doubting, even fighting. You know, human stuff.
If you land a good pitch today, that only means you have an interesting first act. That´s what premise-drive movies are and that´s what´s giving us this formulaic boring predictable lackluster cinema we have. Yes, like this guy´s movies you didn´t even see.
If you don't know how to do it, hook up with somebody who does.
What was helpful to you? Anything *not* helpful?
This was great. Quick question. Does Netflix provide the money for Jeff to make the films or do they buy his movie that is already made?
We believe this will be answered in an upcoming video segment with Jeff. And we believe the answer is that separate investors put up the money for Jeff's movies.
@Noé Rodriguez you need to find the acquisitions manager for your particular country or region. You can find acquisitions managers on LinkedInworking for Netflix. You have to find their internal Netflix emails. Then you’ll present your project through the mail.
@@nukliozz Hi! Thanks for that info. In terms of their internal emails, can i please clarify how one can ascertain these, if you know? Also, is there a general Netflix policy on unsolicited manuscripts that you know of? And/or info about any formatting, genres currently desired or excluded etc? Do we know anything about their slush pile? Cheers!
Edit: i think i accidentally found part of the answer to this while seeing if i could find info about policy concerning foreign languages that the other dude was talking about above. Unfortunately, on paper, and this is not uncommon, Netflix do *not* accept unsolicited manuscripts, as set out in the page sourced by the link below.
help.netflix.com/en/node/100386
In this case, and many others, you must first either have an agent representing your work, or rely on a third party who has a pre-existing relationship. A lot of people who are interested in breaking into the business don't seem aware of this principle. There used to be a good guide published annually which set out updated specs, and it included literary agents by area/genre. In effect, it might be essential to secure a working relationship with an agent in the first instance. Agents will have their own guidelines about who they represent. If you have a guide on this, whether a text or a person, it's a lot easier. Unfortunately i forget the name of the annual guide, which would be in a box somewhere and massively outdated. In other words, it's not what you know, it's who you know. But you can make approaches to certain agents with the intent of pitching to Netflix. There's no guarantees about whether they decide to represent you, but that's the first hurdle that has to be jumped, unless you have other connections. Sigh
Hello! Firstly, thanks for the content and thanks to Jeff for sharing his experience. One thought that just arose is to clarify that Netflix appears to have a policy that they do not accept unsolicited manuscripts, as set out here: help.netflix.com/en/node/100386
My suggestion is that if the title is "how to get a movie on netflix", this representation factor could be clarified with reference to current Netflix policy. Unless you have a pre-existing relationship with an affiliate of the business, which your average hopeful likely lacks, then, on paper at least, you must have an agent. Or categorically, you will not get a movie on Netflix.
Edit:, i should have paid more attention. Jeff did explain that initially the Netflix business was a smaller size and did not have the same policy. The second time they required him to go through a third party distributor, providing a shortlist of 7, although it seemed like a pure waste of his money as a mechanism. And the third time he was able to bend their ear.
I still think it might be worth further underlining, or explaining, so that no one gets the impression they can make a direct unsolicited approach if they persist enough when it will never fly. Jeff definitely covers the principle by reference to suggestion of personal recommendation from a third party that works in the business with Netflix. But for people who simply don't have those connections in their everyday life - a producer who conveniently believes in their work - then what? It's ultimately a different version of the same quandary; the vexed question of the how to get one's foot in the door. Representation by an agent is.a potential option that is not covered. It seems like Jeff does not go through an agent. It would be interesting to know more about that aspect. Including whether this was a deliberate decision, and for which reasons, and whether he encountered difficulty in securing representation. My sense is that his approach may be that if one can sell the product while avoiding the fee, then do that, based on how he spoke about the distributor in relation to the second pitch. But arguably paying a fee may be the only way people without showbiz connections can get their foot in the door. As such, ballpark figures for likely fees when dealing with agents and distributors including any commissions would be tremndously useful info.
Speaking of this, ancient cogs whirred in my head and i remembered an annual writer's guide, which set out a range of publishers - its focus was probably more on books and journals - as well as agents, tied in with some useful information. It's been years and it's in a box somewhere. Do we know of a similar up to date, reliable guide for would-be writers that includes sections or focus on current policies of various production houses and agents regarding submissions? This can be invaluable when attempting to gauge, in particular, if an unsolicited, unrepresented manuscript can be sent anywhere, and on what terms. It makes direct comparisons easy, and makes the potential role of agents clearer.
I think there was something else - it was where Jeff refers to directly approaching a clutch of businesses, after mentioning that they had to include the likes of subtitles for "delivery", if i got that straight. I was wondering if anyone can provide a few names of such businesses in order to gain a better idea of what would be involved.
This is one of the VERY few videos that actually *answers* the Netflix questions everyone has.
Most videos that purport to discuss Netflix deals are filled with vague generalities and no specifics.
I'm glad the interviewer asked him a second time "So what materials do you bring into the meeting?" since his first response didnt give the info requested. FINALLY we have some information that's useful!!
This interview was a catalyst for the gestation in the belief that if I could make a film then I could distribute it some how. Thank you for this very frank interview that was a gem for me.
I wouldn't get movie on netflix even if they pay me a million dollar. Netflix is for bad content
One of the most real interviews, no cut no cap.
What a gem...so glad I found this interview with Jeff Deverett! I found this to be invaluable information, especially for an indie woc filmmaker, trying to secure the resources, just to get my projects out of development and on screen.
Cheers Lynda. We have another great one with Jeff going up at 5pm PST tonight. Keep an eye out.
@@filmcourage 👍
Rule 1: Be Adam Sandler.
Kidding aside, this was very cool and informative.
Great info but makes my hope disappear. I'm just an ideas kinda guy, not interested in actually making what I write, though it would be cool to be allowed on set and watch it become a reality. My biggest issue is I'm autistic so networking, mixing with people, talking to strangers are almost impossible for me especially when I live in the UK so no chance of me flying over on my own. Its annoying as hell as I don't feel I'm good at anything BUT my ideas, its the only thing in my life i can honestly see good. I have all sorts of ideas from movie to TV shows, from horror to romance, animation, I feel like I'm sat on some big franchise or a big hit. Some of which I'm still shocked have never been done before, one Disney movie came very close to it tho. How does someone like me get heard? I wrote the first 5 episodes to a series idea, but turned it into a novel which is going through one more short rewrite before I look at publishing but this only a rare one I felt confident enough to turn into a novel esp since it was my first ever attempt
Dude i am in literally the same shoes as you!! Have soo many good ideas but not sure what to do or how to do it. I dont have much money either to shoot my own film or whatever. Where does one go after having a great idea?
@@rebellion7463 I turned one of them into a novel, currently getting a cover designed before I go down the publishing route
Whoever did the interview-- I LOVE YOU! Your questions were so on point and exactly what I needed to be answered! Subbed and will be watching all these videos now! THANK YOU SO MUCH!!
Frankly one of the most enlightening/insightful of the videos yall have delivered..
I want the job of hearing the pitches. Or I want to be a distributor for Netflix. I get paid a commission for doing nothing - I’d get paid just for having the account!!! Yes….And I want to be at good at rejection as this guy.
Jeff is amazing! I'm so grateful to have been apart of Full Out.
The level of honesty and transparency here is unfathomable.
Pitch movies about gymnastics. Got it 👍
Make sure your movie is woke and able to check off all the boxes.
There are companies out there that can put your movie in their catalog that is presented to all the streaming media services. The deal they make is 90% in their favor. I have a movie now on Amazon Prime where I will most likely be the only part of the chain that makes $0.
What companies are thse?
How to get a movie on Netflix
1. Be super duper woke
2. Be super duper woke
3. Be super duper woke.
4. Green Lit
Step 1: Get Noah Centineo on board.
Step 2: who cares
Step 3: Profit
Jeff's sincerity is amazing - and the clarity in questions, as well as answers, is impeccable.
Must be why all the new content sucks. Only listening to 2 minute pitches/ don't know what they are buying
This is great. Thank you, thank you, thank you. This is one of the most sincere, genuine, worthwhile talk I've listened to on this topic. Since Mr. Jeff does consultation, I would love to connect with him. How can I connect with him please?
Great interview. Learned a lot here.
I am curious though if he goes in with the film already made or just pitch a treatment and if they’re interested- do they discuss budget. Does streaming companies give you the budget or want to buy the finished product?
I live in Australia, I work a highly demanding yet very uncreative professional job. Have never written anything nor ever plan to. How did this series arrive in my recommended and why am I enjoying it so much? This is possibly the 10th video of yours I've watched
Google believes in you...
That's how they keep the money within the family/friends
This video was sooooo helpful in so many ways. I'm not at the point where i'm pitching to Netflix but hearing stuff like No means not today is fuckin awesome and can be applied to so many aspects of the entertainment industries. Also the interviewer is amazing. To be genuinely curious is extremely important for a great interview. I gotta subscribe now.
Thank you for your kind words. We love this segment with Jeff and we have another one coming this Tuesday at 5pm PST entitled, 'Why No One Wants To Invest In Your Movie.' We highly recommend checking that one out.
@@filmcourage I absolutely will check it out!!!
So when they tell me to eat my own socks when I call 40 time and threaten me I should call these companies 210 more times?
I have a good story , in Texas almost like a Yellowstone
Awesome and straight forward interview...
It all boils down to people skills and people skills are an art. You have to practice your social skills, it's a muscle you need to work out to get better
'Making Delivery' Makes It Sound So Boring.
I don’t do well at bars either, to many distractions. It’s kind of what’s held me back imo. I’m doing virtual networking at a festival and it works so much better for networking especially for someone like me.
Jeff Deverett has an IP law background. Has that specific skill been helpful to him in negotiating deals? What IP advice can he share with us?
When Jeff was pitching to Netflix, were his film already made, or did he have a packaged screenplay (e.g., script, talent, director, below-the-line talent, etc.)? Since he was asked to work with a distribution company, I assumed it was at least the latter, if not the former. I've not known distribution companies to work with just screenwriters unless they have an established track record, but perhaps I'm mistaken.
I want to know this same thing
Netflix will buy direct if it's the "hot" movie at a major festival and it's the only way they can get it.
The biggest problem netflix has is the cost of its content library. It is estimated that their costs are going to rise to about 50 billion.
The only way that I can see Netflix really succeeding is to have a movie rental platform that is seperate from their current platform.
How can they really make money from a $100 million production?
It makes me wonder if they'll shift their model more indy and low budget perhaps if they are worried about the costs of their library ballooning super high idk
Kinda like early Miramax maybe
@@franjes9999
The problem with going low budget is that the quality of the content will be impacted and they also have an issue with the volume of content that they have.
I think they would struggle to make 400 million of a movie that they have paid $100 million for.
@@bighands69 it would depend on the type of stories they gamble on.
With early Miramax what they were doing was taking contained stories with less set pieces and less flash but combining those stories with established talent in order to attract audiences (Pulp Fiction, Good Will Hunting, Rounders, Shakespeare In Love). By spending most of the budget on name talent you increase your chances of making a return, unless you're dealing with a Marvel or Jurassic Park level blockbuster type of epic.
A24 I think is a similar extension of this idea with films like Moonlight, The Lighthouse, Uncut Gems, Goodtime and Midsommar.
@@franjes9999
All those films from the 1990s had great actors in them some starting out and others that were established.
If a studio can do the same thing today it may actually succeed but I fear that culture is at an all time creativity low.
I found Midsomer terrible at best and was the most unimaginative nonsense that was not a low budget movie and cost about $10 million to make. It struck me as something that should have been done for $500,000 my wife has still not forgiven me for selecting that movie to watch.
Back when Goodwill Hunting came out culture was willing to go out and experiment with films at cinema but today people have a very low threshold for nonsense and most of what is out there is nonsense and they are not motivated to pay and watch the films.
I would like for someone to really break it down and go from being alone in their kitchen with a screenplay to getting a network or streaming service to accept your idea. Step by step by step. Thats what I'd like to hear.
Be a great writer or filmmaker....they’ll find you
@@Daniel-hs6ct Thanks for breaking it down step by step!
@@mrbrownroyyal there’s no magic “step by step”, it’s an art form, and getting into a major streaming service is probably an art form unto itself because what you are really asking is “hey how can I achieve some success” .....it’s not like following a pecan pie recipe....takes a lot more than just a “step by step” lol
@@Daniel-hs6ct LOL thanks Daniel. I knew none of this until you responded to me. I really appreciate it.
@@mrbrownroyyal 🤔
I want to see billy walsh in a pitch meeting.
Such an informative interview. Something I rarely ever say. 👍🏾👏🏽👏🏽👏🏽
We are glad this one found you Shelly!
And when I upload my entire movie on TH-cam and it will go viral because the people like it, will it speed up the process?
I thought Netflix are the distributor. They stream direct so why do they need a distributor? Confused.
I love this guy, most points seem true for any kind of art business
The most honest and clear response ever in the history of "getting the deal". I really appreciate him not sugar-coating truth and being poignantly direct that there is no definitive method to the madness.
The competition is extreme out there. For every movie a person has there is a hundred more movies out there to pick from.
I used to investment entertainment and all I ever did was listen to project pitches. It ended up using up most of my time. And every person I use to have a meeting with was really motivated and wanting to succeed.
sir I am a new and independent filmmaker in India. I made few short films in Hindi.. Sir whom should I contact in Netflix in India to have a deal during pre production phase of a film
„Get an established producer“
„Get an appointment and pitch“
Yeah, thanks buddy
Really appreciate the straight toward style of the interview and format of this video. Excellent quality.
Thank you very much for this insightful and informative video. Yes, it was indeed helpful! I appreciate it greatly. "No means not today" is truly heartening and inspiring! Cheers to Film courage and Mr. Jeff Deverett.
one way you can tell a real "yes" from a "no" is if they start asking you questions. such as, have you signed with anyone yet? do you have an agent? Are you available for a follow-up meeting? etc Giving you any kind of answer without a single question following up is a No. Which can also mean "not today". 🙂
Had to subscribe because this is too good.
Thank you for this video. Great insight to what's going on behind the curtain.
Glad it was helpful!
One of the characters is gay boom!
So interesting! And it also explains to me finally why there are so many crappy movies and shows made.
Okay slightly confused at what point in the process he is when he’s pitching. Is he pitching completed movies and wants to stream them, is he pitching ideas in which case are writers at Netflix writing them or is someone else writing them?
Good question🤔
The squeaky wheel gets the grease.
Damn. I actually watched all the way through. This was a good interview. I’m not just saying that.
Thanks C J, hope you found some value here.
What is 'delivery'?
Handing in your movie meeting a deadline and all technical requirements.
Glad get some real advice cause I’ve been trying become a actor - producer, I’ve been writing scripts since 15 now I’m 33 still writing
What type of genres do you write? im a writer too. I dont know where to go after writing a movie though, so confused on the whole process