Hello and welcome back to another episode of Acting with Asher. Last episode my throat was gone. I'd had like five, no, three lots. Such an exaggerator. I'd had three lots of uh tonsillitis in a row. The final antibiotics has killed it, but my voice is still a bit edgy. So, and plus I've just woken up, the kids aren't here, so it's the perfect opportunity to record a podcast. Um, and today's topic is actually um something that I actually can't believe that I've not dedicated an episode to sooner. It is how to be a lead actor in a film that you created. And that is basically what I do and have done now for three features and a ton of short short films, and I never put a number on short films because there's only really one that I created and put out to festivals because I think I started filmmaking when I was 20, 21, and I didn't really understand the point of festivals, and I didn't really understand what I was making a film for, apart from just to like act in it. Um there was a lot of things that I didn't know about, so maybe there was like six or seven or even eight films, but they kind of either never got finished or they just didn't have the right kind of purpose. So I never really speak about those, but they definitely I definitely couldn't have gone on to do the features without doing them. So if you have never created a short film, I would 1000% say do that first because a feature it is just like it is another thing, but it is it is sometimes as hard to create a short because you still need all the same people. You kind of don't really need that many more people to do a feature than a short, like when it comes to crew, you kind of need the same amount of people, especially when you're like low budget slash self-investing. And by the way, I'm I'm talking about films that you can fund yourself or you could do crowdfunders with or bring other people in to fund. I'm not talking about your first feature, five million. F that. It's not gonna happen. Even on your fifth or sixth feature, you may not be dealing with that kind of money, just to let you know. And by the way, people lie, people lie about how much money there is. Um, all those numbers on IMDB, anyone can put them in. So just saying, I honestly do not believe a thing that I see because I have um seen the other side of it. So there we are, there's some truth. Um, so okay, so you're an actor and you're kind of thinking, ah, everyone else, because this is very much the time we're living in now. Like it's all change. The internet, AI, all this stuff. It is um it's happening and people are doing it. And it seems to be, honestly, guys, it's the only way I would not be working. I would not be working had I had not done this, and I would not be in the position, in whatever way you see that, but like, you know, people very much see me as a working actor. I don't really, well, because I have kids, I guess, I don't really see myself as that at this moment in time. I did pre-kids, um, maybe we'll do once they go to school, but at this moment in time I kind of see myself as a bit of a creator. I just create, I don't really have a purpose, I just create. Um, yeah, I'm definitely more of a film producer right now because that's what I'm actively always working on. Um, because by the way, film producing is hard. It is hard. People don't like producers, people slag them off, they haven't got a good reputation. But my god, if you find someone who can get a project from beginning to end and they pay everyone and they treat everyone nicely, that is not an easy thing to do. But saying that, you can do it 100% you can do it, but it is gonna be hard. You will probably have several mental breakdowns, but it will be the building of you. So let's start, shall we? Okay, so the very first thing you need to do is come up with your story, and I have spoken about this quite a lot before. Um, guys, you don't have to write it yourself, plot twist. If you can, um, I use Mandy for finding freelancers, and Mandy is great. If you are an actor and you're not quite on spotlight, or you're not really getting much work, you haven't really got an agent that gets you anything. Mandy is great because it but basically puts you in touch with filmmakers who are just trying to get stuff done and working with people that are also trying to get stuff done, it just means that you know you're growing your titles, you're practicing, you're getting more experience. I just honestly rate it so much. Again, it's not easy, and again, having done a lot of Mandy projects, I'd say only four to 40% of them, maybe less, see the light of day. Um, yeah, unfortunately, people don't know how to get things over the line, but it doesn't stop you from getting those credits, from taking pictures of you on set, and just looking busy because busy equals busy, and people they're not watching you, but you know, they're like, if you haven't done put anything out in a while, people will just assume, oh, you're not doing that anymore. There are a few people that I'm like, oh, I would have liked to cast them, but I don't think they're acting anymore because I'm not really seeing them do much, and it's literally just such a quick thought. Like, I don't have time to message someone saying, Are you actually are you acting still? It's an awkward quick conversation because people might be like, oh no, like I can't afford it, or like, oh, personal life. So like you don't want to get into that with people, but the best way to know if someone is proactively still acting is you know, to see that they are doing that, and that is why social media is great. I know, I know, it's it's annoying, but that's why you should always be putting stuff out there so people know that you're active, so when they are looking for you, they can, you know, they know who to go to. Um, okay, so you don't have to write it yourself. Um, I've done this with a few of my projects where I've come up with an idea, for example. I um there's an Oscar Wilde play, very unknown one, that I really loved, and I love a character out of that. And I thought this would be amazing as a feature film. I haven't even seen it as a play. And what I did was I put a post on Mandy because you can become a person that puts things out. There might be a fee now. See, I've been doing this for a lot so long, they're like, hi Jade, you don't have to pay anything now. So I don't know. There might be a fee. But if not, these days you can just put it out on social media, say, I'm looking for a writer, um, low pay, and you know, people will work like it's a negotiation, isn't it? It's like some people will happily, you know, I've hired writers to write a feature film for 200 quid, and always if you're gonna pay someone to do some work, I I pay them like £100 on the first draft and then £100 on the completed thing. So that gives incentive. You need to give incentive, and you you need to pay people quick, like as soon as that invoice comes in and ask for an invoice because you never know down the line you might get finances or or you know you might be able to expense that. Um the UK are such a such a big thing when you start going into it. So the even doing small films, say you were to shoot a feature film for like 10 grand, the UK offers these tax incentives where basically you complete your feature film or even partly complete the feature film, you go to the BFI, you register it and kind of like fill in this big form to prove that the film is British, and then you have to then go to HMRC, creative, whatever. Um, it's all there, they tell you how to do it. And um, you can basically get about three grand of that back. So that 10 grand you spend three grand if it comes back to either pay back your investors, it takes a long time. I wouldn't be counting on that money, I wouldn't be saying pay people's invoices, like don't spend that money until it's back in your bank. Um, but just FYI. But also, like these days, again, they've changed it, they made it harder. Um, and you need someone, you need an accountant who is ah, I forgot the word chart, not not charted auditor. You need a chart, you need an accountant who's an auditor to audit your books, and that can cost two grand. So then it's like, okay, do I want to I'll end up spending two grand, then I get a grand and a half back. But I was actually speaking, I qualified as a production accountant yesterday. Waha. I was speaking to someone who was an um auditor, and I was like, hi, I need you uh would you audit my books? And he goes, Oh, I don't do that anymore. I was like, What? Okay, he was like, if you would have asked me two months ago, always ask people immediately when you think of something, by the way. Because yeah, if I'd have asked him two or three months ago, he could have just done that and I would have saved myself two grand for like a low budget project. So yeah, anyway, there are ways of making that money back, but for that reason, make sure you get everyone to invoice you and um, you know, be aware that if you are making a feature film, you will need to set up a production company account. Um, likely don't make this bank account the name of the film. No, the name of your production company, more likely make it like the name of the film or something, because um you almost for every film project you do, you need to set up a new bank account. And so, yeah, you don't want to put it all under your main production company's name. But anyway, we're we're right at the beginning. Everyone's like, what? Bank accounts, tax rebates, HMRC, whoa, we haven't got a story. Okay. I am jumping, and not to intimidate you, but there is a lot, and I'm giving a lot away, really, aren't I? Um so back to it. So yeah, find yourself a writer and you could just pay someone, and really to be honest, there's someone that will do something for any price. They might not be as good, but they will they will do you will find someone who's like, oh, this is a great idea. So, for example, let's do an example. Let's say uh I want to do Hamlet. No one's ever done that before, have they? So I want to make a feature film of Hamlet, and it's currently I have it in my book as a play. So you need that turned into a film. Um, you know, just because stage right, stage left, da-da-da, this, that, and the other, you need to make sure there are specifics going into the film that the casting crew can read. So you would still need a writer to go through that because you might put a scene in that's meant to be in a castle and you might put it into a car, and then you know, the writer will need to say what colour that car is, what make that car is, because eventually down the line, if you end up getting an art director, they'll look at the script and go, Yeah, but it just says car. So what kind of car is this? What like a Range Rover, or are we talking like a Clio? And you know, whoever's I guess directing, producing, screenwriting, you know, it's probably going to be your creative vision. You've probably got an idea of what that car is in your head. So again, you'll have to work with the writer. Also think about how much money you're planning on making this for. Or ideally, you want to work with what you already have. So um, when you're working with your writer, or if you're writing it yourself, which obviously you can do that as well, make sure you know what you have. So, um, again, we're making Hamlet, and I've just got my house and there's a garage, and I've got a car. So I want to try and set everything in those spaces. Um, yeah, just think about what you have, or you can even, if you know anyone else, or you want to bring on someone else to work with you, because this is a team sport, it is a team sport, you will find that you as the leader will always do more than everyone else, and that is okay. It will not feel okay, it will feel really unfair. But um, you know, you as the leader who is producing Hamlet and finding someone to write Hamlet, or maybe you're rewriting yours yourself, or and but you're also gonna play Hamlet, by the way. You've decided that you're gonna do that. Um, you know, you are gonna get more out of this project than anyone else. And I always think it's quite sad that like people work on it and be like, Oh, I'm so happy for you, and like for us, for us, it's our project. But then in sometimes when I work with someone else and they're like, Oh, it's us, and I'm like, bro, I came in for a day, so I do kind of get it, but you kind of in your heart, you're like, No, it's for everyone, and you kind of want people to be involved and committed to the project. Um, but sometimes they see it as just supporting you, so that's just like you know, it is what it is, it's uh it's it can be a lonely, lonely old road, as um most things in acting. Okay, so zoom forward, and it could take six months, or it could take a year, it could take three or four years. You've got your script of Hamlet, and now what? You are gonna need a director. If you are acting, I would highly recommend getting a director. Every so often, people are like, oh, Jade's like wrote and acted and directed. I'm like, no, no, no, no, no, no, no. Always another director. That's too much pressure for one person to take. You can do it, but is the film and your performance gonna be jeopardized? I strongly think likely. Again, you can do it, and every so often I would like to direct, but I I like acting too much, so I haven't I haven't done it, but I I do think I'd be a good director, but I also think it would compromise the production, which I don't want to do. Um, also, like it's nice to share. I know I've I've been really fortunate and I found you know a couple of really great directors that I like working with, and I really don't know how I could have done the features without them doing whatever they do. Um yeah, so I I would recommend that if you're acting lead, bring in a director and you know find someone. The most important thing is finding someone you trust and you get on with and they listen to you and they respect you. Um I've worked with quite a few directors and they don't respect what you're doing, what you're bringing. Um and it's tough, it's tough. So yeah, you need a a team that get I mean, the I've also worked with directors who are much more experienced than me, and I've learned so much, and actually a lot of even what I'm saying now. Um I work with a wonderful woman called Laura Hippenin, and she was recommended by my agent who knew of her work, and she was like, she read the script and she was like, Well, I've got some ideas. By the way, if you work with a director, most likely they're gonna want to make tweaks. So don't be too precious. It is collaborative, and actually sometimes you can be too close to a project. I know we're working on Shakespeare's Hamlet right now, and it'd be quite interesting if people do have tweaks. But I mean, you know, there probably are tweaks to be made to Hamlet. So um, yeah, I I think be open, don't be precious and pick your battles. You don't have to always go, no, no, no, no, no. You kind of got to go, well, if that's a definite no, this is like a a weaker no, then you know, let them have your weaker no. Like show that you're compromising and you care about what their input is. Because likely you will turn around later on and go, Oh, that was a really good idea, and that's made me look really good. So, yeah, really be open. Um, I always think it's nice with directors that if they have their own DOPs they like used to work, they like to work with, because directors and DOP, it can really slow things down if you have a DOP that doesn't understand what a director wants. So, again, finding your director. And I would, if you're if you're producing something, I would try and find a director who has at least two short film credits. You know, they're experienced, they've done stuff, they've worked with people, they've learned their own lessons. Um, and you know, hopefully maybe they would would have, you know, self-funded or or worked on a project and understood what it's like to be a producer, because then they'll care about where the money's going more and be more thoughtful. Um, that definitely helps. I've had people that I work with and I'm like, whoa, whoa, whoa, you do understand we're making this for no budget? And they're like, well, just remove the your front door and we'll take your sofa outside and then we'll bring in a shabby old sofa. I'm like, where are you putting my sofa on the street? Like, is it what you is my sofa gonna stay on the street for two days? And who's paying for the shabby sofa? Or why is who's putting my door back on? Like, it was just like, what are you talking about? To be honest, if you start having those conversations and you're like, what the hell? Um, and someone starts like shocking you in that way, it's probably best to get rid of them at that point. And as a producer, you are gonna have some really, really difficult conversations. It's just gonna happen, it's gonna be uncomfortable, you're not gonna want to do them, you're gonna sit there and want to cry and go like, oh why? I don't want to do this, but there is no one else that should do that apart from you, and you have to remember to be kind. Feedback sandwiches are the way forward. Say something nice. I just want to say I'm really pleased that you came on board to direct Hamlet, and I've had such a lovely time working with you. Um, then the honest bit. But I do have a problem with you know, pray not problem, that's probably a negative thing to say. But I um, you know, I there are a few alarm bells. The fact that you want to bring the sofa outside, I just feel like maybe you're on a different page. So really, I think we need to be on the same page. So unfortunately, we're not gonna be able to bring my sofa and leave it outside in the street and take my door off the hook and have no door in my house for three days. Um, and I think if we can't compromise on that, then we just might have to part ways now. But I really, really want this to work. This is the other part of the sandwich, it's a nice bit again. I really, really, really want this to work, and I hope that you know we can compromise on this and just make an amazing project. And then it's in their court, and then they can think about it. It's not you having to say, you go, you go, you you know, in the nicest way, you're saying, This is what's happening. I do not agree with this. Um, it can be hard though, if you have another person working with you and they don't agree with what you're saying. And this is kind of why I think you need to be the lead producer. If you bring anyone else on, especially if you're putting up the money and financially and the biggest burden is on you. You need maybe if you bring on a co-producer, they need to be a co-producer and you need to be lead producer, and you need to be clear about that from the beginning. Also, whoever you bring on, agreements, agreements, agreements, agreements. So they know where they stand, so they're not going to turn around and ask for money later. Um, you know, you can find all these online. Um, so many resources um to be able to make agreements, but really you just need to make sure everything is in writing, even if, you know, hi, thank you, writer. Um, I'd love to work with you in writing in an email. You write um the fee will be £200, £100 um for the first draft, the other hundred on within the and you have to say on receipt of uh uh invoice within 30 days of the second draft, and then maybe explain what happens if the film gets up. If for any reason the film gets more funding, the and you can again find these stats online, but then you will be entitled to 2% of the additional project profits. Do not write down what I'm saying, something like that. But um, if you go on the Writers Guild, you can find out what writers should be paid. If you go on BEC2, it is um B E C T U website. Um, it's the UK British um basically what people should be paid, and the same with equity as well. Um yeah, you can find out for like if you're making a film under a million pounds what you should be. Paying people, and um you know, you might not have enough budget to pay people, but you still need to have a release form of them releasing, you know, everyone needs to sign a release form. Um just think about when you're on set, all the things that you have to do, you you have to think about why they're doing that. So everyone's got to sign a release form. Do it before they get on set because if people do not sign release forms before they get on set, um, they could essentially turn around and say, I don't want to be in the scene, cut me out, I'm gonna see you, blah blah blah. But if you've just got got that bit of paper and they've signed it, then there's not really too much they can do about it. And they've handed over their image in this project to you. Um, so anyway, I could go on for ages about contracts. There's a lot of places you can do that, and again, making your own project, um, just because I'm aware, I could talk about this for hours and hours and hours. Um, we've not even got on to production. This is just pre-production. Um, yeah, there there are books. Um, I listen to so BBC Maestro. There is um, I forget, but there's directors and writers on there. Yeah, listen and um watch the BBC Maestro ones, and then there's masterclass as well. Um, I've listened to pretty much every film maker, writer, actor on those things, and there's been nuggets that I've used and gone, right, I can use that. Um another thing when coming up with your project, uh, you've got to think about the marketability for the beginning. So Hamlet is a tough sell, but you've got to think about who your audience are, and this is kind of the stage of my career I'm at, where I have to start thinking of the audience. We're not gonna go in production, that's like a whole other thing. But like, you know, even from the beginning and you're thinking about doing a project, um, you've got to think about who this audience is for. I am very much of you know the thinking that if I want to watch this, someone else will, and that's generally how I make projects. I'm like, well, I'd like to see this, so that's my audience. Um, but it gets a bit harder because then when you get to the other end, you get to sales agents bit, they um they need something more, and to be honest, if if you are making a project and you do think you want to sell it eventually, then you do have to consider um who your audience are. Um, sales agents don't like drama, they just don't. Drama's depressing. Who I've had so many sales agents go say, Whoever asked for another drama? Like, I need more dramas, like no one. Um, obviously, horror is an easy one and a great one, but the market is so oversaturated. So I went to Can and everyone's like, the market's so oversaturated with horrors. So now people really want horrors with names in them, which we obviously know is kind of pretty hard. If you can as well, if you can get a name, if you even have a part in your project where you can just pay for someone who is a name of some sort to be in it, great. The reason I've not done that is just for for fair reasons. Um, I feel like I don't want I like to pay everyone the same. I don't like to pay if if I can pay, because sometimes, you know, early projects have just been expenses and we've had to do it that way. But we do back-end fees, so if the film makes money, then um we split the profit, and that's the way we've done it, and felt like the fairest way of done it, but obviously nothing has gone into project so far. Uh but you know, I'm hoping to raise more funding for the next one. Gosh, I could really talk about this for ages. But think about your title as well. Title is very, very, very important. Um, we've just done a film called Hang. When you search the word hang, it is the pretty much the first thing that comes up. It's the only move that comes up. Um, or hang movie, that's the only thing that comes up. We dominate that space. Um, when you're coming up with your title, check IMDB and um check there's not another film of that title, um, or there's not like five or ten. Um, I really I see a lot of actors or filmmakers make things and they just have the worst titles. The worst titles. It's always like a wishy-washy thing that a person would say it's like a reaction or it's cheesy. Yeah, I you know, just be edgy with your title, be memorable, think about like the things that are out there. The best thing to do is name a film by a thing that people might search for. So you could come up in results in those, you know, results like Halloween is a genius name for a film. Obviously, that's taken. Um, you know, and we've gone with due dating. There is a film called Due Date. Um, but if you search due dating, again, we're the only thing that comes up. Um, also it's sort of a thing that people might mistakenly put in, which is our target audience. Our target audience is pregnant women or people with babies, and um due dating is something you could type in by mistake and I'll find our film. Um so those kind of things help. Um but I could go on about this more and more and more, and I'll probably maybe I'll do another episode where I'm speaking more about um being an actor producer. Maybe I'll do a part two. Yeah, let's do that. I'll do a part two next week. Aha, there we are. So thank you so much for listening. Um I have done a few workshops on this because obviously I've done it a few times and people find it helpful. So if there is anyone out there with questions, I would be open to doing mentoring. Like if you had a project and you just wanted someone once a month to check in with what you're doing, I'd be happy to do that. Um, so do reach out. But um, guys, just get going. It's a long road. So get going. What's your idea? What story do you want to tell? What makes you feel something? What is that thing that you're like, oh this, this I need to I need to explore this, the world, this is like really troubling the world. What you know, that's how you find your story, and you can be a big part of it, and you can really have fun and do something special. So take care and see you next time.