Okay so we may well (further negations and contracts pending) have the distribution tied up for 'fIXers'. US based IFM, headed up by experienced producer Tony Ginnane, will be handling worldwide sales of 'fIXers'. IFM have been around for many years and have handled some serious product.
He an his partner Ann Lyons will also be acting as executive producers, meaning that the film will have considerable clout behind it with both them and David Hannay working with us on the finished product.
In addition Tony & David have been the pair that's been working with us for 3 months now refining the script. So their commitment is absolute.
That's the good news.
The bad news?
We'll, we were under the impression that the distribution deal would come with an guarantee that on completion the budget would be repaid back to us on the back of the US sale. That now isn't the case.
So in terms of actual finance to make the film. well we have a small advance from IFM, which will go someway to ensuring we have the kit we need to make the film. But that still leaves a vast chunk outstanding. So In terms of the remaining, well this means we are back to (almost) square one.
Almost. Sometimes I wonder if we had given all this up years ago and gone into, I don't know fishing, how much simpler my life would have been. But I like a challenge and our follow up to 'Left For Dead' is proving to be just that. A challenge.
What I don't understand is that with 'Left For Dead' selling well, a strong script for 'fIXers' featuring the best in UK talent in front and behind the camera and a distribution deal in place we, almost 2 years after finishing the editing on 'Left For Dead' are still no further advanced.
Okay I wasn't quite expecting Kevin Smith levels of success off the back of 'Left For Dead' but that should have opened doors. And the few doors it has opened, have either slammed shut or come with a very large spring attached making the door almost impossible to open wide.
I know the industry is changing but with the advent of digital mass product there seems to be little desire for people to actually spend money. Which makes trying to raise money far harder.
So. once again we back looking at our options. These currently are:
• The Lottery Fund.
We have had somewhat of a chequered history with the lottery fund. I've never seen the point, as they have a limited interest in the kind of films we want to make. That said they have of late opened up the gates and seem to realise that all films don't have to star Hugh Grant or be a romantic comedy starring some overrated TV actor.
• Private Funding
This is a good option. We have some irons on the fire that I was hoping not to have to use on 'fIXers' but needs must and 'fIXers' is by far the best script we have had in a while.
• Begging.
Hmm. Begging is always a last resort. But if you see a bearded, unwashed bald man on the corner of Churchill Square with a cup in hand begging for money to make a film.. well be nice to him because it could well be me.
• Cannes.
We'll at the moment option 4 is Cannes but lets be serious. At this level you often don't get that much from Cannes . And I've addressed in other articles my thoughts, opinions and feelings about the whole ' Cannes ' thing. It also means that we'd be waiting until May to even talk about funding. So the shoot could be August 2006.
I have to admit to feeling like the kid who gets a set of Ferrari keys at Christmas only to walk outside and see a battered 20-year-old Escort in the drive.
So this week we have taken four steps forward five steps back.
That's okay. Really. Okay yes it's frustrating but things are coming together, albeit slower than we would have wanted but as each key element falls into place another one follows.
Phil Hobden
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