Since 2012, Netflix has taken more of an active role as producer and distributor for both film and television series, and to that end, it offers a variety of "Netflix Original" content through its online library. By January 2016, Netflix services operated in more than 190 countries. Netflix released an estimated 126 original series and films in 2016, more than any other network or cable channel.
Unsolicited Submissions to Netflix
I decided that the best place to start research was Netflix's own website, and found some useful material on their help page.
If you have an idea for a show or film, you may be curious how to send it to Netflix. Netflix only accepts submissions through a licensed literary agent, or from a producer, attorney, manager, or entertainment executive with whom we have a preexisting relationship. Any idea that is submitted by other means is considered an “unsolicited submission.” Whether it is an idea that just came to mind or a fully developed script, Netflix does not accept unsolicited materials or ideas. Any submission, even those we solicit, must come to Netflix through a licensed literary agent, or from a producer, attorney, manager, or entertainment executive who already has a relationship with Netflix.
If you have an idea for a show or film, you may be curious how to send it to Netflix. Netflix only accepts submissions through a licensed literary agent, or from a producer, attorney, manager, or entertainment executive with whom we have a preexisting relationship. Any idea that is submitted by other means is considered an “unsolicited submission.” Whether it is an idea that just came to mind or a fully developed script, Netflix does not accept unsolicited materials or ideas. Any submission, even those we solicit, must come to Netflix through a licensed literary agent, or from a producer, attorney, manager, or entertainment executive who already has a relationship with Netflix.
Netflix uses all of the following methods to find new content to buy or create:
- Netflix employs a team of creative executives and buyers, who receive pitches for shows and movies.
- Netflix has deep relationships with the creative community and talent agencies, who propose ideas for shows and movies.
- Netflix may purchase finished works at film festivals or other established venues.
- Netflix may generate an idea internally and hire writers or other creatives to develop those ideas further.
Through some research on a website called lightsfilmschool.com i found lots of really insightful articles about approaching Netflix and things to remember such as "10 easy-to-overlook pieces of the film pre-production puzzle". I am writing a re-worded version of this article because Netflix will want to see if you are a competant producer of content and to do this you need to have good skill at managing all the below points:
1. Script - The script is the base of your project, the back bone, the structure from witch it will grow so it needs to be clear, concise and cover the following points:
- What scenes you’re shooting.
- Where those scenes take place.
- Whether they’re happening indoors or outdoors.
- The time of day during each scene.
- What actors are involved in each scene.
- What those actors are doing.
- What elements need to be created and/or found for each scene: wardrobe, props, art, and the like.
- Although cameras and equipment aren’t quite the focus of our discussion today, you’re also probably already thinking about the gear you’ll need to realize the aesthetic the script suggests.
2. Project Budget -
Really there are two ways of looking at your budget, planning the shoot around your budget or plan the budget around what you need for the shoot. So by now you will have established what kind of figures you have to play with and if it is a small/ micro budget then your approach will be ther first of the two choices, planning the shoot around the budget and visa versa. You should also have a realisic sense for budget, if you know it will be limited find a way to finance the project or make it more affordable.
You should also consider where on the spectrum between super high production value block buster and small time indie film your project lies and plan for budget accordingly. Another question to ask yourself is how big is your team? Is it a skeleton crew or a large scale production? You must take this into consideration when looking at catering, because especially when you bring in a catering company and don't just get sandwiches from M&S every person will make a big difference to budget. Creatives decisions are another key aspect as well, what camera gear and equipment do you need in order to bring the director’s vision to life? will you need special FX? these are all things you still need to take into consideration when thinking about budget.
3. Shooting schedule -
Build a schedule - Professional shoots use three types of schedule:
- The one liner - A one-liner is essentially an abbreviated shooting schedule. Most productions also create a more detailed shooting schedule that breaks down each day by scene and includes the equipment, location, talent, and other relevant information but not eveyone on set needs such a detailed schedule and it would be a waste of paper.
- The day out of days - A day out of days report, or DOOD, is quite simply a chart.
On the chart’s other axis, you’ll find all of the days in the film shoot. Here, in each box, you’ll find a notation that indicates whether an actor is working on the day represented by that box.
Furthermore, codes in the boxes are used to indicate a range of things. Some of the most common codes are:
- SW: “Start Work”, which indicates an actor’s first day on set.
- W: “Work”, which means that the actor is working that day.
- H: “Hold”, which means that the actor is not currently scheduled to work, but production is requiring them to remain available in case the shooting schedule changes. Remember Big Actor from my example above? I wouldn’t schedule a meeting with Big Producer on a date noted “H” unless I let Big Producer know that their plans could change at any time. An actor is paid for hold days even when they don’t end up working.
- WF: “Work Finish”, which indicates an actor’s last day on set.
- SWF: “Start-Work-Finish”, which means an actor started, worked, and finished their job all in one day. This code also can be “PWF”, which stands for “Pickup-Work-Finish” and means the same thing.
- The call sheet - The most detailed, day-to-day document on a professional film shoot is the call sheet. A call sheet exists for each and every day of a film or television shoot and is distributed to cast and crew at least twelve hours before the day is scheduled to begin. The main feature of the call sheet is the call time; meaning, the time that any given individual associated with the production is expected to be on set. The crew call time, which applies to most of the people who work on the film who are not actors, is featured front and center on the call sheet. Because of its detail, the call sheet is often thought of as the biggest and most important production scheduling document.
A key thing to remeber to do is make lists:
Locations - Interior or exterior setting
Time of day
Actors involved
Elemements - wardrobe, art, props
Group scenes - Group scenes by location, within location
During day - back to back and in same location
During night - back to back and in same location
Time of day - back to back actors scenes
If you make a list of what scenes have specific requirements e.g. a sunset in the backrground or a group shot in a warehouse then when creating the call sheets etc you can refer back to these lists and plan efficiantly to make the most of the actors time and even if they are seperate scenes have back to back shoots at the same location to save having to rehire it.
4. Hair, make up and wardrobe -
As the creator of the project you need to go through script and find out what each actor is wearing for each scene and thier genreal apperance. Going back to those listing skills you must then list what each character is suppose to look like in each scene.This will help with both visualisation and liasing with wardrobe department.
The job of the script supervisor is to watch actors between shoots to make sure they maintain continuity and consistency. They must also watch all the props so that the shots maintain the ilusion of continuous time, something you couldn't have if a drink on a table is in different positions between shots.
The job of the Producer (on shoot) is to work with and support hair, make up and wardrobe departments. They make sure everything is where it needs to be when it need to be there. If an extra wig is needed thats down to the roducer. Wrong colour green for that cape? Go tell the producer that.
5. Props and Art -
Yet again another list to make; props and for requirements for each scene. There needs to be a list of what is needed and in which scene they are going to appear which is vital for props department and script superviser to know. You must also consider the location you have to shoot your scene in, if it is a salesman's office but you need it to look like a doctors office what props would you need? Medical poster? stethiscope? Name plate on desk wit Dr. before the name?
6. Locations -
When writing a shooting sceduale you should:
- find out location of each scene
- Identify place
- find out location of each scene
- Identify place
- Contact owner or person in charge
- Find out if and when possible to film
- Find out if you need to pay fees to use
Once these are established you must then ask these questions to yourself:
Once these are established you must then ask these questions to yourself:
- Is location avalible when needed?
- Are the fees to use within budget?
- Location close to others? Budget - travel costs?
- Are modifications/ alterations to the location allowed?
- Rules and conditions?
- Elecricity?
- Bathroom near?
- Water?
- Off screen space - Equipment
A good idea especially if it is a large shoot is to get a location manager who can tend to all the possible problems that may arise with locations and location aquisition. Not only this but they would be in charge of attaining a permit to film at that location if needed.
7. Staging areas -
One of the biggest things to plan for is using avalible space. You need to be able to go on a location recce and figure out what space is going to be used for what and when. Things you will have to find space fore are:
- Equipement in use
- Equipement not in use but that will be needed later
- Hair, make up, wardrobe
- Props art and staging storage (depending on type of shoot)
- Area actors to rest (known in the industry as holding)
- Snacks and food
The key thing is to use space wisely and get the most out of what you have.
8. Cast and crew agreements -
Indie films - with indie films actors tend to be friends of crew or are working for free unlike large scale productions. To run a shoot smoothly cast and crew must allign expectations; Hours, times of arivel, food etc. Make sure you know all there is to know about who is working for you especially actors, for example do they belong to a union? Because if that is the case then the lower end budget projects probably won't be able to afford all that entails someone under a union. This doesn't mean however that you have to settle for less than what you envisioned, just because an actor is building thier reputation by working on low budget films they may still be a good actor.
When you are casting you need to keep an open line of communication, let them know that (within reason) if they need to they can contact you at any point and it doesn't hurt for you to send them a message now and then checking in on them re-confirming that they are still available etc.
Once the actor is aquired and os on location you need to try and accomodate them as much as possible, keep checking up on them, keep them happy and keep them confortable. When actors are represented by someone or an organisation certain requests about food, hotels, transport etc might be made and you should do your best to try and meet as manyt requests as possible.
9. Catering -
In the film and TV industry it is customary to cater for actors which means full meals and snacks throughout the day. If it is an early shoot breakfast should be provided but you should stick to suitable times e.g. not a four day shoot with 04:00 am starts every day. Don't forget it's not just actors that yoiu have to cater for, it's also crew cast and any extras you might have. Ideally you should have a member of crew that soley deals with catering, arrival, set up, cooking/ heating if necessary, and serving.
10. Transportation -
Transportation - You need to find a way to get People, equipment, props, and wardrobe to location
Location - Can you store stuff? Will you need to keep it in the transportation? Is there a secure car park?
Rent vehicals - How will this affect the budget ? Who will be the drivers?
to be able to sort transportation you will have to rely on the good old skills of Planning, Organisation and Lists.
Netflix Requirements
There are far too many specifications, options and requirements for Netflix for me to hand-type them on here and i would feel like a bit of a fruad just copy and pasting them so i will leave the documents on here for you to open if you wish. Netflix have a partner website called partnerhelp.netflixstudios.com in which there are headings and subheadings of subjects that you can look into if you want to either work for them or have a project picked up by them, from cameras to QC tools you can find advice on what Netflix likes to use.
The Moment
So lets say you have done everything in this blogpost to an outstanding level, then you need to make it happen, it is time for the moment you pitch to get your project on Netflix. The only problem is you have no contacts within this inpenetrable business and they very rarely reach out to people, so what do you do? One option is to go to a company like Quiver.
After a flat fee, filmmakers can distribute their film on iTunes, Google Play, Amazon and Netflix and keep all of the profits. iTunes, for example, will only accept content through a preferred encoding house, who often only work with preferred aggregators such as Quiver. The content requires a specific format and delivery especially for distribution on iTunes. The aggregator will encode and deliver content specifically to all four platforms, including assets and metadata.
For platforms that require pitching such as Netflix and cable video-on-demand networks, the aggregator will also pitch your film directly to the platform. Once your film is on the platform, they will pay the aggregator and then the aggregator will pay you! For example, at Quiver, they charge a flat rate for the first platform you sign up for, and a smaller fee for each thereafter. After paying this fee, the filmmaker receives all revenue earned from TVOD platforms and payments from SVOD platforms.
Working with an aggregator is paramount to getting your documentary on platforms such as iTunes, Amazon, Google Play and Netflix. As a documentary filmmaker, you are able to submit all of your metadata and assets to one place for delivery. However, it is important to realize that as a filmmaker, you are still responsible for marketing your documentary so that people can find it on these platforms. Aggregators like digital distribution company Quiver typically do not execute marketing for films.
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