PLAYDIGM Entertainment Licensing & Branding

I personally believe that success at anything requires a good team and a great project.  This requires a fantastic idea or product and the money to retain quality people.  Surround yourself with the most professional people you can, delegate authority to them  and ensure everyone completes their tasks on time.

As I built my team by adding lawyers, accountants, a Trademark agent, sales people, computer pros, etc., I found it easier to raise the funds necessary to make each project I was working on.  Different projects require different professionals so choose wisely to ensure everything is covered.

How do you convince the right people to join your team?  I will use the movie industry as an example:  First create a great idea that will attract those that will work with you because they want to be associated with such a cool project and they believe it will attract millions of viewers and be profitable. If your high concept has the potential to do this, then your chance of gaining the interest of a reputable producer and actors (if there is a strong character arc) improves and which in turn, can bring a studio on board.

l think Johnny Depp is one of the most talented actors we have on Earth and I go to everything he is in, even RANGO, his animated movie is on my ‘to see’ list.  To attract an excellent actor,  you need a great unique story with an excellent character for him/her to play.

Make sure your initial idea is turned into a Logline, a brief pitch,  a synopsis  and a solid treatment or better yet, a completed Spec Screenplay.  The more developed the product/script is, the easier it is to get to the next level.  The day your screenplay lands on a producer’s desk is because they already want to read it and your concept got them interested enough to ask for a copy.

Make sure your protagonist/hero has a fear he/she must face or an emotional problem they must overcome or a hard to reach goal.  A role that an ‘A’ list actor can sink their teeth into and desire to play the part.  If you can excite an actor or two, especially the type that distributors, producers and studios love, you are on your way.  Most people will say approaching stars/actors directly is not a good idea but I believe the more you package a deal – the more chance you have at Hollywood noticing you.  Some talent agencies frown on this but you can always ensure that the contract you have those involved sign is dependent upon certain closing conditions (another post for another time). That way if a more talented actor wants in or the Studio/Producer want another actor, you have the ability to do what it takes to move forward.

Your lead character’s actions should flow toward the achievement of their objective.  The obstacles you put in the way generates the plot and the greater and greater obstacles – the better the plot.

During the hero’s journey overcoming obstacles to reach their goal, they must transform themselves personally.  After facing their fears or reaching their goal – this defines your character’s arc – if your lead character is the same at the end of the story as they began, the character has no character arc.  The combining of character arc and how they faced the obstacles creates the underlying theme of your story.

With an excellent character arc, you have a better chance at attracting a star or famous director.  Take into account, that directors and stars have many scripts to choose from, you need yours to stand out above the others.

Once you track down the people you require to make your project, you will have to compensate them in some way.  Normally this is with some form of currency.  Some actors have ‘Pay or Play’ deals (these are where the person gets paid the agreed amount if the movie or product gets made or not).  Since we all know everything is negotiable, don’t forget to offer them something else if you don’t have the money at this moment in time.  Be creative because you never know what may entice the all important next element to ensure success.

A credit in your film or some form of recognition can interest those that would like to add to their resume.  For someone who is already famous or popular giving them points in the project may be the needed factor to gain their interest (the more you offer of the back-end revenue, the less you normally pay up front to retain their talent).  Careful as this could lead you to earning less in the long run.

Hollywood studios  buy over 10 times as many scripts as they produce into movies, so hopefully your screenplay or product will be the one that is made because you got the right people on board and attracted those that draw the funds to make the project a ‘Go Picture’!

Stay focused on achieving your goals and in time and with the right team, anything can happen.  A little good luck can also help you become successful.

Sandford Tuey

admin@Playdigm.com

Persistence is Omnipotent!

Q: What is the going rate for a licensing fee percentage?

2E: This can vary depending on the industry you are in.  On average, in the entertainment industry, a back-end licensing royalty can range from nothing to what ever you can negotiate.  Depending on your entertainment lawyer, you should be able to obtain or pay 5 % to 15 % of the sales prices of the item the brand you are licensing is sold for.

I have also seen the licensing fee be part of the manufacturing cost too as it is easier to calculate and keep track of for the manufacturer/licensee.  My preference is to pay no more than 10 percent for easy math purposes and because that is what Stan Lee receives from his Marvel settlement.  Even J.K. Rowling gets 10 percent so why ask for less (unless you are getting a huge advance then everything changes).

For example: A screenwriter can option a screenplay and receive an option advance.  When their script is being produced into a film, then the total payment amount owed is usually paid minus any advance.  Most times writers get this principle amount in tranches upon completion of certain rewrites and polishes, etc…

In the end, remember… everything is negotiable.  If you don’t ask for the best deal – you won’t get it.

If you have a question about the Toy, Film, Television, Game, Comic, Licensing & Branding industries just ask.  I’ve been at this since 1985.  If I can’t answer it, I may know someone who can.  After all – it’s who you  know that counts too!

Sandford Tuey

Send questions to admin@Playdigm.com

Back in 1986 I was expanding my company’s product line at the advice I received  from buyers of games attending the American Toy Fair in New York.  We only had the Original Bruce Lee Martial Arts Game at the time and the facts were made clear.  It costs almost the same amount of money to activate a Buyers Account for a one game company as it does for a company with many products.   Therefore, they prefer to purchase from companies with a product line.

So all that year, my friends and I worked on designing new games for the company.  That is how Night of the Ninja – a Reality Role Playing System came into being, as well as my Terminator board game.

I loved the original James Cameron Terminator film and immediately after seeing it I started work on a board game.  It took several months, but an interesting game was created so I contacted the company Hemdale, who controlled the rights at the time.  I was told it was a bad time to try and license the Terminator brand.  It seemed that Mr. and Mrs. Cameron were in the midst of a divorce and the rights to the proprietary property were in dispute (Gale Anne Hurd was producer of Terminator and claimed co-creation of it as well).

While at the Chicago Hobby Industries of America trade convention, I saw a Japanese model company with a 12 inch Terminator robot model. After a long conversation about how they got the legal right to manufacture a product based on the powerful Terminator brand, I bought one.  They had negotiated their deal prior to the legal complications between Mr. Cameron and Ms. Hurd.

Not being so lucky, I ended up with a fantastic Future Robot versus humans board game but very risky to manufacture and market without the Arnold Schwarzenegger robotic look and story. A generic version would require a huge marketing budget to get the world to know it existed. Whereas, a product with the Terminator brand on it would receive instant recognition.

After waiting years for the legal dispute to be settled, I once again contacted the licensing rep but since the entire project rights had been sold to a new company, the licensing costs had skyrocketed.

I waited again for years and now the Terminator rights are again in question since “Salvation”  and Sony  watched three companies owned by Anderson and Kubicek who own the Terminator rights filed for bankruptcy, triggered by a disputed debt owed to Pacificor, LLC, a Santa Barbara hedge fund that loaned them money to make the purchase, along with working capital.

Until this mess is over, I won’t be attempting to license the famous Terminator rights.  Mind you, if the rights do become available, maybe you could buy them and cut me a sweet deal (lol).  My board game captures the flavor and story perfectly *(so if there are any major game companies out there give me a call because maybe you are able to afford it).

The key is to keep pursuing your projects and if one iron in the fire grows cold, grab another and get it red hot.  Sooner or later the Terminator iron may get hot again, but they sure better make the franchise generate a lot more buzz and money or it may not be worth as much as they are presently asking to charge licensees.

Sandford Tuey

admin@Playdigm.com

Persistence is Omnipotent!

I was talking with a television executive the other day and the subjects of ‘how are the ratings for television shows conducted and how are the internet shows included in this system.’

After a long conversation and a little searching on the internet, this was the best explanation I could locate.

http://blastr.com/2011/01/the-truth-about-tv-ratings-online-viewing-and-sci-fi-shows.php

For your questions contact admin@Playdigm.com

Cheers
Sandford Tuey
Playdigm Entertainment

The process of developing a story is complex and all kinds of things must be considered.

Normally I start with an idea that is unique or topical but with a twist. I add a great lead character surrounded by solid side-kicks and associated characters.  Of course, no story would be very good without a fantastic antagonist and the more bad  your bad guy/girl is – the more good your hero’s will be.

Then I write a simple Logline (the gist of the story in as few words as possible).  The best format I have come across but is not the only way to construct a Logline is as follows:  Film’s name and genre is about (protagonist’s name or type of person) who must do something (the goal) and if not able to achieve this, someone (the antagonist) will stop them or something bad will happen.

Here is an example – GALACTIC GLADIATORS is a Sci-Fi action adventure where animal rights, environmental activist Tessa Guess is forced to lead a coalition of abducted mutating humans and aliens in a guerrilla war against an evil extraterrestrial species – the Chaons, or our galaxy will be destroyed.

I then expand the Logline to a paragraph, then to a one page summary also known as a ‘one sheet’.  This captures the essence of the entire story for a reader to see to help them decide if they are interested in reading the entire story / screenplay.

Once the one sheet is edited to as powerful a presentation it can be, I write a three page synopsis – Act One, Act Two and Act Three (one page for each Act). This allows me to see the weak parts of the story.

Most writers create a Treatment or Synopsis.  This document can be as few as a couple pages but is normally ten to thirty pages but I have also seen them 100 plus.  This is used to solicite funds and interest from producers, production companies, and other souces who will pay writers to write the first draft of the script.

Then there are the standard polishes of the first draft and even a page one rewrite which can be caused by producers or stars wanting to change a major part of the concept, like make it a western when the story is presently set in space.  These kind of outside notes can drive a writer crazy but if you cashed their cheque – you can’t complain.

Once I have the draft of the screenplay that I am happy with, I give it to my agent or send it out to entertainment connections I have and see what kind of interest there is in it.  This of course is after a query letter has first received requests to see and read my material.

While the marketing is on going, I copy and past the screenplay into a Word file and add more detail and internal conflicts and thoughts, as well as a few hundred pages so that the same story concept can become a novel, a graphic novel, a video game script, etc.

This is the fastest way to diversify your writing and help you have multiple markets for the same material.  I recommend doing it this way since a screenplay is the quickest to write at only a maximum of 90 to 120 pages.

Of course, before you send any material out you should have as many people read and evaluate it, be they friends, professionals or your mom.  Everyone has seen a movie or read a graphic novel and will definitely have an opinion.  Listening doesn’t hurt and may even improve your story and help you profit from your effort.

Should you have any questions send them to admin@Playdigm.com

Destinations and goals are reached by planning them out.

Each step you take gets you closer to your final destination.

A map and list of the things you want to achieve allow you to focus.

Create your To Do list and check off each item as it is completed.

Record keeping lets you see the progress you are making.

Time tables with deadlines ensure you are getting results on schedule.

May you all achieve what you set your mind to do!

You can reach Sandford Tuey at admin@Playdigm.com

“Persistence is Ominipotent.”  – Sandford Tuey

To all my family, friends and business associates best wishes to you all and enjoy this holiday season.  Try to squeeze in some relax time and wonderful moments!  I know you can do it.  Happy holidays!!

It’s the thought that counts…

Sandford Tuey

Admin@Playdigm.com

Every Halloween I keep a tally of the different costumes I see at Helloween parties I attend and trick or treaters on the streets. Kind of a personal general brand popularity poll.

Last night at the new Fairmont Hotel in Vancouver there were almost 150 people at the costume party.  You can tell which brands are doing well by how many people wear the same or similar costume.

The ranking of the Halloween Party Brand Poll :

5) Angels and Fairies with wings on their backs.  Hard to pin point which brand they were promoting but one thing for sure, the ladies in these costumes definitely had halos.

4) Older Advertisement  characters – Tony the Tiger, Count Chocula, old school brands.  Since this crowd was above 30 you could expect some unexpected historical references that still appear now and then in culture.

3) Zombies & Vampires – lots of them.  Problem here is which movie/show/brand are they portraying?  When asked there were a few Twilight characters.

2) Sultans, princes, lords and ladies from the Medieval Ages.  Again, hard to pin-point which character or brand these costumed partiers were portraying.

1) …and the most popular costume of the night was – Pirates.  All seemed to want to be Jack Sparrow or some other cut throat scury dog.

I am not sure where all the Batman, Spiderman, or other comic characters were (guess they were at another party).  I was surprised at how few international branded characters were in attendance.  Or how few television based characters there were.

All in all – everyone had fun and that’s really what All Hallow’s Eve is about. Be safe and make sure you check out what others are wearing.  Brand popularity can be calculated by mindshare, which is observed in what people dress up as.  This may not be an exact science but ask anyone wearing a costume why they chose the one they have on and their response will usually be that they like the character or brand. If they say they don’t know, the brand has been subliminally imprinted. This simple study is done while having fun!

Have a great Helloween!!!

Sandford Tuey

The other day one of my writing partners and I were talking about old brands and what makes a great name for a character.  The obvious thing is to ensure that it is catchy and memorable.  G.I Joe, Major Matt Mason, Barbie all had to use repetition to become well known.

While other names of products leveraged popular icons of the day – Davey Crockett, Apollo (models, toys and films), most comic properties like X-Men, Spiderman, Batman, Hulk, etc…

So to gain awareness of your project you can either a) advertise a lot and/or get your characters/products in front of large audiences via a tv show or movie;   b) license an already popular and well known name like Bruce Lee, Chuck Norris, Bob Marley, Halo, etc to get instant fan recognition.

Either way costs money and developing a brand from scratch can get expensive real quick.  Unless you luck out with a video that goes viral or you obtain an endorsement from a major celebrity or other well known entity, expect to invest huge amounts of money and time before everyone knows your character’s or product’s name.