- Jared Ian Goldman is an American film
and television producer.
He's done both amazing indie films like
Ingrid Goes West and The Skeleton Twins;
and he's also done studio projects like
The Punisher TV series in the Marvel cinematic universe.
I had him on my podcast a while ago
to talk about his career
and his approach to movie making.
So here are my take aways
from the conversation with Jared Ian Goldman.
First we talked about Jared's mindset
behind choosing projects.
- [Jared] I try to think in like a longer arc
with my career and how I curate and cultivate
what I am doing.
Some of it has to do with projects,
some of it has to do with people who I'm partnering with.
It also just has to do with whether a project
not only speaks to me,
but whether I feel like there's an audience for it
and whether I also feel like I know how
to clearly get the project with a finished movie
to that audience.
- We talked about how to find an audience for a project.
- [Jared] If I am reading something
and it's a story that I really like,
then it just becomes about like,
okay, who is the audience for this?
You're competing with so much
other material that's out there.
If I feel like I understand
who the right distribution partners I would be aiming for
to get the project out,
then at least if there's an overall plan that I can foresee.
And then I just mean people at home on their couches,
you know, watching, or people go to the theater;
like, how do I get to the audience
who think would enjoy this project.
- I wanted to talk about money,
specifically around how money affects project approval.
- [Jared] I figured out how to balance
the projects I do.
Like, I just produced season two of
The Punisher for Marvel,
which pays better than a two million dollar indie movie.
So, it becomes about balancing it
and also having a very understanding and supportive wife
who allows me to pursue projects that I believe in.
- Jared also had an interesting insight
around raising money for a movie versus
getting people to see a movie.
- [Jared] I just, I have to just know the project
that I'm pitching inside and out.
So, I don't take pitches lightly.
Because if I'm essentially, like,
going in and pitching an idea and asking someone
for millions, if not tens of millions of dollars;
I feel like it's my job to then be extremely prepared.
Like, what's the shooting schedule,
who are you casting realistically,
like, what's the plan for post once it's finished editing.
If the movie doesn't get into the right type of festival
and the right type of festival meaning,
a festival that's also a market,
then it becomes about
having individual distributor screenings
and hoping that one of those distributors
sparks to it and can come up with a plan
that feels like in line with
how we would hope audiences to see it.
These days, I don't think there's any type of guarantee.
It's easier to get a movie financed now
than it's ever been in my whole career
but at the same time it's also much harder
to get a movie seen now than any time in my career.
- And then I wanted to ask him
how often his projects fall apart
in the pre-production phase?
- [Jared] The only time a project has fallen apart
is if the funding hasn't come together, so that's it.
I mean, I've never had to bail on a project
once it's gotten into proper pre-production.
Ya, I mean you start to realize,
maybe it's not the characters
aren't as you thought they would be.
But as far as turnover, you know, usually it's like,
you'll have a director on board and a writer,
so there are fixed elements to it.
And sometimes casting can come in and fall out,
but I don't really attach anybody else
for going for financing.
Again, there's some people try to bring a DP
or some of the department heads,
but I just try to go to the market
for financing with just the director
and the writer, and some pieces of cast.
- If you want the actual proposal we use
for our video production company to close new business,
you can check that out at experiment27.com/proposal,
and you can have that for free.
If you want more enterprise clients for your digital agency,
check out experiment27.com.
That's what we do all day.
We find large companies to work with your company.
If you want to work one on one with me
in a consulting setting,
we'll crack any business problem that you have.
And that's a guarantee.
Let's maybe put like a little text underneath
that's not a guarantee.
You know, it's a joke.
It's a joke, but we will try our hardest.
That is over at experiment27.com/consulting.
And if you've written a business book
and you want it turned into a documentary
that could be seen on something like Netflix.
It's not your normal corporate video;
it's gonna be a piece of art that you can use
and you can add it to your legacy.
That is over at loreliapictures.com.
We'd love to work together.
I'm Alex Berman. Thanks for watching.