Category: Money

New Haphead Teaser and Kickstarter

Posted by – October 23, 2014

We think the series will make an impression, geddit?

We think the series will make an impression — geddit?

We shot Haphead over the summer and now we’re looking to finish it via some crowdfunding. Wanna help us get this ninja gamer neo-noir webseries out there? Check out our Kickstarter and consider telling your pals about it! We got the Facebook, we got the Twitter

We learned a lot making Ghosts With Shit Jobs together, eh? You’ll see that learning up on the screen in this new one. Feedback always welcome!

Haphead in the Blogosphere

Support some kick-ass indie sci-fi about gamer ninjas
– Annalee Newitz, Editor-in-Chief, io9

Munroe and co. have shown that they can produce amazing scfi movies with tiny budgets
– Cory Doctorow, science fiction author, blogger and co-editor of Boing Boing

“Given the sly and subversive design fiction of Ghost With Shit Jobs [the previous movie]…we have great expectations for Haphead”
– Greg J. Smith, designer, researcher and digital culture writer, Creative Applications

GHOSTS Producer’s New Project

Posted by – February 9, 2013


You all knew Anthony was funny from his on-set banter, but now he serves it up with a tasty side of snark. GHOSTS producer Anthony Cortese is fundrasing for a new webseries called Table 12 which vents on behalf of all waiters everywhere. Check out his pitch (funny unto itself) on the IndieGoGo site. The first ep, The Modifiers, is up on Funny or Die.

Wanted: Associate Producer for a New Lo-fi Sci-fi flick

Posted by – January 27, 2013

Thanks Trevor!We’ve had a pretty terrific response to GHOSTS — most recently there it is on iTunes Canada New and Noteworthy section, to the left — and we’re looking to get rolling on another movie. We’d like to explore the new funding possibilities that our success with GHOSTS has opened up, so we’re putting out the call for an Associate Producer. We’re going to spread the word broadly, but first we wanted to see if anyone reading this blog was interested or knew of good potential candidates.

You have a fascination with the business side of movie-making, both in the status quo funding options and the new possibilities offered by technological changes. You’re very organized, yet have patience with those who are not. Where others see a labyrinthine bureaucracy, you see a research challenge and a list of to-dos. Sometimes you think you are a robot, but then you cry at a sad movie. 

If you have questions or think you’d be good for the job, get in touch at

Transatlantyk in Poland, Producers on Space

Posted by – June 13, 2012

GHOSTS has been invited to its second festival: Transatlantyk in Poznan, Poland. Whoo hoo! They approached us for a screener a few weeks ago, which was nicer than having to apply.

Also, a couple of us producers were on Space last week, interviewed outside the Toronto premiere by swell chap Mark Askwith — check it out here.

Something I thought you guys might be interested in is the $1000 up for grabs with this Toronto DIY filmmaker’s feature film challenge. Check it out on her website here. To fund it she’s screening a flick called I am a Good Person / I am a Bad Person at the Royal tomorrow (Thursday night) — interested in going to see it? Email me!

Making this Public, Money, & You in Boston?

Posted by – June 8, 2012

Couple of important things:

  • I’ve moved the blog in preparation to making it a public document of our process. If you have any issues with this — perhaps you made comments that you’d prefer stay private, for whatever reason — just let me know in the next week and we can figure it out.
  • The Kickstarter money is coming in soon. Off the top we’ll be paying back the money that the producers have loaned the project for costs thus far. Then over the next 8 months we’ll use it for the hard costs involved with screening the movie, keeping careful records. After the promotional phase is over in 2013, we will be dividing any remaining money (if any) as per our Time Logging agreement. If you have logged your hours and have not submitted them to me, please do so before the end of June. If you haven’t logged your hours and we know you’ve put more than ten hours into the project, we’ve been making estimates based on how many hours you were on set, plus prep time. This is an experimental method of compensation, and feedback and questions are welcome!

OK, on to the fun stuff!

I’ve posted some pics from the Toronto screening over here.

Here’s a little clipping from the Berlin version of Time Out, Zitty.

(Talking about other languages, we are working on subtitles for GHOSTS. The first step is making English ones so they can be translated, and Dave has transcribed the entire movie — we just need someone to match it up with the timecode. If you want to learn how to do it, get in touch for more details!)

Our next screening and Q&A is in Boston MA: Saturday July 14th at 8pm at MIT. It’s a free screening and open to the public, and I’ve been told they generally get a few hundred students out for the series. A couple of us are going down for the weekend, so if you’d like to see how Massholes react to Shit Jobs and are up for a 10 hr roadtrip, then let me know and we’ll see if we can carpool!

No Resting on Our Laurels

Posted by – March 27, 2012

London, England is just the beginning! We’re planning a Kickstarter campaign to raise $5000 to tour the movie to a bunch of different cities. If you’d be into giving feedback on our video pitch, let me know and I’ll send you the link for the latest iteration.

Sci-Fi-London has updated their site and GHOSTS has a page now. Some of the best science fiction is coming out of the UK these days: I just watched Moon, directed by David Bowie’s son, and thought it was terrific. The TV show Misfits completely redeemed the dramedy genre for me. The third ep of Black Mirror had me writhing in ecstasy and jealousy simultaneously — pretty much perfect SF, by my estimation.

Celtx, the open source screenwriting program I wrote GHOSTS on, is funding short videos — we got $2000 the last time they did it, so you know they have good taste! No fee to apply, check out the deets here!

Need some music for your movies? Sean (Oscar the digital janitor) let me know his brother Mike Lerner is looking for composing work — check out his music here and get in touch.

Pre-Production Hour Log

Posted by – September 24, 2009

If you logged your hours in pre-production, please email me the total (and breakdown if you have it, for curiosity’s sake).

If you didn’t, don’t worry about it.

Key to the City

Posted by – September 11, 2009

So we went back and forth a lot with insurance, whether we should get it or not. In the end, we ponied up the $750 to Unionville Insurance and got $2M in liability and $500k in equipment. That means that all the equipment we’re using is covered for damages, and the city will give us permits to legally shoot in public places.

As you can see from the above permit, they can be pretty broad — this one allows us to shoot anywhere except the downtown core for Sunday, Monday and Tuesday. I’ve been pleasantly surprised by the Film and Television Office, they’ve been pretty patient with me and the turnaround is quick.

The nicest thing happened on my shoot on Wednesday — a Parks and Rec truck pulled up, and both Anthony and I assumed they were there to check up on our permit. But no, they were there because they saw we were shooting and wanted to know if we needed the gate unlocked for our vehicles. It was a moot point because we’d all come by transit, but it was a nice thing that instead of checking on us they were there to help us out.

Time-Logging & Profit-Sharing Contractual Agreement

Posted by – March 25, 2009

Whereas it is unlikely that Ghosts With Shit Jobs will make a profit by being sold to broadcasters and/or distributors given that it is a no-budget production,

I nonetheless desire to work on this film project either out of an interest in science fiction, the aesthetics of film-making, the principle of autonomous creation, the development of professional skills, the comradery of teamwork, or some combination thereof,

So long as any hypothetical compensation should be as equitable as possible according to my efforts, and the process itself should be as fair, transparent and accountable as possible,

Therefore, I hereby agree to the following contract:

1) I will log the hours I spend working on this project, with the understanding that my percentage of the profit will be equal to percentage of the total hours, irregardless of role, after having worked ten hours (eg. If there is a $100 profit and I have worked 10 hours on a project that took 100 hours, I will receive $10).

2) I will log hours for, but not limited to, the following activities: organizing or taking part in the preparatory film workshops, contributing to the project blog, research, securing locations, working transport, securing actors, acting, working sound or lights, constructing props, shooting video, assisting in catering or craft services, working in makeup or wardrobe, creating special effects, editing sound and/or video, or promoting the screening of the film.

3) I will record my hours as diligently and honestly as possible as soon as it is practical to do so after taking part in activities related to the film project, given that padding hours amounts to taking hypothetical money away from other project participants who are being accurate in their logging, while under-reporting hours ultimately amounts to ripping myself off.

4) I will be asked via the website email notifications to submit my hours at three points i) after pre-production is completed; ii) after production is completed, and iii) after post-production is completed. I will have two weeks to do so, failing which my hours will not be counted.

5) I understand that my payment, should I receive one, will be deferred until incurred film costs have been covered, and as such I will attempt to reduce incurred costs by posting any expenses over $100.00 to the project blog so that other project participants can be aware of the expense, suggest cheaper or free alternatives, or contest the expense.

Name: ________________________________________________________________________

Signature: ____________________________________________________________________

Date: _________________________________________________________________________

Errors and Omissions Insurance and Broadcast Sales

Posted by – January 6, 2009

I’ve just talked to a director who’s sold a movie for broadcast and gotten a theatrical release, and he gave me the off-the-record skinny on some of his experiences and cleared up some other legal things we were discussing here.

Superchannel was interested in purchasing the broadcast rights to his movie, but required them to have Errors and Omissions Insurance. An E&O insurance company protects the broadcaster against getting sued for stuff: say you have a brand name in the shot, a store, or a person in the background. If they see themselves in a movie they don’t like they call up Superchannel or whoever, but Superchannel shuffles them off to the E&O insurance company. They have to settle with the person, or deal with it somehow.

So in this director’s case, they had to submit the movie to the E&O company and they assessed the potential risk and charged them accordingly. There was a brand of a local beer who’s appearance they were able to clear with the beer company since it wasn’t presented in a unpleasant way, which reduced how much they were charged. So every location/extra/music/actor/crew release you have signed is one less risk the E&O company has to take, and thus charge the moviemaker for. He thought companies and individuals were much more likely to be perceived as a risk than public spaces — he’d never heard of people having to produce permits from the city for on-the-fly shots. He imagined the insurance would cost $5-$10,000 but wouldn’t have to be paid until there was a broadcaster offer.

The rights to his movie, which he thought was pretty average or standard, sold for about $50,000 to Superchannel. So, overall, I think it’s worth it to do the paperwork as we go, as it amounts to location/extra/music/actor/crew releases drawn up and signed.

He said that broadcasters sometimes do presales based on a script, but they expect it to trigger other much bigger investor money (ie. Telefilm, who would be impressed you have a broadcaster); that they often have content input, and while this is not control, one is behooved to take it seriously if one wants to continue the relationship with other projects — a “too many cooks” situation. He threw out $15,000 as a hypothetical presale number, but it’d be based on a small percentage of the budget. Doesn’t sound worth it for the amount of shopping-around effort and potential interference.