BHFF
Gettin Busy w/ Mr. McDonald
How To Make A Million Dollars In Hollywood BUSINESS Hollywood - Mixed Martial Arts - Los Angeles York Shackleton, 38, has gone from professional snowboard champion to movie mogul-in-the-works in just 10 years.  He recently opened Endurance Pictures, a low budget film production company on Sunset Boulevard in Los Angeles. His business partner is well known in the world of mixed martial arts, former owner of the TapouT brand, Dan Caldwell (who goes by another name to friends: “Punkass”).  Caldwell’s millions, coupled with a million or two that York’s been able to string together after a series of successful returns on investment has launched a new career for Caldwell, now that he’s no longer fully involved in his apparel company since selling it to Authentic Brands of Toronto. If the name Shackleton and Endurance ring a bell, it’s because York is a distant relative to Antarctic explorer Ernest Shackleton, who captained the ship Endurance during a long voyage to the South Pole in 1914. York considers himself an entrepreneur first, a movie maker second.  He’s been turning low budget movies into million dollar profits following these basic steps. 1. Make a Sample Product In the movie biz, that means making a movie. York’s first product was a documentary called “Las Paraditas”, a movie about prostitution in Mexico. It cost him $14,000.  He got the money from Barry Goldwater III, a relative of former presidential candidate Barry Goldwater of the infamous Nixon-era Watergate scandal. He shot it all by himself. And nearly tripled his money when he sold it to a tiny foreign film distributor. 2. Learn The Boring Stuff Even if it means taking crash courses at extension schools. For movie maker York, “Las Paraditas” led to a showing at Cannes, which led to contact with a man named Leonard Shapiro, a straight-to-video indie movie expert who was teaching at UCLA on the side.  He convinced York to take classes at the school and not just to learn the creative stuff like screenwriting and film making, but also the un-glam, non-creative parts of the business, like marketing and distribution where the real money is made. 3. Show Sample Product to Potential Investors & “Door Openers” And don’t stop. Show them what you can make, even if it means you have to keep making short movies on the cheap.  The key here is to have a product with potential. “Las Paraditas” opened doors for York, who was able to work on two other low budget films after convincing individuals he could make a return on their investment.  From there, he met Randal Kleiser (Grease, Blue Lagoon) who added to his network of door openers. 4. Secure Distribution York’s relationship with Shapiro led him to Echo Bridge, a second tier East Coast/West Coast film distribution company. He secured distribution on two low-budget indie films, including his claim to fame: “Kush”, a crime drama about a group of friends caught up in a drug-related kidnapping.  Once you can secure distribution, you can more easily convince investors to invest because they know part of the film is already paid for. 5. Start Small, But Make $10,000 Look Like a Million York doesn’t make million dollar movies.  He is playing on the sand lot, not the back lots of Paramount, he says.  “Kush” cost him and five partners $100,000 total. It grossed above $3 million.  “Roman”, a horror movie, cost just $75,000 and went straight to home video. It made $2.5 million. He recently sold both to The Sundance Channel. His latest, “1 Out of 7″, starring Vivica A. Fox, cost $500,000.  Now he’s moving on up as his product returns improve. “My early investors were just a bunch of film school friends with money in their trust funds,” he said in a phone interview with me last month. “I pitched the idea to them, and they pitched the investment to their parents.” Trust funds are for beneficiaries only at a certain age. The funds are run by trustees, often times parents, who are in charge of the disbursements. York and Caldwell’s new Endurance Pictures is currently filming their first studio project, a psychological thriller called “Pretty Perfect” and a love story called “Regret”, due out in 2013 and fully financed by Endurance. Of course, there’s a disclaimer in all this.  What works for one person in a vocation doesn’t work for all. Having a portfolio of work is important, but that portfolio requires lucky encounters with people who can help you achieve your goal. York is unique, and not only because of his distant connection with the famous British explorer.  He made a lot of his money as a champion snowboarder. He also has his own real estate construction business. In short, he is independently wealthy.  He also lives in Los Angeles, where the bulk of the movie making business takes place.  But that doesn’t take away from his business model: which can be applied to any product line, or service — having something to show, starting small, keeping your costs down and dreaming big. I become interested in York before I even met York.  I lived in an apartment in São Paulo with an Antarctic explorer named Julio Fiadi. I learned about Ernest Shackleton from him.  I used to see Fiadi training for his South Pole adventures at the Pacaembu soccer stadium. He’d have about four car tires roped to his waist and he would be walking around the stadium’s parking lot. Then there were the days leading up to this year’s Superbowl. I read this article in The Boston Globe about how Bill Belichick showed his 2002 New England Patriot team a documentary about Ernest Shackleton’s adventure. It was the coach’s way to show the team what kind of team work he expected from them. They won the Superbowl for the first time in franchise history that year. A month later, I got an email about York. I gave him a call on a whim. When he spoke about entrepreneurship and teamwork, I figured it was a good fit to put him online here at Forbes, even here on the emerging market pages.  Why not? He might be an emerging movie mogul.

How To Make A Million Dollars In Hollywood

York Shackleton, 38, has gone from professional snowboard champion to movie mogul-in-the-works in just 10 years.  He recently opened Endurance Pictures, a low budget film production company on Sunset Boulevard in Los Angeles. His business partner is well known in the world of mixed martial arts, former owner of the TapouT brand, Dan Caldwell (who goes by another name to friends: “Punkass”).  Caldwell’s millions, coupled with a million or two that York’s been able to string together after a series of successful returns on investment has launched a new career for Caldwell, now that he’s no longer fully involved in his apparel company since selling it to Authentic Brands of Toronto.
If the name Shackleton and Endurance ring a bell, it’s because York is a distant relative to Antarctic explorer Ernest Shackleton, who captained the ship Endurance during a long voyage to the South Pole in 1914.
York considers himself an entrepreneur first, a movie maker second.  He’s been turning low budget movies into million dollar profits following these basic steps.
1. Make a Sample Product
In the movie biz, that means making a movie. York’s first product was a documentary called “Las Paraditas”, a movie about prostitution in Mexico. It cost him $14,000.  He got the money from Barry Goldwater III, a relative of former presidential candidate Barry Goldwater of the infamous Nixon-era Watergate scandal. He shot it all by himself. And nearly tripled his money when he sold it to a tiny foreign film distributor.
2. Learn The Boring Stuff
Even if it means taking crash courses at extension schools. For movie maker York, “Las Paraditas” led to a showing at Cannes, which led to contact with a man named Leonard Shapiro, a straight-to-video indie movie expert who was teaching at UCLA on the side.  He convinced York to take classes at the school and not just to learn the creative stuff like screenwriting and film making, but also the un-glam, non-creative parts of the business, like marketing and distribution where the real money is made.
3. Show Sample Product to Potential Investors & “Door Openers”
And don’t stop. Show them what you can make, even if it means you have to keep making short movies on the cheap.  The key here is to have a product with potential. “Las Paraditas” opened doors for York, who was able to work on two other low budget films after convincing individuals he could make a return on their investment.  From there, he met Randal Kleiser (Grease, Blue Lagoon) who added to his network of door openers.
4. Secure Distribution
York’s relationship with Shapiro led him to Echo Bridge, a second tier East Coast/West Coast film distribution company. He secured distribution on two low-budget indie films, including his claim to fame: “Kush”, a crime drama about a group of friends caught up in a drug-related kidnapping.  Once you can secure distribution, you can more easily convince investors to invest because they know part of the film is already paid for.
5. Start Small, But Make $10,000 Look Like a Million
York doesn’t make million dollar movies.  He is playing on the sand lot, not the back lots of Paramount, he says.  “Kush” cost him and five partners $100,000 total. It grossed above $3 million.  “Roman”, a horror movie, cost just $75,000 and went straight to home video. It made $2.5 million. He recently sold both to The Sundance Channel. His latest, “1 Out of 7″, starring Vivica A. Fox, cost $500,000.  Now he’s moving on up as his product returns improve.
“My early investors were just a bunch of film school friends with money in their trust funds,” he said in a phone interview with me last month. “I pitched the idea to them, and they pitched the investment to their parents.”
Trust funds are for beneficiaries only at a certain age. The funds are run by trustees, often times parents, who are in charge of the disbursements.
York and Caldwell’s new Endurance Pictures is currently filming their first studio project, a psychological thriller called “Pretty Perfect” and a love story called “Regret”, due out in 2013 and fully financed by Endurance.
Of course, there’s a disclaimer in all this.  What works for one person in a vocation doesn’t work for all. Having a portfolio of work is important, but that portfolio requires lucky encounters with people who can help you achieve your goal.
York is unique, and not only because of his distant connection with the famous British explorer.  He made a lot of his money as a champion snowboarder. He also has his own real estate construction business. In short, he is independently wealthy.  He also lives in Los Angeles, where the bulk of the movie making business takes place.  But that doesn’t take away from his business model: which can be applied to any product line, or service — having something to show, starting small, keeping your costs down and dreaming big.
I become interested in York before I even met York.  I lived in an apartment in São Paulo with an Antarctic explorer named Julio Fiadi. I learned about Ernest Shackleton from him.  I used to see Fiadi training for his South Pole adventures at the Pacaembu soccer stadium. He’d have about four car tires roped to his waist and he would be walking around the stadium’s parking lot.
Then there were the days leading up to this year’s Superbowl. I read this article in The Boston Globe about how Bill Belichick showed his 2002 New England Patriot team a documentary about Ernest Shackleton’s adventure. It was the coach’s way to show the team what kind of team work he expected from them. They won the Superbowl for the first time in franchise history that year.
A month later, I got an email about York. I gave him a call on a whim. When he spoke about entrepreneurship and teamwork, I figured it was a good fit to put him online here at Forbes, even here on the emerging market pages.  Why not? He might be an emerging movie mogul.

Check out who attended The Who’s your Papa event last Thursday at the King King nightclub in Hollywood
Are In-Theater Movie Ads Out-Of-Control? It seems to me that with the enormous changes happening within the entertainment industry, there’s a sense of desperation that’s becoming more and more apparent. And this is more specific to the marketing teams than the actual filmmakers. The pressure companies have to find creative and new ways to market films to a broad demographic is apparent in today’s theatrical advertisements. The need to one up your competition has driven marketing teams to spend huge budgets in areas that don’t have the same draw they once did. Mainly theatre ads. So as the advertisements become more repetitious and in your face the natural reaction from movie goers is to be offended and taken back. Because entertainment has lost it’s subtleties. And it’s those subtleties that have driven story telling through film since the beginning and has always been the basis of thought provoking media. Yet there is a sort of downward spiral taking place as the revenue from theatrical films is in a decline causing the amount of ads to increase. I see this continuing until a new formula is proven and then studios will follow as usual. I don’t believe that it’s about the amount of ads as much as it is about what the ad consists of creatively and who it is directed to. For example my film Street has had no traditional advertisements yet through a unique marketing campaign directed to many different outlets, we have been able to build enough awareness and excitement that the film has already created a great anticipation factor before the actual release. No one likes to feel captive so trying to take advantage of a group of intellectual humans sitting in a closed theatre will only result in an eventual backlash from viewers in my opinion. I personally plan on getting to a theatre about ten minutes after the listed showtime in order to minimize the time spent sitting and watching paid advertisements yet as a filmmaker I do believe it is important to study the market and what tools other filmmakers are using in order to stay on the cutting edge. I look forward to the future and all the new and exciting ways that media can and will be marketed to potential audiences. York Shackleton

Are In-Theater Movie Ads Out-Of-Control?

It seems to me that with the enormous changes happening within the entertainment industry, there’s a sense of desperation that’s becoming more and more apparent. And this is more specific to the marketing teams than the actual filmmakers. The pressure companies have to find creative and new ways to market films to a broad demographic is apparent in today’s theatrical advertisements. The need to one up your competition has driven marketing teams to spend huge budgets in areas that don’t have the same draw they once did. Mainly theatre ads. So as the advertisements become more repetitious and in your face the natural reaction from movie goers is to be offended and taken back. Because entertainment has lost it’s subtleties. And it’s those subtleties that have driven story telling through film since the beginning and has always been the basis of thought provoking media. Yet there is a sort of downward spiral taking place as the revenue from theatrical films is in a decline causing the amount of ads to increase. I see this continuing until a new formula is proven and then studios will follow as usual. I don’t believe that it’s about the amount of ads as much as it is about what the ad consists of creatively and who it is directed to. For example my film Street has had no traditional advertisements yet through a unique marketing campaign directed to many different outlets, we have been able to build enough awareness and excitement that the film has already created a great anticipation factor before the actual release. No one likes to feel captive so trying to take advantage of a group of intellectual humans sitting in a closed theatre will only result in an eventual backlash from viewers in my opinion. I personally plan on getting to a theatre about ten minutes after the listed showtime in order to minimize the time spent sitting and watching paid advertisements yet as a filmmaker I do believe it is important to study the market and what tools other filmmakers are using in order to stay on the cutting edge. I look forward to the future and all the new and exciting ways that media can and will be marketed to potential audiences.
York Shackleton