Justin Lacob

EXECUTIVE PRODUCER CREDITS ARE NOT PARTICIPATION TROPHIES - THE EXECUTIVE PRODUCER PILE - ON IS A RED FLAG Investors. Producers. Screenwriters. Directors. When you see a lower-budget independent film with an excessive number of Executive Producers attached, you should be very, very leery. Yes, there are exceptions. Sometimes credits are structured for legitimate reasons. Sometimes financing demands it. Sometimes people genuinely earn the role through capital, leverage, access, or distribution. But more often than anyone wants to admit, it’s not strategy. It’s a yard sale. A trading post of titles. A pile of favors. A long list of people who contributed little to nothing meaningful to the actual film, but somehow ended up with one of the highest credits on the project. And when that happens, here’s the real danger: it’s rarely just a “credit” problem. It’s a signal that the leadership is weak, the structure is sloppy, and the project is being held together by permission slips instead of governance. For investors, it’s a flashing warning sign that accountability is diluted and decision-making will be compromised the second things get difficult. For producers, it’s the beginning of operational dysfunction disguised as “support.” For directors and writers, it’s a quiet nightmare. Because excessive Executive Producer credits usually means you’re walking into a project where too many people think they’re in charge, too many people believe they get a vote, and too many people feel entitled to creative influence without earning it. And that’s how films die in slow motion. Not from a lack of talent. From a lack of control. Executive Producer is supposed to mean something. When it becomes a participation trophy, the entire project becomes a liability. So if the Executive Producer list looks inflated on a small budget, don’t ignore it. That’s not momentum. That’s a red flag dressed up as prestige.

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Genuinely interesting information for anyone following the BLUEPRINT threads... a breakdown of how each distribution choice is in gamble for the production company and the core creative team.

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BBC + YouTube YouTube + The Oscars Netflix + Podcasts Instagram on TV Creators on FAST MrBeast on Amazon Markiplier Inc in Movie Theaters My BIG unifying theory for 2026: this year, Trad Media & The Creator Economy collide, combine, and merge. To help prove my point, recently I spoke with the one and only Alan Wolk, Roku’s Head of Ad Sales Marketing Sarah (Warner) Harms, and Horizon Media Futures Chief Michele Donati about HOW TV & CREATORS COLLIDE IN 2026. Enjoy the clip? Watch the series! https://lnkd.in/eP8HB8a2

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MARTIN GROVE'S HOLLYWOOD REPORT FOR 3/15/26: Families kept the multiplexes humming over Oscar weekend with $28.5M in ticket sales for HOPPERS.    The Disney/Pixar Animation PG comedy adventure was playing at 4,000  theatres ($7,125), per Comscore. It's also benefiting from tracking best for first choice with under-25 women (eight points over norm). HOPPERS has done $86.8M domestic & $164.7M worldwide. BUDGET BUZZ: $150M to produce.   Universal's PG-13 romantic drama REMINDERS OF HIM opened #2 to an over-performing $18.3M at 3,400 theatres ($5,362), per Comscore. Hollywood handicappers were initially expecting $10-12M. It's tracking best for first choice  with over-25 women (two points over norm). Rotten Tomatoes critics are negative at 56%, but audiences are happy at 89%. BUDGET BUZZ: a modest $25M to produce.   HIM is directed by Vanessa Caswill (LOVE AT FIRST SIGHT) and stars Maika Monroe, Tyriq Withers & Rudy Pankow. It's based on the bestselling novel by Colleen Hoover (IT ENDS WITH US).   Domestic ticket sales were $83.7M, according to Comscore Head of Marketplace Trends Paul Dergarabedian. That's down 13.3% from the prior weekend, but up 54% vs. this time last year. Comscore's year to date tally has 2026 at  $1.41B, up 15.15% from $1.23B in 2025. The prior weekend had 2026 up 13.21% vs. 2025.   Meanwhile, back at the multiplexes: A24's R rated sci-fi thriller UNDERTONE opened #3 to $9.3M at 2,570 theatres ($3,634), per Comscore. Directed by Ian Tuason (EXTREME CLOSE UP), it's tracking for first choice below norm for all demos. Rotten Tomatoes critics are okay at 76%, but audiences are booing at 52%. BUDGET BUZZ: $3-4M to acquire rights.   Paramount/Spyglass Media's SCREAM 7 was #4 in weekend three with $8.4M (-51%) at 3,243 theatres ($2,575). It's done $106.5M domestic and $177M worldwide. BUDGET BUZZ: $45M to produce from Paramount & Spyglass.     Next weekend (3/20/26) 🐝🐝🐝🐝: Amazon MGM Studios' PG-13 sci-fi drama PROJECT HAIL MARY is opening at about 4,000 theatres. It's tracking best for first choice with over-25 men (nine points over norm). Rotten Tomatoes critics are already cheering at 94%.   MARY, directed by Phil Lord & Christopher Miller (THE LEGO MOVIE co-directors), stars Ryan Gosling, Sandra Hüller & the voice of James Ortiz.   . Searchlight/Mythology Entertainment's R rated comedy thriller READY OR NOT 2: HERE I COME is opening at about 3,000 theatres. It's directed by Matt Bettinelli-Olpin & Tyler Gillett, who also co-directed the 2019 original READY OR NOT.   READY 2 stars Samara Weaving, Kathryn Newton & Sarah Michelle Gellar. It's tracking best and equally well for first choice with under-25 men and over-25 women (each one point over norm). Rotten Tomatoes critics are already positive at 86%.   The first READY episode opened 8/21/19 to $28.7M domestic and did $57.6M worldwide on a budget of $6M.   (See more at www.ZAMM.com)          #movies #boxoffice #hoppers              

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What does it really take to run payroll on an indie feature film? Try this on for size: -> 200+ crew members and talent -> SAG-AFTRA union performers -> Dozens of background actors each day -> 5 consecutive weeks of shooting, 12 consecutive weeks of payroll. Now add the pressure of making sure every single person gets paid on time, every time, while navigating union rules, compliance, deposits, taxes, and the endless stream of start forms and vouchers. That’s the mountain we just climbed at FilmUp, and we did it successfully for a recent independent feature. The truth is, behind the magic of filmmaking is a massive operational engine. Payroll isn’t glamorous, but when it runs smoothly, productions shine. When it doesn’t… everyone feels it. That’s why we built FilmUp: ✨ Seamless onboarding for SAG & BG talent ✨ Union-compliant payroll, deposits, and reporting ✨ Accuracy, transparency, and speed for productions of any size ✨ Team with 60 years + of in industry experience. We believe indie filmmakers should have the same level of payroll support as the big studios. And after processing millions in payroll already this year, we’re proving it. If you’re gearing up for your next production, let’s talk. We’ll take the payroll stress off your plate so you can focus on telling your story. 📩 DM me or connect here, we’d love to support your next project. #FilmUp #IndieFilm #SAGAFTRA #BackgroundActors #FilmPayroll #BehindTheScenes #payroll

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Tip for the Day #125: Beware Red Flag Investors This might ruffle a few feathers. When you’re chasing funding, it’s easy to ignore investor red flags & warning signs. Most real investors are legitimate—but sadly, some are not. For indie projects under $3–5M, here are common red flags: Requiring “A-list talent attached.” True attachment is a legal/financial commitment (often pay-or-play with funds already verified in escrow). An LOI isn’t enough, & most low-budget investors know that. If this is a hard requirement at that level, that's a Red Flag (See Tip for the Day #100 for more on this) Sloppy or unprofessional application forms. Poor formatting, mismatched fonts, or questionable documents often signal someone fishing for your information. Red Flag Offering a driver’s license or passport as “proof.” Real investors don’t operate this way. Red Flag Claiming a "studio" distribution deal is required. Legit pre-distribution deals typically involve proven teams & major talent—rare for small indie projects. Red Flag Pushing tax incentive monetization early. This can be legit, but it’s expensive. There are legit lenders that will monetize rebates prior to filming, but use caution, their fees are not cheap & in most cases, they will only fund 50% to 80% of the forecasted rebate. (See Tip for the Day #108 for more on this). Demanding presales. Presales require bankable talent attached—if you truly have that, you may not need the investor. That’s the irony of saying presales required. You can actually do enough foreign presales to raise your full budget, thus negating the need for an investor. (Primarily for projects $3 million & under. See Tip for the Day #87 for details) Constant unexplained delays. Financing takes time, but months of missed timelines without clarity is a Red Flag. Poor grammar in emails or contracts. Simple, but often revealing. Red Flag “Skin in the game” aka, you invest a certain amount of your own money into your project (normally 10% to 20%). This is not a red flag by itself & is quite common in legit deals. Red Flags arise when you're required to deposit those funds, up front, into the investor's escrow account that you don’t have access to & can't monitor. That can be a scam & once deposited, you may never hear from them again. Use caution & an entertainment attorney. Refusing to show Proof of Funds. This should be quick & standard. Delays or excuses usually mean there’s nothing to show. Red Flag Last-minute upfront fees. Legit fees are disclosed early and documented. Surprises near closing are a major Red Flag There's other Red Flags as well, but these come up often. Always do your due diligence on anyone offering to finance your project. If you’ve encountered other red flags, feel free to share them in the comments. For my film/TV budgeting, scheduling, consulting, or financing business plans prep services info, rates & limited time discounts, please email me at filmbudget007@gmail.com Let’s make a movie!

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New Jerset Film Academy Student spotlight 🎬 At New Jersey Film Academy, in Professor Adam Nelson’s foundational Script to Screen: Introduction to the Entertainment Industry course, the assignment required students to create ten still images demonstrating camera angles and shot composition. Michael Seltzer went further. Rather than submitting a PowerPoint, poster board, or printed packet, he used the assignment as the foundation for a music video of his own creation featuring his band and constructed specifically to demonstrate a barrier of shots, intentional framing, and compositional choices learned in Lesson 8. The result was not an alternative format, but an expansion of the assignment itself. This is precisely what Script to Screen compels: students who treat structure as a launchpad, not a limit and who translate technical instruction into expressive, production-minded work. 2026 enrollment is now open at Brookdale Community College and our statewide partner campuses: Atlantic Cape, Camden, Morris, Essex, Hudson, Mercer, Middlesex, Raritan Valley, Rowan College of South Jersey, and Union. New Jersey Film Academy Where the best in the biz begin. New Jersey Film Academy #ScriptToScreen #NJFilmAcademy #cinematography #newjersey #workforcedevelopment Cc: Diane Raver Joe Colicelli Daniel Colaianni WORKHOUSE

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California's Film & TV Incentives: A Glimpse into the Future of Production?   As the California budget and legislative process unfolds, the industry is keenly watching for potential enhancements to the state's film and TV incentive program. With proposals on the table for $750M in funding, a 35% credit, and expanded eligibility to include animation, competition shows, and TV/less than 30-minute formats, California is poised to significantly bolster its competitive edge in the global production landscape.   In the interim, the California Film Commission recently announced an impressive slate of projects selected for the latest round of incentives. This diverse collection of feature films, spanning major studio productions and independent features, is projected to generate a remarkable $664 million in total spending across the state, including $485 million in qualified expenditures and over $302 million in wages for California workers.   Amidst fierce international competition from hubs like Ireland (40%), New York (30%-40%), and the UK (39.75%), it's exciting to see a renewed focus on independent production in California. Of the 48 titles selected for subsidies, five are feature films, collectively accounting for an even split of the $96 million in tax credits allocated this round. While the overall allocation for features is down from previous years, the continued investment in independent cinema signals a promising future for 'Indies in California!'   Looking forward to seeing these projects come to life and the economic impact they'll bring.   #CaliforniaFilm #FilmProduction #TaxIncentives #IndependentFilm #EntertainmentIndustry #EconomicImpact #FutureOfFilm Entertainment Partners https://lnkd.in/gk9QEGBp

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In the rush to get cameras rolling, corners get cut, contracts go missing, and chaos creeps in – not because of a lack of passion, but because of avoidable mistakes. Producing a film isn’t just about spreadsheets and schedules; it’s about vision, leadership, and relentless foresight. Here's 10 big mistakes producers make and how to avoid them: https://lnkd.in/e8t4gSaB

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The elephant in the room: transparency in music-industry royalties. “...failure to use readily available technology to obtain an accurate count of music use has unfairly diverted millions of dollars…” In a world where every performance or reproduction of a copyrighted work is supposed to generate a royalty, so creators can keep making a living, I struggle to understand why some PROs downplay the need to evolve. Too much music use still goes untracked, even as music is played across more platforms and mediums than ever. PROs should be aggressively investing in modern tracking, at scale, across every medium where music is used. Whether that’s automated audio-recognition systems, better reporting infrastructure, or even a simple “listening” device installed near a venue’s sound system (think Shazam-level fingerprinting) that securely logs plays and reports them back to a PRO database. And “easier said than done” can’t keep being the default excuse. That mindset just reinforces the industry’s “if it ain't broke, don’t fix it” approach. Except it is broken for the people missing payments. For an industry responsible for distributing billions of dollars annually to copyright owners, we have to do better. https://lnkd.in/gVVJeEgz

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There is too much negativity around the Entertainment Industry right now. Here are 6 positive stories/trends for your feed 📈 Studios are buying again Eight spec scripts sold in August 2025, the biggest month since 2017. For context only 11 specs sold in all of 2023. 📈 New Jersey production is booming Film & TV spend hit $402M in the first half of ’25, up 200% YoY. 📈 Disney is increasing content spend They’re adding $1B to their content budget next year for a total of $24B 📈 Tubi is doubling down on creators After launching Tubi for Creators in June, they’re already rolling out a slate of creator-led originals. 📈 Creator economy remains hot TikTok x iHeartMedia just signed a major multiplatform partnership, including creator-hosted podcasts. 📈 Florida expects a production surge Expanded 2026 tax incentives + a new below-the-line certification program are set to bring fresh business into the state. The collapse narrative is lazy. The industry is evolving, not dying. If you are open to pivoting and being malleable, you can thrive in this Industry.

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Netflix's #HelloBachhon is a manipulative, heavy-handed, poorly packaged investor video masquerading as a series. A new low for TVF. Embarrassing stuff. Reviewed it here. https://lnkd.in/daMu23nW

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A telemetry-based approach to maximizing efficiency in modern film production. In this episode from January 2026 during the final Sundance Film Festival in Park City, Utah, Producers Without Borders founder Kayvan Mashayekh sits down with John Corser, former Senior Vice President of Global Production and Production Technology at NBCUniversal to discuss John's new technology company, Film IQ, focused on bringing real-time intelligence to film and television production.   John compares Film IQ’s approach to the telemetry used by Formula One teams. Just as F1 engineers analyze live data to optimize performance on the track, Film IQ aggregates and analyzes the constant stream of production data to provide immediate feedback on schedule, efficiency, and resource allocation.   The conversation explores how small to large scale productions can use data-driven insights to stay on time, control costs, and ultimately put more value on screen without sacrificing creative intent. https://lnkd.in/gUjwCgF3

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It’s time for Freeway’s next video 📺, about paying US Guild Residuals to members of SAG-AFTRA, DGA and WGA, using a Collection Account.👇   🤔 What are Guild Residuals and how does a Collection Account with Freeway make sure that Independent Film Producers pay Residuals correctly?   ➡️ Residuals are additional compensation payments which may become due and payable by the Production Company to Actors, Directors and Screenwriters, under the Basic Agreements.   ➡️ Residuals may become due when a Film is exhibited, distributed, or otherwise exploited, domestically and/or internationally, beyond its initial theatrical exhibition.   ➡️ This can include pay and free TV, home video and DVD, streaming and new media.   🧐 How are Guild Residuals calculated and paid?   ➡️ Guild Residuals are payable on worldwide revenues.   ➡️ The Production Company will set up a Collection Account with Freeway as neutral third party Collection Account Manager (CAM) to manage the receipt, administration and allocation of revenues.   ➡️ The Production Company and the Sales Agent will instruct the local buyers or Distributors, to pay revenues due under the Film’s Distribution Agreements, into the Collection Account.   ➡️ Freeway sets aside, off the top and from every dollar received in the Collection Account, a fixed percentage which goes to a Residuals-Set-Aside.   ➡️ A Payroll House, appointed by the Production Company, will calculate the exact amounts of Residuals payable, based on information like worldwide revenue reports and the Film’s media allocation.   ➡️ Freeway is periodically notified by the Payroll House of the exact amounts of Residuals payable. Each time the CAM receives an invoice from the Payroll House, Freeway pays the total amount of Residuals payable from the Residuals-Set-Aside to the Payroll House. ▶️ The Payroll House will then cut the checks and pay each Guild Member individually. 👉 Do you have US Guild Members in your Film, and do you want to know more about paying Residuals through a Collection Account with Freeway? ✅ Contact Freeway Entertainment Group or visit the website: https://lnkd.in/gu_dXThz.

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Producer/Director James Pratt discusses strategies on attaching marketable and "name" talent to your film (Big Apple Film Festival Industry Networking Sessions). James Pratt is an award-winning director and producer residing in Los Angeles, California. His most recent work includes being executive producer on 4-time academy award nominee Edward Norton's Longevity Hackers (2024) and associate Producer on Harland Williams new comedy Film, Wingman (2025) which stars Kayla Wallace (Landman) and Jamie Kennedy (Romeo + Juliet). #BigAppleFilmFestival #FilmIndustryNetworking #JamesPratt #FilmDirector #FilmProducer #IndependentFilm #FilmmakingTips #AttachNameTalent #CastingStrategies #FilmProduction #HollywoodFilmmakers #LongevityHackers #WingmanMovie #IndieFilmmakers #FilmmakerNetworking #BehindTheScenes #MovieMaking #FilmFestivalSeason #CreativeProducers #DirectorLife

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Why Independent Films Are Leaving California - new video: https://lnkd.in/gTAAwNGD - California just doubled its film tax credits to $750 million annually, but there's a problem - While the state courts big-budget productions, thousands of independent filmmakers making movies under $1 million are being left out entirely, impacting the entry point for new directors, writers, & crews - Independent filmmaker & professor Jeff Deverett breaks down why this matters for the next generation of Hollywood talent & what California risks losing if it doesn't act - plus Post-Production Film Workers Don’t Want to Be Left Out of the Tax Credit Conversation - article: https://lnkd.in/g-vyY4BB

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As someone who’s proudly called Nevada home for over 44 years and spent decades working in the film industry, I want to clear up some misconceptions about AB 238, and share why I believe it’s one of the most exciting and forward-thinking economic opportunities our state has seen in years. Some have pointed to a report estimating a $0.52 return per $1 in tax credits. But that view only looks at direct tax revenue, and completely overlooks the bigger picture: job creation, small business growth, workforce development, and long-term economic transformation. AB 238 is a smart, performance-based deal for Nevada. Companies must invest their own money first, hiring Nevadans, building infrastructure, and funding over $8 million in local job training, before they qualify for any credits. It’s a plan rooted in accountability, not giveaways. I understand concerns about outside influence. But let’s be honest, the real issue isn’t who’s coming in, it’s who’s leaving. For too long, talented Nevadans have had to move elsewhere to build careers in film and media. This bill helps keep our talent here and grow opportunities from within. And for my fellow filmmakers, especially the independents, this is the chance we’ve been waiting for. With studio infrastructure, access to trained crews, and a competitive incentive program, Nevada has the potential to become a true filmmaking hub. No more watching productions head to Georgia or New Mexico, we can bring them here. This kind of growth doesn’t just benefit filmmakers. It generates new revenue, fuels local businesses, and supports broader public services, from education to social programs. This is how we build a stronger, more diverse economy. Write to EVERY NV state senator TODAY and urge them to support AB 238. I will past their ensuks In the comment section. This is a once-in-a-generation opportunity, and we cannot afford to sit this one out. The future is watching. This is our moment. Let’s rise to it.

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Los Angeles Film Production Declines 13.2% in Q3, but FilmLA Points to ‘Early Signs’ of Recovery: “It will take a little while for new incentive-backed projects to get underway and be reflected in our data,” FilmLA says in quarterly report. 🎬 https://lnkd.in/g6XGFq4h #losangeles #film #production

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