JP Fatta

I mean, and this was actually bootstrapped, right?

So they'd spend considerably more sometimes.

I think actually leveraging technology now, leveraging relationships, a lot of people get into it at different price points, which you're seeing in the content that's being created now digitally.

But at the time, these guys were trying to create high-quality production sizzles to pitch to these networks, but they were getting the door slammed on them.

So I got integrally involved in the operational side

once I realized that they were hemorrhaging a lot of money and we weren't getting any sort of road or pathway to any of this happening.

Yeah, it's amazing.

They have different tier budgets.

Well, first and foremost, if you're a new filmmaker and you're trying to break into the industry, almost near impossible to actually get a deal.

But assuming that you do get a deal because you have some sort of a leveraged position, then you get an override on the budget.

I mean, that's it.

You try to negotiate some back end, but most of those deals, the back ends are stripped out.

So what you do is you try to package the content.

You try to package all of the talent around the content so that you're managing the talent.

So if the talents actually break out in year two and year three, you're getting a piece of that by managing them as well.

So it's a whole actual package you put together and kind of a two-year or three-year roadmap.

But most of these guys try to break into it.

They give away most of their leverage position up front.

because they're trying to get the credits, right?

The EP credits, the producer credits.