Archive;
1/29/10:
Making the Music Available; I have been exploring this possibility and have come up with another approach to producing the show. I will be thinking this thru here, so bear with me.
A great deal of work has gone into arranging this music to be orchestrally sound (no pun intended) and we are very well satisfied with the finished product. However, the amount of work that has gone into making even this first song ready for release has been huge. As it stands now we have 12-16 songs very well along in their composition and arranging process.
All the music is scored for 16 parts. The simplest reason for this is that we have used MIDI to compose and publish the score and our basic MIDI set-up is limited to 16 channels. Since 16 parts is a fair approximation of a pit orchestra, we thought it best to work within those parameters. I have felt the need for more instruments from time to time, but since we are intentionally limiting ourselves, the songs need to trade off, if there is a particular tone that is required in one piece but not another. I may increase the studio MIDI capability, so that we can settle in at 24 parts, since that is a more accurate approximation of a Pit Orchestra. As it stands now, the music will be presented in an ensemble arrangement and thus our Pit will be comprised as such.
So the thinking is that we will establish a membership program. Members will join for a $25 fee. That fee will gain members access to the "Producers Club", where not only more detailed information about the show will be available, but the music will be made available for download (before it is officially released, as it is being produced song by song), signed original artwork from the publishing plates and animated the film, signed original scores & scripts and an assortment of special edition & prototype products, advance tickets and invitations to special events will all be made available to members only.
There will be different membership categories according to the level of involvement in which a member may want to participate. This program is being implemented as a means to assist in taking this show to Broadway. The members will be the producers. It will be a true collaborative effort.
This is not to say that the conventional production financing structure will not still exist. Depending on the level of membership, members will have access to the contract and management materials by this method.
However, we hope to move this production forward by allowing many partners, assisting by small degrees, to participate. In the conventional methodology this is disallowed. But by membership in the production, without being involved in the management or financing, and offering our member/partners in this endeavor a fair exchange of services (ie: special benefits for membership and reduced pricing for items which are normally sold anyway) we can involve many people in the process, without expecting a few to take on the enormous financial risk involved.
Another benefit of approaching the production this way is that we may be able to present the show with ticket prices that are more manageable, but this is yet to be seen or proven to be possible. I will elaborate on this further in another discussion.
This concept will go a long way to establishing a firm foundation for the production and will serve to reduce the risk of investing for those who are in a position and would like to do so.
We should realize that putting a show of this nature up on Broadway can cost 20 million or more, so getting a good foundation is imperative. If that is the case, then a million members would pay for the show to go up. That's not what I expect, it's only an example (although it would be nice).
Anyone who cares to assist in this process is invited to open a dialogue with me on the subject. I am also posting on Facebook and YouTube, so keep an eye out there too.
Peace, Love, & Wisdom. AG
1/20/10:
Orchestral performance; by the Bryn Athyn Orchestra has been canceled. We have concluded that our focus of attention needs to be on recording the lyrics and assembling an ensemble/pit orchestra for performance purposes. Frankly, the music is very cutting edge and takes a certain "creative mentality" to effectively deliver. That being the case, we have come to an agreement that an ensemble would be the best approach to the music. An ensemble presentation in not possible with the current Bryn Athyn Orchestra program parameters. So it is that we have concluded that it is more important to have our musicians properly set up than to push for a performance at this time.
Over all, some of the parts would be best served, by allowing the greater degree of expression implemented by a single instrument, rather than a section. I am still very interested in pursuing an orchestral presentation, and I am continuing to do that, while Shawn prefers the ensemble presentation and he is pursuing possibilities in that direction. That being the case we had decided to regroup and redirect our energy back to composing of the remainder of the show.
I am currently focused on layout the picture-book publication and we are working on the CD which will accompany that publication. Jency Latta is the artist who created the image of Constable Warren (seen on the Production Approach Summary page) and we expect to employ her to illustrate the books and possibly supervise the animated film.
I am currently sculpting Constable Warren for use in a Claymation test we are planning and the sculpture will also be used for a limited edition collectible. The product utilizes an articulating joint that I invented just for this purpose, which I hope to apply to an action figure toy. Of course the rights to this are available.
11/09;
Orchestral Performance: the performance of music from The Gnomes of New Hope" has been moved to February of 2010, mainly because more instruments will be available for that performance.
Pupperty- we anticipate producing a puppet show at the stage in Tamanend Park as an introductory endeavor in this regard. I expect we will do a few scenes to start with.
Archive;
NOTE: The archive is a Hodge-podge of ideas and thoughts which developed as the effort progressed. Any items in the Archive should not be considered to be policy, although policy may in fact be derived from these thoughts and postings and some of these thoughts do represent policy.
An *asterisk indicates the posting has been edited and is accurate.
* 9/09;
Music/Narrative CD: It was decided to move forward with production of the CD which will contain a narrative of the entire story interspersed with the music from the show. We have begun to record both the narrative and the music down to ADAT.
It is anticipated that the CD will accompany, not only the proposal materials, but also the illustrated story book and the "Gnomeville" play-set (which we have designed and moving forward with building the prototype).
We have constructed a prototype of a 12" stuffed Gnome Doll, which is a copy of my clay 1/4" scale model. I am debating about modeling 3' high puppets from this design also. The main difficulty right now is that the person we employed to create a template from our design, refuses to provide the template, therefore creating copyright issues.
We have been asked to present the puppet show at a hayride. This is an area we are going to pursue. We are also in the process of constructing mechanical puppets, possibly with a future application to a theme park "Gnomeville"?
The theme park concept is also park of the larger plan and we may propose this to other organizations already involved in this arena.
Our present goal in regard to puppets & marionettes is to first produce a puppet show at Tamanend Park followed by the marionette show at Phillips Mill. The marionette show will be recorded as a television special and a DVD release.
This marionette show will effectively satisfy a world premiere in the vicinity of New Hope. Possibly a performance at The McCarter Theatre may satisfy this World Premier also
Needless to say we need to solicit partnership with distributors to address the ancillary markets of the Illustrated Storybook, CDs & DVDs. This will occur when the Music/Narrative CD is completed. Interested parties should inquire.
Musically, we are concentrating on the arrangements for orchestra for the entire first half of the show and making sure the conductors score is correct for a few of the pieces we think are marketable in that arena.
We do believe that a number of the pieces are ready to be marketed as stand alone numbers and are striving to do that in order to set the stage, so-to-speak, for marketing the larger show.
Our MIDI files are being designed in anticipation that they will be used for the marionette & puppet shows as well as the film versions if they are thus needed. We are considering a more extensive concert presentation with a pit orchestra.
In terms of film we are looking at the marionette show, a claymation, CG Animation, standard animation and a live performance. All of these are ancillary markets which will be licensed.
I am seeking representation with inquiries to a number of professional organizations for all of this, as well as the union theatre markets.
2/09;
Music: A meeting with the Bryn Athyn Orchestra has taken place. We have proposed that the first number of the play performed. We also have discussed it breifly with the Bucks County Symphony.
We have also decided that it would be appropriate to release it as a single, preferably through a classical music station.
With that in mind we are moving forward to publish the CD and attempt to get airplay for it.
If the BA Orchestra performs the piece, then the music will be their version of the composition, if not then we will use the midi files we currently have.
Our proposal to the BA Orchestra included them being a partner in this process, in which event, any music distributed would be performed but them. This is not confirmed , although it has been discussed.
We have discussed the material with a number of vocalists, but have not chosen the voice of "Constable Warren" to sing the first song "Never Been So Near". There are approximately 25 songs in this show.
Ancillary Markets: We are developing a line of toys, which include dolls, figurines and marionettes of the Gnome characters. These dolls are taking a number of forms and we've yet to determine which designs will take the lead in a marketing effort. We have very interesting character designs that have come out of the figurines I made for use with the model stage. (I use a model stage to determine the blocking of the show and I constructed little Gnomes for this) The response to these little Gnomes was very surprising and so we are developing a number of items based on these "Little Gnomes of New Hope". We also have character illustrations, which were derived from an effort to begin illustrating the script for book publication and an effort to begin the work of characterization for use with animated film. These illustrations are quite different from the "Little Gnomes of New Hope" and it is, as yet, unclear as to whether or not these illustrations can be used for the figurines. We have yet to locate a sculptor who can convert the illustrations to the smaller format for figurines. Any assistance with this would be most welcomed.
One of the items we are constructing is "Gnomeville". It is a play set based on the set designs and the story. The figurines will go with the play set and the kids can "act out the story" in Gnomeville. Needless to say, a script and the companion CD will be included. We will consider proposals for exclusive licensing on these items as a means of contributing to our production budget for the Broadway show. We intend present those prototype materials in an exhibition which will accompany the premiere of the music. Since we are in development of the prototypes at this time, we will entertain dialogue on manufacturing and distribution at any time. It may be possible for us to produce inventory of these items that can be offered for sale, but it seems unlikely without a partner, because our energies must be focused on the core material, so we invite inquiry in this regard.
NOTE: the information below will gradually be purged of redundancies and moot information. You will note that I am inserting comments in the form of an update to address the difference between what I though was happening and how it really turned out. Essential historical facts will be left in. References to business management items are for general information only.
8/08- The first piece, "Never Been So Near" is completed. (We'll never make this statement again, ha! From now on a piece will not be considered finished until it is performed officially) There are still some formatting items to be done and we are moving to record the lyrics up against the Piano Reduction. After that we will be mixing the lyrics in with the orchestrations and moving to work on the levels and pan. We have decided to work toward finding an orchestra to perform this in their repertoire.
Our next step after completion of some of these small details is to move to the finale. Even though we have numerous songs to work on, we thought the best step would be to do the first & the last pieces, the Alpha & the Omega. I had initially thought that we should have the overture, but since "Never Been So Near" turned out so well, we are anxious to do the finale. The overture should come out of the completed score, so we can integrate elements we haven't even created yet. Our working process is becoming quite refined and now we are attempting to learn a new program, Reason 3.0. We are also moving out of OS9 into OSX with DP4.12. We need our MIDI tracks to be virtual not from a tone generator. So I'm plodding into those deep waters, I hope I can swim thru it.
Update: 2/09 - We have moved to a new level with the implementation and familiarity of the of new MIDI systems mentioned above. A great improvement! The order of our work is not as it was presumed to be, even though we have revisited the finale, other material demands our attention. As such, my work on the story and new lyrics has opened up new dimensions to the piece. I've discovered that the story tends to be slightly altered as the music is created, mainly because I've attempted to deliver more of the primary story information in song and less in dialogue. This fact has tended to compress and refine the material as we go along. Because of this, I have come to realize that any given scene cannot be considered complete until we have finished the music and moved on.
7/08 - Work on has been concentrated on completing the music for The Gnomes. We've gotten deeply into refinement and editing of the MIDI files, to the point where we've decided that what we are doing is really the work of the final product. Meaning that the MIDI files will in fact be able to serve as the orchestra for the productions that cannot afford a pit orchestra. At first we were not thinking about it this way, but as we returned to the beginning of the show and concentrated on the final orchestration of the first piece, we realized that our virtual instrumentation was serving more than just as a composition tool. It is quite clear that an old world composer could barely even attempt to refine the work at the level we are able to with these tools. We've often wondered if we were cheating by having a full orchestra available to us this way, but, hey, you work with what you've got and we're fortunate enough to have these tools, so that's the way it is in today's world.
We are literally days away from finishing the first piece and are now moving into printing out the score and laying down the vocals. The first song is essentially ready for release and it is pretty impressive. We do have nearly a dozen songs sketched out and more lyrics waiting to be married to song. There are 16 scenes in the show and some scenes have more than three songs in them.. So you can see, there is still much to be done
We have come to the conclusion that we will sell the certain rights to the music distribution which would effectively provide us with operating capital and allot us more time to complete the rest of the show. Interested parties should contact me at imagemindag@verizon.net . Keep in mind that there are plans for a Claymation Film and that those rights are also available.
We have updated our systems to include DP4.12 and Reason 3.0, although we have not yet started using those programs. Since the volume of work required for the musical score is so much, other efforts have been put on hold. Models of the sets have been built and backdrop designs are roughed out. Small clay figurine's have been constructed and at some point I will post photos here or on the Home page for the Gnomes .
4/08 This portion of the log was accidentally erased ... The musical content, in terms of lyrics, has expanded, we've determined to tell more of the story with music and less with dialogue. Chorus and dance numbers have increased as well. As the set designs are being completed other aspects of implementation are also being effected. All told, attempting to push forward with production activity without a finalized piece would detract from the resources we have available to us to finish the expanded core material. The model stage, sets, and figurines have been built (although the designs are not completed) and other aspects of the claymation end of things have also been constructed, mostly miniatures for use in blocking the show. I may produce a sample video using these models, strictly for visualization purposes and use in the backers audition or for on-line samples. We have discussed numerous aspects of the puppetry, but again, I am not going to proceed with that until the music is locked in. Most of the melodies for Act I have been completed, with a fair percentage of those songs having a good amount of orchestration done. Those orchestrations are not finalized because the mixes have to be reviewed and we're finding out that until all the melodies are completed we cannot lock in the score for any particular song. Of course this is mostly my opinion, because I want to be sure that the overall balance of the show is right. We have found that we are taking elements of different pieces and integrating them through-out the show in the appropriate places and this creates highlights and reflections, premonitions and reprises. So the compositions have turned out to be more complex then we expected. It is quite process of due consideration to shape the music so that it is inextricably linked to the action of the play and the personality of the characters, yet still stands on it's own without the context of the play. Hints of the Overture are in place and the Finale has been composed, but not orchestrated. We have begun to work on the climax in the second act, mostly because we are working on the lead-in to the climax of the first act, which effectively is the entire seventh scene, the end of the eighth leading into the intermission. The structure of the storyline is mostly fixed, but the back story has elements which will be showing up is song and to some degree in effects which will visually tell that part of the story. It has not yet been determined what elements would be best delivered visually, although we have a pretty good picture of that, but I am still writing lyrics for this. They are somewhat (to a pretty good degree) effected by the preceding compositions and what kind of emotional reaction they inspire, and that helps to determine what the lyrics need to be. So without certain previous musical aspects confirmed the lyrics have to be viewed as mostly sketches until it feels like the right time to determine the melody. When that happens the characters involved may require an alteration of the lyrics, because of the possibility of expanded stage action.
So that's sort of where we stand with the work on The Gnomes. I could go on, but I won't. AG
12/07- We have been concentrating on the orchestration of the music. We are using Digital Performer 3 for this process and have been struggling with the learning curve and computer issues. Most of that is resolved. We had been recording on ADAT and the machine we were using died, so our (recorded) orchestrations are currently trapped on the tapes we used. Repairs are upcoming on that unit. The issues now are becoming familiar with using MIDI effectively.
A production meeting is planned for work on costumes because they are tied directly with the character development and the set design. Portions of the set design will be constructed with cloth and therefore the costuming facility will also supervise the construction of those set pieces.
The focus of attention was on preparing the script for publication as an Illustrated Children's Book with companion CD for the music, but that has changed to gathering the more specific materials for a first class production. I am open to discussions with a Project Manager or Publisher for the book publication, so if anyone is interested, you might want to inquire.
We had planned on going to the stage to videotape the blocking schemes on a few scenes. With the use of an animation program we have the ability to create cell blanks from the videotaped live action. These blanks would be used by the illustrator and by the Claymation artists as guideposts in their work.
Work is proceeding on constructing the characters for use in the Claymation film. In this regard the scale of the dolls will be 3" and those dolls may also serve the Marionette show as well. Initial conversations have taken place with a major toy company and there seems to be interest there.
The concentration on recording and completion of the script is the priority. We have decided to do samples of the music by pulling together some vocalists to do the songs as we complete them. At this point there are 16 songs, but I expect there to be more, because a few of the undeveloped scenes will best be expressed in song. The entire storyline is complete and earlier versions of the script seemed to be finished, but as we have been writing the music, the details in the script have expanded. Much of the back story has been pushed into the second act and some of the major scenes there are no longer resolved. I have a few story lines and need to decide which elements to include and which to leave out or to the audiences imagination (or a future story). So that work has me somewhat tied up.
We will be working to produce an audio tape version of the script, for use in marketing to the upper management team. There has been a producer who expressed his interest in taking this all the way, meaning Broadway. With this in mind, my concentration has to be on providing him with the materials he needs to do the job. I will be serving as an executive producer and I will be looking for a personal assistant or even General Manager candidate, someone who is familiar with budgets, contract negotiations and union rules. The exact management structure will metamorphose out of what I had planned, in order to accommodate a more flexible management style, which, having worked with this producer before, I expect will be required. All ancillary rights will remain with Image of the Mind Studios.
In general, there will be three initial levels to the stage production- a Developmental Production (which may fall short of the fully developed production value we seek, a non-union effort) , a Preview Production (which precludes the official opening, may include union personnel) and the Out-of-Town Tryout Production (presented in a major city outside of New York, most likely in a union environment) . I've defined these three levels for contractual purposes and to provide progressive goals, so that the management of the production can be implemented in stages, while the creative process grow into the larger picture. This will assist in a the careful use of resources and to establish a strong foundation for the production.
There are numerous arenas in which this production can be manifested and some of them must be developed simultaneously. My approach to this is to assign Project Managers to these different arenas. Some of these areas may be licensed and some may be produced in-house. This depends upon who it is that steps up to express interest in fulfilling a role. I'm trying to develop a contract structure that allows for this and thus far only a few agreements have been reached, but dialogue is continuing. Keep watch, I'll try to update when I can. AG
10/07- Work on both the script and the music have become a concentrated priority and the magnitude of that work seems to have increased. In evaluating the work we are doing it has become clear that our focus ought to, and will be, on the completion of the first act. Storyline components of the first act are complete (as is a substantial number of the melody lines), whereas more complex issues of the storyline have yet to be satisfactorily resolved in the second act. What this means is that the story has expanded to the point where numerous aspects cannot be expounded upon in the show. There simply isn't enough room in the time-frame to do so. The net effect is that selective references need to be carefully crafted into the second act which tie the basic story together and give sufficient justification for certian actions- without leaving too many unanswered questions. It's nice that there is more story there, but it is (creatively) a difficult task to resolve some of these items.
NOTE: 2/09 - These storyline issues have been resolved. The concluding scene remains undecided between a few choices that are available. It is likely that the last scene of the Marionette show will be moved forward of the Finale.
Therefore, all production activity is moving forward based on the first act and it's completion. The show is designed in such a way as to essentially be two small stories, the first and the second acts. It may be appropriate to add a third act as a way of conclusion, but that will depend upon the overall timing and I tend to want to avoid that in this show, mainly because it's a musical.
Another aspect of pre-production that pertains to this show is my work on the video bench and our in-house film making capabilities. I have numerous films that are demanding attention and I am faced with a rather steep learning curve on the current digital audio & video equipment that is continuing to be upgraded to accomodate multiformat capabilities. One effort is to bring a collection of short films online for exhibition & sales. The success of this effort will directly effect marketing and production "The Gnomes of New Hope". Expect me to discuss this subject elsewhere.
9/07- Refer to Musical Composition for comments on the progress there. I'm very anxious to sell this show. I don't mean sell if off, I mean gather budget funds. There are a number of directions we could go in, but we are limited with regard to resources. One thing I would like to achieve, is to locate a sculptor to supervise the Claymation and the character development. I'm satisfied with Jency Latta's interpretation of the characters (so far) and I'm looking for someone who can turn her 2D drawings into 3D sculptures. I might be possible to use computer generated programs to do this and then to use a CNC sculpting machine, but I don't know how to do that and I'm not sure that is the right approach. But I'm willing to consider that option. The main issue is the interpretation of the characters faces, the rest is relatively easy. You might read my discussions about the Model stage because I expect to use that for a sample film. That would be 1" scale. That doesn't mean that the claymation film needs to be 1" scale, that, I guess will be determined by conversations with the Chief Sculptor. Anyone interested in that job, let me know. In the absence of someone to do that I may attempt it myself.
NOTE: 2/09 - The subjects below will be addressed in another section of the blog. I leave this information intact and will review it at another time. AG
Ancillary Rights- It is very important that we begin to present this project before individuals and organizations who might be interested in purchasing ancillary rights or helping to provide resources in both capital and personnel. All ancillary rights are limited to the definition of the individual project defined in the licensing agreement. No secondary ancillary rights exist in any circumstance and any expansion of manufacturing or distribution requires an additional licensing agreement. I'm not going to discuss contract or investment specifics here. If anyone is interested in these subjects, we can communicate individually via e-mail, phone, and most importantly face to face meetings. Until I can have a secure server in-house, documents of that nature will remain in hard copy.
Agency Representation- I'm looking to confirm representation with an agency. I have a few organizations in mind, but have not progressed too far with that. It is clear that I am too busy to pursue much of the management opportunities that exist with this project. Therefore, agency representation is required for effective marketing and generation of the kind of resources that are required for top notch presentation of this project to the public and full exploitation of those numerous opportunities. I invite dialogue on this subject.
Toys- I've begun dialogue with toy companies regarding the licensing the characters and the storyline. This has not progressed very far yet, so it is still open to allowing for a Marketing Rep or a Product Liaison who may like to take charge of that effort. There is a wide array of products which could be produced and each of them needs to be licensed separately, unless the entire product line is contracted for a substantial portion of the operating budget.
Model Stage- I'm moving slowly with it but, I've begun construction on a model stage. My previous one got destroyed in a move and this one will be integrated into a foot locker to protect it . My intention is to build it to 1" scale. I 'm planning to include rigging and lighting circuits& instruments, as well as traps, borders, legs and a house curtain. This will allow me to hook up my lighting control board and such to emulate a exact stage presentation in miniature. Then all I'll need is miniature people (who work on a miniature budget... know anyone?) This will allow us to produce a sample claymation film/video using an exact to scale legit stage and obviously to also build the sets in miniature. This will be a big help in visualizing the show and determining the materials required for the full scale production. Needless to say this will be a valuable tool for marketing the piece and helping me top produce other shows which are on the boards. If there are any local model makers interested in this, we could produce more than one and sell them to producers, so let me know.
8/07- We have been advancing very nicely with the musical score of "The Gnomes".
Publishing- the script is not moving forward because of the complex of changes that are taking place as we compose the score. I've introduced new elements as a result of our discussions and the requirements of making a well crafted musical presentation. So publishing is best held off until the score is complete.
Illustrations of the script cannot take place at this time for a few reasons, budget being one of those. If a publisher appears who wishes to license the book rights, then we will advance to assemble the illustrated script. Book publication and distribution rights do not include any film or performance rights or any other publishing rights (such as posters, greeting cards, cutouts, or any other 2D or 3D products) To reiterate- All ancillary rights are limited to the definition of the individual project defined in the licensing agreement.
I'm also beginning to feel that, because of the circumstance surrounding the production effort, I need to expand the facilities and set up an internal art department. Otherwise, I will not have full control over shaping the creative material and this would not be good. Design of all materials needs to take place in-house and that means that the expansion needs to be supported by income from the project. I will not function on anticipation. Expansion needs to occurr as a result of absolutes and I will not make committments based on expected performance. This conversation will be continued under the heading of Facilities.
11/06 This is the first BLOG post for The Gnomes of New Hope. The IMS web pages on The Gnomes will be the official forum for updates that are part of the PAS (Production Approach Summary) but this location will allow for dialogue between others interested in the activity. If you are a staff member you are welcome to dialogue here with other interested individuals, but just remember that this is NOT the official forum for business or creative decisions/commitments.
Music Composition;
9/16/07- Our sessions have proven to be most fruitful when we make them long. With changing schedules we missed a few, but now we are working twice a week for between 7 & 10 hours each day. The results are very encouraging. We are building a series of musical statements that are quite distinct from one another and we've reached a methodology that is working quite well. The music is keyed off of the emotional circumstances in the show and obviously the lyrics. It's surprising to me that the bridges have a very strong identity and are linked wonderfully to the primary musical numbers, which of course is what they are supposed to do. But I can see, some of those themes appearing in the overture, prelude, interlude, & postludes in a very significant way. I'm particularly concerned that we avoid trite redundancy, something I've seen in too many musicals.
Older thoughts- We are progressing VERY well with the composition of the score and as we proceed forward in the script we are building a collection of themes for each scene. Some scenes have more than one theme, as sometimes the themes are more connected to the personalities of the Gnomes than they are to the atmosphere of the scene. Of course this varies, as some themes are strictly designed to set the mood for the scene. We find ourselves returning to scenes after we move forward by a few scenes, in order to orchestrate the previous one (if it is required to embellish future work) The atmosphere of the scenes is sometimes built by the orchestration of the previous scenes and the bridges which are built for the scene changes. Sometime there is a bridge and sometimes there is a transition, depending on what the conclusion of one scene is, what the cover requirements are for set changes and what the lead-in turns out to be for the next scene. I am hopeful that I will be able to figure out how to post an MP3 on the Gnomes web page to show the work that has progressed.
I will be needing an Supervising Audio Engineer for the stage production, the claymation film , and the cast album, so if there is anyone interested in discussing this position, please don't hesitate to take the initiative. In fact I am also looking for a Documentary Videographer and a few other Primary Managerial Staff members, particularly Associate Producers for numerous areas of the production.
Maybe I should discuss Associate Producers. I am developing the management structure of the project and my current thinking is to assign different aspects of the production effort to Associate Producers. For instance, the area of Ancillary rights. This would be under the authority and supervision of an Associate Producer. It may involve more than one, in which event there would be a Supervising Associate Producer. There are various degrees of involvement at the producing level. Such involvement is contracted to the specifics because each area of responsibility has the potential for departmentalization (which may or may not occur). I'll discuss these issues further elsewhere.
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