American Film Market Dailies

Hausfater has been overseeing all business and legal affairs for development, finance, production, above the line deals, and worldwide distribution for all of Cassian Elwes’ movies including BILLIONAIRE BOYS CLUB, MOM AND DAD, SIBERIA, UTOPIA ROAD and JT LEROY. Most recent and notable was the acquisition of Jon Favreau’s breakout hit CHEF while at Aldamisa Films. Other films include: ROBOTS, 9 BULLETS, SAINT CLAIRE, and HURRICANE. 

Previously Hausfater worked at Disney and Miramax for fifteen years and consulted for Marvel Films, Netflix, Film Finances, MGM International Television, Vine Investments, WoodCliff Capital, The Orchard, Shamrock Investments, Cinetic Media and various television deals. His consultancies also include television, production and distribution, digital media, and music. 

How long have you been a producer and how did you get into it?

JERE: I have been an executive producer and a studio producer for close to fifteen years. Producing is one of the hardest jobs in film, as it's so difficult to finance films.

In your opinion, is it easier or more difficult to get films made in these days of streaming?

JERE: It is much more difficult. The days of making a movie and screen it at Sundance or Toronto and hope it sells to a US distributor are, for the time being, over. HBO, Netflix, Apple etc. have dramatically cut back or ceased third party acquisitions of completed film. That said, there are exceptions but that is no longer a viable business plan. Also, the US back stop deals are also on hold. Factors such as the cost of money, the difficulty in securing talent, the pull back of international presales, P&Ls of the streamers as well as the volume of new episodic programming have greatly contributed to the general malaise for independent feature films.

You have worked on many films throughout your career. Do you have a project you have worked on that you are most proud of?

JERE: Yes, “Chef” written, starring and directed by Jon Favreau, acquiring “Shine “out of Sundance, acquiring “Koyla” out of Toronto, acquiring David Lynch’s, “The Straight Story”, “Defiance” directed by Ed Zwick, “Face/Off”, Three Ninjas, and “Dances with Wolves”, among others.

You are also a powerhouse attorney. How has being a lawyer helped you become a successful producer?

JERE: Not sure about “powerhouse”, but without my legal credentials and training, I would not have prospered in the media space.

How important is it to have an attorney as part of every film production?

JERE: You must have an attorney for development, production, finance, and distribution legal. It is a complicated and time-consuming process, and a skilled attorney is a must.

Do you have a favorite and worst moment you can think of, in your career?

JERE: Worst: Getting “Chef” to a finance close during production of the picture and attempting to reboot “Point Break” with dire results. Favorite: David Lynch’s “The Straight Story” almost winning the palm D’Or at Cannes. Three Ninjas attaining the greatest return on investment on any picture that year. Acquiring “Dances with Wolves” for select territories for Disney. It was the first picture Disney/BVI distributed theatrically overseas that was not a studio production; it won the Oscar for best picture of the year.

You also have a background in sales. In your opinion, how crucial is having a sales agent involved in the distribution of a film?

JERE: It depends. Most independent productions require international sales as collateral to secure a senior loan which is an integral part of a fiancé plan for an independent production. A sales agent will also assist in launching a picture internationally and in the US.

You taught film finance at USC. What is the best advice you can give to producer students trying to produce their films?

JERE: I taught Entertainment Finance at Boston University in LA. The best advice is to not give up, stay passionate, always be deferential, be honest and if you don’t have an answer, say so. Also, watch as many movies as possible, read the Hollywood trades, be true to yourself, be open to suggestions and advice from those that know what they are talking about and keep your answers short and to the point.

You attended AFM in November. Is it important to attend markets and film festivals like Cannes and AFM?

JERE: It depends. If you have a movie screening or being sold at a market or festival, then yes you should attend. Sellers rarely have the time for pitch meetings or meeting new producers since they are focused on pre-selling their slate of current pictures. If you can tag along with someone who has a reason to attend a market or festival, one should for sure attend. That said, there is no downside in attending a market or major film festival to acquaint oneself with how these film markets and festivals work.

What's next in the pipeline for you?

JERE: Excited about Unforgettable which is a bio pick of a segment of the life of Nat King Cole and Buzzed which is a bio pick of Buzz Aldrich, the 2nd man on the moon; both pictures are being produced by Cassian Elwes.

Interview by Vanessa McMahon