…I also love that Heath wrote, “Exit Stage Left is obviously well financed so it’s setting the bar at sometimes an unrealistic level for the rest of us struggling filmmakers. But with new heights brings new levels of creativity, and there are always ways around budget constrictions.”

Unfortunately that really wasn't the case, you will find the budget is right there in struggling filmmaker land, we self-financed the whole thing (no sponsors, but fingers crossed for season two) and while I am glad that it seems like we are setting the bar high, it has more to do with the fact that everyone who donated their time, expertise and energy to the project (no one was paid, yet), really had fun making the show a reality. I credit the cast and crew with creating something special and I am thankful that people are still discovering the show.

Only thing I would add to your list of things to remember, is to manage a solid pre-production schedule: lock your locations, get discounts on food, rehearse, test your compression technique, create artwork/logos/imagery, get still photos and remember to have fun. If you plan in advance, the shoot will be a heck of a lot smoother, than if you don't.

Sinohui
Creator/Writer/Director
EXIT Stage Left

I can't endorse the “better forgiveness than permission” school of thought. I've found that having a careful conversation with neighboring community members can be a powerful force in favor of a production — unexpected delays from roadblocks (or arrests) can drop an anvil on the toe of a series or episode schedule.

I am in favor of creating as many allies as possible for a series. (Also, each of those people you enroll in the excitement of your production by getting their permission is a guaranteed audience member and audience magnet later down the road…)

I love that EXIT Stage Left got so many nods from other series producers. It's good work and deserves the reputation.

—v