Cannes 08 - Yes it's me Clive

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Clive in Cannes

Hi guys, I'm here at Cannes 08 without my logon details, so I've thrown up a temp alternative account so I can just drop the highlights (sorry indie... my bad).

Firstly, Cannes is awash with independent producers who've made a short and come here looking for first feature finance. From what I'm seeing the vast majority are wasting their time... that's just not how business gets done here.

Basically, the worst thing you can do here is make your short and then hire a booth in the film market. Nobody, and I mean nobody is going to come looking for you.

Most of the business seems to happen behind the Palais des Festival, in the international village.

If anyone is planing this trip, I've got three pieces of advice:

1) Carry at least 200 business cards, because people exchange business cards with everyone they meet. EVERYONE!
2) Don't try to pretend that you're something you're not, don't name drop, don't quote figures.
3) Come with a range of different projects and then just go and chat to people... I don't mean pitch, I mean chat. Ask questions, find out why they are here... Oh, and don't try to figure out who the players are... talk to everyone. One of the best pieces of information I got at Cannes 08 I got from an intern in their first week in the job!

I see there has been some discussion about what there is a market for... this is a good news, bad news situation.

Bad news is that distributors and sales agents are getting flooded with bad dv and HD movies... so, they've gone back to looking at projects shot on film and projects with significant budgets. Basically, anything with a budget of less than $1M is considered a hobby project.

Good news is that is a lot of covert talk about micro-budget... by that they mean sub $500,000.

As usual there are a few people trying to make commercial sense of short, but are doomed to failure.

However, there is one fairly major piece of good news coming for indies making features... but I can't talk about that until it comes out of beta next month.

On a personal level, I've had an exceptional Festival... er, more on that later. But bottom line is it is all good.

I'll be back with my regular identity in a few days... and after I've had some sleep I'll try to write some more.

I am of course going to be writing more in depth reports and some other stuff over at 1000dollarfilm.com

I'm not going be able to answer any questions immediately, I've got tickets for the new Kaufman movie tomorrow and then a meeting and then the long drive home.

So, later. (who was that masked man?)

By the way Che the 4 hour spanish language epic from Soderberg, shot in the Red is incredible... pity that it's not been picked up... and that it'll end up as two hours max.
 
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It is interesting, as some of you know I've always had a take on the business side of the industry... created from a combination of research and personal experience.

But, in all honesty, nothing beats meeting people face to face and forming a personal relationship. After being here a few days I've come to the conclusion that NOTHING on the business side of this industry happens long distance... not film finance, not script sales, not even distribution.

This is because every part of the industry is now under siege by newbies.

The thing about Cannes is you have to have at least some kind of industry credentials in order to get registration. So, once you're through the doors they know you're at least some kind of film maker, with some credits. Then it's all about how you present yourself... people who try to hard, who name drop, who turn up to the festival in suits! All those people immediately give themselves away as newbie producers who are looking for money.

It was really funny this trip... first day I wore jeans, converse and light cotton shirt and felt over dressed... I dressed down more and more everyday, until last day I'm back to my home style jeans and T-Shirt.

I think two things here have really helped me, one is I came with no intentions to do any business... so I've been very relaxed about everything and secondly I took the time to actually talk to people as they presented themselves, just because I was interested and most of the conversations I've had have been about stuff we talk about... I've talked about writing technique with some writers and about the Red Cam, and about what films are good... because the people here are all just like us, passionate about film. So in many repsects it's just like any industry convention, people go there and talk shop.

Now because I was relaxed and I'm entertaining when I talk shop people opened doors for me and I actually got to set up some post festival meetings, to talk about project development. But I didn't chase any of that, pretty much all of it got handed to me.

Now, I'm not stupid and the first thing I learned in this business is "It is all just talk until the cheque clears." So, by no means I am walking away from the festival thinking "I've got this cracked, I've made it"

All I've done is form some relationships and hopefully some of them will lead to good films getting made.
 
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Clive in Cannes said:
It is interesting, as some of you know I've always had a take on the business side of the industry... created from a combination of research and personal experience.

But, in all honesty, nothing beats meeting people face to face and forming a personal relationship. After being here a few days I've come to the conclusion that NOTHING on the business side of this industry happens long distance... not film finance, not script sales, not even distribution.

This is because every part of the industry is now under siege by newbies.

The thing about Cannes is you have to have at least some kind of industry credentials in order to get registration. So, once you're through the doors they know you're at least some kind of film maker, with some credits. Then it's all about how you present yourself... people who try to hard, who name drop, who turn up to the festival in suits! All those people immediately give themselves away as newbie producers who are looking for money.

It was really funny this trip... first day I wore jeans, converse and light cotton shirt and felt over dressed... I dressed down more and more everyday, until last day I'm back to my home style jeans and T-Shirt.

I think two things here have really helped me, one is I came with no intentions to do any business... so I've been very relaxed about everything and secondly I took the time to actually talk to people as they presented themselves, just because I was interested and most of the conversations I've had have been about stuff we talk about... I've talked about writing technique with some writers and about the Red Cam, and about what films are good... because the people here are all just like us, passionate about film. So in many repsects it's just like any industry convention, people go there and talk shop.

Now because I was relaxed and I'm entertaining when I talk shop people opened doors for me and I actually got to set up some post festival meetings, to talk about project development. But I didn't chase any of that, pretty much all of it got handed to me.

Now, I'm not stupid and the first thing I learned in this business is "It is all just talk until the cheque clears." So, by no means I am walking away from the festival thinking "I've got this cracked, I've made it"

All I've done is form some relationships and hopefully some of them will lead to good films getting made.
Click to expand...

Lots of good points. I think that's the best time to make contacts is when you don't need something in particular from someone...they'll see the other person as more genuine. So I would definitely agree with your perspective and think your networking will probably pay off down the road.
 
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I think that's the case.

The other things is, nothing really gets signed here... if any deals get done, they are handshake deals and then everything else happens once papers are drawn up.

Now, there is a saying in the business "it's all just talk until the check clears" and I know that is true... and there is a lot of talk at the festival, because everybody is here to talk business.

However, the is more at the festival than just contacts. I've learned more about how the industry does business in four days than I did in the last two years. That's because you actually see it in action.

One of the main things I've discovered is that you the majors are not out of bounds. OK they really don't like people who script sling at the stars, because that's not how that thing is done... but I've sat down to talk with Producers who have "in competition" features and it wasn't that big a deal. Mainly because everyone is on the look out for an interesting project.

The trade fair alone is worth the trip, because you get to see what's coming next... both in terms of business and technology. So, this year there was a really interesting stand showing the new generation in 3D cinematography. All achieved with a single 2K projector.

In terms of business I think the festival favors writers and producers... I think the writer/directors get a hard ride here, because people assume that you could only get your film made by green lighting it yourself.

Plus, I hadn't realised how being a writer with a couple of produced features made so much difference. I was at a UK film council party where they did a hands-up poll to see who was there... any screen writers (thirty hands go up)... screenwriters with agents (two hands go up) ... screenwriters with a produced film (just me... no one else).

Now as a result of that exercise, the people I wanted to talk to actually sought me out at the end of the event.

The other thing is, people relax once they know you can talk intelligently about script development. They want to know that you know how the industry develops a script, how the concept is sold and how important budget range is.

So, for instance, the major studios can't take a script that is less than a $35M project, because they have massive overheads. Therefore they must have A list stars, therefore they must have scripts that will attract those stars ... that will also attract a mainstream audience.

Now this is an art house festival... and there is a lot of art house business done, but in reality it's all about the majors
 
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Clive in Cannes said:
One of the main things I've discovered is that you the majors are not out of bounds. OK they really don't like people who script sling at the stars, because that's not how that thing is done... but I've sat down to talk with Producers who have "in competition" features and it wasn't that big a deal. Mainly because everyone is on the look out for an interesting project.
Click to expand...

I noticed this same thing in the corporate world. The lower rungs are fearful of the upper rungs of heirarchy... Right up until you start talking to the CEO of the huge multi national conglomerate and realize that he's just a guy who made good business choices to get where he is. Other than that, they tend to be open to anyone who's *willing* to talk with them honestly and bounce ideas off of them. They end up surrounded by so much fear and butt-kissing as a result that they respect when you treat them like a human rather than a deified smiter of souls. Intelligent honesty becomes an "IN" that can be leveraged in conversations. I actually got asked to type up my interpretations of interdepartmental communication breakdowns, ramifications and solutions based on a conversation about my experience being in a company that was purchased by the parent company. Trying to get over the us vs. them mentality.

I absolutely imagine that the reps from the majors experience alot of people approaching them with dollar (or pound) signs in their eyes, and ulterior motives to their contact. They'd much rather do work with people who deal with them on an up front basis, rather than trying to "play the game".
 
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Hi Lucky you? My sister was there too. It s quite hectic . Have you heard about TheMoviesClub when you were out there? It s some kind of cooperative for film distribution I think. I ve read in the press. they were meant to be at Cannes. Would be great to find out more , sound slike a cool idea.
 
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This is excellent feedback. I guess it's a good thing that I've decided to put more priority on writing and just keep the filmmaking as a hobby. My whole purpose for playing with the camera is to get solid understanding of the visualization and production process, from script to screen. As I see my writing translated to actual moving images and spoken dialogue, I can identify better ways to tell the screen story. Besides, it's something I enjoy doing and have always wanted to do.
 
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My experience tells me that Cannes is a great event for producers and writers, but a hard, hard place for an unknown writer/director.

The old wisdom is, you are developing a feature, so you make a short and take that to the market. The thinking is that the script gets you a producer and money... and your short proves you've got the talent to direct.

The only problem with that thinking is it fails to understand how and why directors get attached to projects.

So, yesterday I spent a couple of hours talking to a producer with a slate of five $6M-$20M projects. She's trying to attach a director. However, even though she knows some hot, new, directors who have the skills to make the film... they are useless to her, because they don't have a big enough name for investors to see them as an asset.

Directors are just like actors now... it's not about skill, it's about being a "Name"

This is why the writer/director at Cannes is starting from a losing position. They may have a hot project, but by wanting to direct, they are decreasing the possibility of funding.

So, unless the director's show reel is exceptional and they've become a minor name by winning an Oscar for their shorts... then basically they are a liability.

What you see a lot at Cannes is first time writer/directors who have paid for stands in the Market, in the hope that investment is going to come to them. When, in fact, all the real business is being done at the International Village and at the Grand Hotel, where the production companies set up base. By getting a stand, they never actually get the opportunity to talk to anyone... and, by attaching themselves to the project they ensure that they'll go home disappointed.

I've seen guys man a booth for the whole event and NEVER go down to the Grand to pitch to the Weinsteins! Who have an open door policy at Cannes.

The irony is, a producer who understands the score, and who isn't wearing a shiny suit, can get a massive amount of business done. Cannes is totally producer led. Writers with agents are also going to do well at the event. Even writers without.. because everyone is looking for the next hot script... and the producer know that writers who get into Cannes are already a cut above the "I've posted you my spec" writers.
 
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A friend of mine is learning this the hard way. He made a wonderful little short he planned on making into a feature when he got the money. It premiered at Tribeca and has played in festivals all over the world for the past three years. (Last I heard it was playing in Iran.)

Since then, almost every meeting, talks with actors, producers, and investors has ended with something like this. "come back when you've done more than a short, dude."

It's a drag. This is what drives people to make the no-budget DV feature that producers now complain are flooding the market.
 
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The funny thing isn't the problem isn't that the market is being flooded with DV films... but that it's being flooded with BAD DV films.

One of the real downsides to the indie scene is almost NOBODY takes project development seriously. People see DV film making as a way of green lighting project that would have been thrown in the trash at any semi-serious production company.

Now, I'm a massive believer in micro-budget digital film production... but, I also know that it's talent and content that count, and they don't seem to be the central preoccupations of indies.
 
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It's true, people simply don't take what their doing seriously. It's like there's a line in the sand that people won't cross when it comes to making a movie. I don't know if its because they think they're not good enough or what. I don't know. But, when they go to the trouble to make a movie, be it shot on film or HD or DV or whatever, they make these silly, childish, comedies that only appeal to them and there friends who are most likely involved. I honestly think if people tried to tell a true story that's close to them somehow, it wouldn't matter there level of talent or skill. Just being honest will get them very far. The rest will fall into place. For some reason many, many, many, filmmakers won't tap into that.

How many times have you read a post from a young filmmaker that says something like, "I know my short film won't get into any of the big festivals, so what's some small ones I can submit to?" Why do they think there film won't get into any big festivals? Because they know they didn't make something worth the bigger festival's time. If you make something competent, you have a fifty fifty chance at any film festival.\

I just read on IMDB that when Martin Scorsese screened Boxcar Bertha for John Cassavetes, Mr. Cassavetes gave him a big hug and said, "Martin, you spent a year of your life making shit." Then urged him to make something personal. So he made Mean Streets.

Good advice.
 
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I guess there is a difference between making films to learn the basic elements of the craft and making films to enter the market place.

I think part of the problem is some indies enter the market too early... and some spend so much time making films to learn the craft, they somehow talk themselves out of ever being able to produce a commercial film for the industry.

I've written quite a lot of the years about the ghetto mentality of some indies... and that was never clearer than at Cannes.

It's an odd one... everyday I ran into at least three people who were there to pitch, but didn't know how and who didn't have a properly prepared project... and on the other side, people who had a great project, but who didn't even consider bringing it to festival.

The whole experience was sobering. I guess my conclusion is that exposing yourself to the market early on is essential. I don't even mean taking stuff to pitch... more like, getting to the trade events and talking to people.

Truth is, it changes you.
 
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That was pretty funny, Will. Thanks, I got a good laugh out of that, because I did not see that coming. I'm with you, Clive; having gotten somewhat accustomed to FCS, but I don't know if they even have computers at convents. :(
 
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Ah... that's better. Back home and into my regular clothes.

Anyway, just to cap off this Cannes report, I just wanted to share that prior this trip I was nervous about going to one of the major industry festivals... because I didn't think there was any point. You know, small fish; huge pond.

What I really found out was that that isn't true. I spent most of my time at Cannes doing exactly what I do here, which is talking to directors, producers, writers and indies... and then helping them as much as I could in my own snarky fashion. What truly amazed me is that people working with $8M-$18M budgets sometimes know a remarkably small amount about production, either the nuts and bolts or the technology.

Basically, the larger industry works exactly the same as the indie scene... someone has a project they want to do, they need help to do it, so they go "Hey, guys... we're doing this really cool film, do you want to come and play?"

The only real differences are the budgets and the market expectations. So, on the larger scale the rules change a little... and there's more lawyering involved.

The main reason I'm passing this on is because I'd really encourage people to get to these major events. Just go there, be yourself and talk to people... see what happens.
 
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