I've been second-guessing my decision not to attend, so I feel better knowing that it was probably the right one after all.
Many thanks for the info!
The struggle to get your movie seen
- Thread starter teto29
- Start date
I've been second-guessing my decision not to attend, so I feel better knowing that it was probably the right one after all.
Many thanks for the info!
This still boils down to first finding a market you want to get into and identifying what you need to do to get into that market.
genre, name recognition, a proven track record of making money, and what's currently hot in a particular market are all important. Also, having an experienced sales agent / entertainment lawyer is also a big plus.
genre, name recognition, a proven track record of making money, and what's currently hot in a particular market are all important. Also, having an experienced sales agent / entertainment lawyer is also a big plus.
It’s always good to fully understand what the AFM is before
attending. So many people I talk to think it’s kind of like a
trade show - and it is to a certain extent - or a convention
sales floor - which it is not. The distributors who can afford
to have booths and offices and hold screenings dominate.
They are selling dozens of films and they spend several
thousands of dollars to do it. They offer swag and hold open
bar mixers and offer lunches. Their offices are well equipped
and inviting. A single producer with a day pass walking around
with two or three or four features to sell is essentially futile.
Again as I said, there are the very few success stories - and
it’s that one in two hundred thousand shot that drives filmmakers
to wander the halls and meeting areas with a briefcase full of
screeners. If you can pull a buyer from an open bar or a buffet
lunch and hand him a screener DVD he may look at it someday.
I would recommend going. Get a guest pass, bring along a few
screeners but do not think you will come away with several sales.
Talk to people and get to know what the market is truly about.
I was part of a group 13 years ago that gathered together 15
filmmakers, rented an office and became (essentially) the distributor.
We each put up (I think) $500. Even then we couldn’t afford a
screening room so we played movies on a TV in the office.
It didn’t work, but I still think the idea was sound. Maybe an
indietalk.com office in the future?
attending. So many people I talk to think it’s kind of like a
trade show - and it is to a certain extent - or a convention
sales floor - which it is not. The distributors who can afford
to have booths and offices and hold screenings dominate.
They are selling dozens of films and they spend several
thousands of dollars to do it. They offer swag and hold open
bar mixers and offer lunches. Their offices are well equipped
and inviting. A single producer with a day pass walking around
with two or three or four features to sell is essentially futile.
Again as I said, there are the very few success stories - and
it’s that one in two hundred thousand shot that drives filmmakers
to wander the halls and meeting areas with a briefcase full of
screeners. If you can pull a buyer from an open bar or a buffet
lunch and hand him a screener DVD he may look at it someday.
I would recommend going. Get a guest pass, bring along a few
screeners but do not think you will come away with several sales.
Talk to people and get to know what the market is truly about.
I was part of a group 13 years ago that gathered together 15
filmmakers, rented an office and became (essentially) the distributor.
We each put up (I think) $500. Even then we couldn’t afford a
screening room so we played movies on a TV in the office.
It didn’t work, but I still think the idea was sound. Maybe an
indietalk.com office in the future?
I sometimes wonder why people even want distribution for their first film. Sure, if it goes on to get a cinematic release that's worth it but in order to recoup a fraction of money through DVD sales, I'm not so sure. The problem is is that it has a negative effect on the process. Directorik's information is great but if you're wanting to make a feature film then you shouldn't be thinking about what's selling in Germany or which genres are tough to get off the ground.
Surely it would be more worthwhile to make the best film you can and get it seen by the right people. The people who can influence and fund your next film aren't going to trawl the internet for films from minor distributors. Get it out, get it into festivals, use the leverage from that film to build a name for yourself. I can't think of many directors whose first films were straight to DVD or video and whose nexus films were hits. But there are plenty of directors who kind of sweep their early films under the table now that they're famous.
If distribution happens, it happens and is great. But, for your first film, it's surely better that the right 5 people see it than 50 who'll be of no help in getting project 2 off the ground.
Surely it would be more worthwhile to make the best film you can and get it seen by the right people. The people who can influence and fund your next film aren't going to trawl the internet for films from minor distributors. Get it out, get it into festivals, use the leverage from that film to build a name for yourself. I can't think of many directors whose first films were straight to DVD or video and whose nexus films were hits. But there are plenty of directors who kind of sweep their early films under the table now that they're famous.
If distribution happens, it happens and is great. But, for your first film, it's surely better that the right 5 people see it than 50 who'll be of no help in getting project 2 off the ground.
Well, part of getting your next project off the ground will probably be getting distribution. It's a way of showing that your material is legitimate enough or relevant enough to make someone else some money, not necessarily yourself.
Without that track record, you're just a filmmaker. Now, if you only want to do feature films for 10K, then no need for any traditional distribution, you should be able to bust your butt to make that back over the course of a month or two.
For those of us who want to move or are moving to higher budgets, a distribution plan is probably more important than the movie itself, and then executing up to a standard is second.
It's not that I disagree, I think you should make the best movie you want to see... if you just want to be a filmmaker on the side. Me, personally I think if you want to do this and only this, you have to take into account that you actually have to sell something to keep doing it.
Or know some rich people who like to burn money.
Actually, yeah, they do. In fact, these same people have assistants that sit around doing nothing but scouring the internet for new talent. YouTube, Vimeo, major film blogs etc.
I think you're right abut festivals etc, today there are many more paths than there were just three years ago or so.
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I don’t see why they shouldn't.
Understanding the business seems like a very good thing - even when making
your first feature. Knowing what Germany is buying, knowing what sells in Asia,
knowing the market in general is as much "filmmaking" deciding what camera
to buy.
No reason at all not be a hobbyist - in fact that is a great reason to make a feature.
But it sure can't hurt to think about distribution, making some money, finding an
audience - even with your first film.
No, I don't think that not seeking distribution makes you a hobbyist.
I just thinking there are better long term business strategies than trying to immediately break into the straight-to-DVD market. It strikes me that if you make a film specifically to try and tap a regional distribution in the home video market then, chances are, your second film will be more of the same. There might be a little bit of money in that business (especially at The Asylum/Roger Corman end of the scale) but I can't believe that many of us here are making films with the aspiration that they be marketed as straight-to-DVD flicks.
I appreciate that it is a business when you're putting up your own money I just think it might be worthwhile considering having a 3 movie distribution plan rather than trying to mould any single movie into a distributable vehicle.
Sorry, missed your post Kholi.
I just worry when distribution plan is mentioned as a pre-production concern. I genuinely think that, with your first film, you want to make something that is striking and memorable, even if it doesn't fit into the traditional distribution market.
Obviously distribution is a good thing (I'm not talking about avoiding it altogether) but analysing the swings of the market in order to target the right genre and market is a really cynical way of going about a creative process.
And your point about the internet is very valid. I genuinely feel like putting together a very tidy YouTube channel can be worth more than getting a film out on DVD.
Make a feature and get a dynamite trailer out there and, even if only a handful of people see the actual movie, at least that's the right sort of attention. I wonder how many people make the step up from straight to video release to cinematic release in the space of a film.
Here's an awesome trailer. Clearly this film is going to get distribution and the next film will be even bigger (I appreciate that one of these actors was in The Wire) based, almost exclusively, on the hype around this trailer. Not sure what my point is exactly, except that targeting a straight to video market seems to be a slightly defeatist strategy.
https://www.youtube.com/watch?v=i-M5Qx57_UU
Yeah. Definitely. It's easier said that done, though! haha
I think so, too. If I didn't have money to recoup and, as well, if I didn't have three or four other projects that I want to launch immediately I'd do that.
Well, take movies like BRICK for example. Rian Johnson's doing some pretty big work (LOOPER) and he started with a very very limited theatrical run (New York and LA) and then straight to DVD. There's no reason a distribution plan can't mean selling off foreign rights to get enough capital to then do a limited digital theatrical release yourself.
Remember, it costs near to nothing to get a digital print (DPC) of your feature made, and you can partner with some pretty nice theaters if your product is up to snuff.
This is a studio movie. It's not a no-name no-budget picture. at least three million and the script was on last year's "Black list" of favorite scripts being passed around in Big H.Wood.
The writer/director is actually the son of a well known write/director.
However, if you want a very legitimate example of what you're talking about--
https://www.youtube.com/watch?v=y5gN5MiuoyI
Try Emily Hagins, teenaged director/writer from TExas who's second feature played in SXSW and is being championed by the guys over at Aint it Cool News. She was picked up recently and she should get a very targeted theatrical release, otherwise straight to VOD and DVD.
Her next movie might be a bigger one, larger budget.
So that's a testament to your festival path, but at the same time, she probably didn't have to pay anyone or anything back. Smart parents would call it an investment in her future.https://www.youtube.com/watch?v=
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Yours is a much better example. I was misled about Chronicle (still an awesome trailer though!).
Here's my favourite current example, Ben Wheatley. If you haven't seen Kill List, hunt it out when it reaches the US.
First film, shot in a week in (basically) a single location:
https://www.youtube.com/watch?v=x6gaBc-O_4A
Second film which has been one of the most critically acclaimed films of the year:
https://www.youtube.com/watch?v=aqkqF--v1tg
Here's my favourite current example, Ben Wheatley. If you haven't seen Kill List, hunt it out when it reaches the US.
First film, shot in a week in (basically) a single location:
https://www.youtube.com/watch?v=x6gaBc-O_4A
Second film which has been one of the most critically acclaimed films of the year:
https://www.youtube.com/watch?v=aqkqF--v1tg
Good news from AFM, though: a buddy of mines (who's been biting his nails the same as myself on the outcome of sales of our feature films) has come back with a 10 city Theatrical release deal and DVd/VOD Domestic deal.
And lots of territories wanting some rights pie.
His picture's a Drama/Thriller and did have a name in it.
And lots of territories wanting some rights pie.
His picture's a Drama/Thriller and did have a name in it.
DirectorRik -
I just want to thnak you for bringing to my attention the American Film Market even exists.
http://www.americanfilmmarket.com/
There's some pretty good stuff to learn about the general competition and it's breadth of scope, not only in content but also in its production values - frankly, it's our competition and just where it sets the standards for any of us to even begin playing the game at.
"The bar is thisssssss high. If you can't even make it to that - forget it".
AKA: Don't waste your time and money.
The stuff I can figure out from here is great!
http://www.americanfilmmarket.com/exhibitor-list
However, I still don't really understand WHO buys anything from here?
Is all this market content pretty much just spec features and whatnot for someone to stuff in a few programming gaps somewhere?
Kholi -
Congratulations.
Good news is good to hear.
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Spec and completed.
Buyers from all around the globe fly in to seek out projects to either invest in or to grab rights for.
So basically the gateway people are buying content.
Wasn't me! I'm still chewing on my nails waiting to get my feature's VFX done and the movie out there. But I'm just glad to hear of another success story from someone I talk to on a daily basis.
It's inspiring.
Kholi is right.
The product ranges from no-budget independents to the studios - and
everything in between. Very few films looking for financing although
many of the midrange prodCo's have some "in development" product
they hope to get pre-sales for. It's not "programing gaps" - the buyers
are legit exhibitors, cable stations, DVD sellers, VOD providers and overseas
distributors. There is an overseas market for American product - a market
many beginning filmmakers don't even consider. For most of my directing
career I made movies for the Asian market; movies that saw little or no
domestic release. With cable and internet that market is drying up in one
aspect but expanding in other ways.
as of right now - people who want to make a movie, but keep asking people's advice during every step of production on this forum, instead of experimenting and taking the fun out of the whole process of discovering new things...
Yea.... you know who you are....
Yea.... you know who you are....
d-
I agree with the essence of what you're saying. But this forum and relationships exist to spread information by virtue of questions and answers, and there's inherent good in the more experienced folks "giving back" (and I for one definitely appreciate it!!). I've also discovered that many film people who ask and ask, also don't listen. They blurt out "thank you" and then run off to turn on a 5D and think they're the next Scorsese.
So I am totally glued to indietalk on this topic, but also have the life-experience to know there's a lot more to it than the wonderful info given, and that I have to find my own way. Just want to be as smart as possible in doing it!
kj
Agreed.
You-know-who is actually using our advice and likely doesn't think he's the next Scorsese.
Am an emerging artist myself. Have you thought about entering comps to get some profiling?
This one is pretty good as it has a focus on getting film makers international exposure. Its Asia-centric, but if you get creative and focus on the 'inspiration' part, that might work for you.
http://www.klm.com/travel/hk_en/plan_and_book/special_offers/best_video_KLM.htm
Good luck!
Sarah
This one is pretty good as it has a focus on getting film makers international exposure. Its Asia-centric, but if you get creative and focus on the 'inspiration' part, that might work for you.
http://www.klm.com/travel/hk_en/plan_and_book/special_offers/best_video_KLM.htm
Good luck!
Sarah