Scott Kirshner has a good post up at Cinema Tech regarding a panel he was on. In it he breaks out eight different revenue streams filmmakers can pursue for their work. There are definitely more, and I hope to get to some of those in future postings.
One of Scott’s eight, really caught my eye:
Live speaking gigs via videochat. One interesting new idea that emerged from the panels is that filmmakers might earn “speaking fees” without having to travel. Instead of asking a non-profit or educational institution to pay $2500 or $5000 to fly you out to address their group, ask them to pay $250 or $500 to have you do a short live talk/Q&A (using software like Skype or iChat) after they’ve watched your film. More groups would be able to afford that kind of filmmaker interaction than the pricier one, and fewer filmmakers would be spending time stuck in airports or jammed into center seats.
I think the live interaction element with audiences has a great deal of potential, particularly when linked with other elements. For instance, imagine you are one of the lucky few whose film is accepted to the Sundance Film Festival. What do you do next when you, like most, made the mistake of betting on a distribution deal?
What if you banded together with your fellow filmmakers prior to the festival though? What if you looked reality in the face and took action ahead of the festival? If I was a college professor anywhere in the US and I was approached by five or ten filmmakers with films in a major festival and they told me they would provide me their film, one film a week, two or three months after the festival, AND that the students would get an hour of iChat with the filmmakers after the screening, man, would I do all I could to book the group at my school. If the filmmakers also asked me if I knew other professors at other campuses that might do likewise, I would definitely share my list.
In a short matter of time, the beginnings of a Truly Free Film Culture college tour would start to emerge. Inevitably these tours would start on a regional basis, but from there the foundations would be set to start to work this on a national basis. With such a national tour infrastructure in place, a new publicity outlet would be born. Filmmakers could use this no cost apparatus to connect to audiences, and reach out to greater communities.
