Tribeca Film
Proposals are due on February 1st. Please see www.tribecafilminstitute.org/youth for details and guidelines.
Year: 2010
Via social media, namely Twitter and Facebook, I have gotten to know a lot of filmmakers, their work, and all the excellent things they are doing to build a artist-centric, sustainable, and profitable film community. One of the latest such endeavors is FilmEES, founded by D.A. Sebasstian (Go-Kustom). I asked him to explain what he was up to. This is his post.
The basic idea to start a film Coalition came from several discussions film makers were having on Twitter about Indie-Film Distribution Models and Film Screening Clubs. Two popular hash tags used in the discussions were Ross Pruden’s #infdist and Craig Wilson’s #indieMM
The biggest difference between us and other Indie-Film Coalitions or Collectives is we are not just a website. We are scheduling real events starting in Seattle and San Diego and moving around the globe. Of course you can see members bios, discussions and Video Clips on the FilmEES website but the site is basically just a watering hole.
Lisa Heselton got the basic site up just a few days ago and we just added several new website moderators to add functions quickly to FilmEES. I also am really excited about the DVD Short Film Series we are putting together under Craig’s #indieMM Series. These DVDs will be available online and through other means.
As a record label owner I am very familiar with compilations and their marketing, much more so than an average film maker. I come at this from a musicians background. Being a signed recording artist for decades doesn’t help my film making but definitely schooled me on marketing and self promotion. I hope to share that with others- as well as how to make money on your film very quickly, like I did. If you bypass the traditional distribution models and make the film as cost effective as you can you have a chance.
My first feature Hot Rod Girls Save The World has sold 1,300 DVD copies in just 10 months, with very little advertisement and because I made the film for less than $5,000 I am in profit territory now. It can be done. But FilmEES is definitely not the D.A. Sebasstian show. I am a catalyst and moderator. It is the members that will shape what this organization becomes. So far it seems this starting group of FilmEES Members are doers, not just talkers. This brings results into the real world quickly.
We’ve also got support from IndieFlix.com who is helping us set up a FilmEES – IndieFlix Catalog page for our members so they can sell their titles through the FilmEES website, but retain direct control of their titles.
This was an initial idea list for the FilmEES Goals- originally presented in #infdist on Twitter.
1: To establish an international network of Indie-Film Producers, Actors and Companies.
2: To build a data base of information contributed by Members both in the promotion of Indie-Film and making of Indie-Films
3: To create a series of International Showcases using Membership to promote Short Film, Webfilm, Feature Film and Music Video.
4: To create regional networks to help regional Indie-Film Producers & Productions.
5: To establish websites to promote FilmEES Member Films.
6: To create DVD releases with Member trailer and promotional content for Member Projects.
7: To create a massive once a year meeting and Festival for all Members to share, meet and screen their work.
8: To foster upcoming indie-film makers (programs) so they can find creative channels to get their film made.
9: To structure fund raising channels for aspiring FilmEES Film Makers. Maybe with partner groups or organizations.
10: To make movies!!!
As the FilmEES group grows and our projects are available for film viewers to see fist hand the quality of members and their work, the Coalition will gain recognition. Of that I am sure. FilmEES website www.filmees.com
Join us!
D.A. Sebasstian is an artist, film maker, sculptor, writer, inventor, television producer and musician. He fronts the bands Kill Switch…Klick (or KsK) and D.A. Sebasstian & The Inner Demons.
He also runs Go-Kustom Rekords, Films and TV. His first feature film was Hot Rod Girls Save The World released in 2008 and he is currently in post-production with Rat Rod Rockers! Sebasstian is also a features writer for Car Kulture Deluxe, Gearhead Magazine, Industrial Nation, Outburn and Ol Skool Rodz.
He also runs Go-Kustom Rekords, Films and TV. His first feature film was Hot Rod Girls Save The World released in 2008 and he is currently in post-production with Rat Rod Rockers! Sebasstian is also a features writer for Car Kulture Deluxe, Gearhead Magazine, Industrial Nation, Outburn and Ol Skool Rodz.
Today we have a guest post from Jon Reiss announcing his generous offer to do some free consulting for filmmakers with features at Sundance.
As some of you might know, one of the reasons that I wrote Think Outside the Box Office was after those first Filmmaker articles I wrote in Fall ‘08 about my experiences distributing my graffiti doc Bomb It, many filmmakers contacted me to help them with their films. However they were all broke, as most filmmakers are. The book started as a brain dump so that I could share my experiences with others. I figured people could at least afford $20-$25. (After many requests the book is now available as a PDF from my site for $14.95)
But filmmakers still need individual advice; how to apply the new distribution and marketing models and landscape to their specific films. And unfortunately since filmmakers in general are not saving money for distribution and marketing, they are still broke.
So I wanted to do some kind of community consulting “event” at Park City this year. I thought about sitting in a coffee shop for 2 hours a day and having online sign ups for 20 minute sessions (I still might do this if enough people request it).
However, Lance Weiler asked me to do a live consulting session at the Slamdance Filmmaker Summit (Saturday January 23rd) with two filmmaking teams one narrative/one doc. Anyone in Park City can attend and it can also be live streamed (along with the rest of the Summit that I recommend you all check out).
I’ve decided to expand this to 10 more feature filmmakers from either Sundance or Slamdance. I will provide 45 minutes of consultation by phone or Skype before the festival begins and 45 minutes during the festival. This can be used in any way the filmmakers want, from helping to devise a complete DIY scenario, to getting my opinion on any deals being offered.
For selection any interested film should email me by Thursday January 14th by noon at reiss.jon@gmail.com. Send me what you have eg synopsis, trailer, website, plans you have in mind etc.
I will pick the films and announce them by Friday January 15th.
For any other Sundance/Slamdance filmmaker not chosen I will be reducing my consulting rate before and during the festival from $75 an hour to $50 an hour. This rate will apply even for the chosen films if they want to go beyond the first hour and a half.
A little more than a year ago, I started this blog partially because I couldn’t bare the thought that another group of filmmakers were headed to Park City with false dreams of gold, mistaking the festival for a market, and thus missing out on an important media launch. I am not sure if any filmmaker truly headed into 2009 Sundance though with their “A Plan” to launch out of the fest i some sort of way. Some did adopt DIY or hybrid distribution afterwards, but this year shows a much different picture, with already at least four films declaring the festival as their launch.
With their being very little of an acquisition market in The States these days for specialized film, what are the other filmmakers doing? How can they fully consider their options? Hope has risen. There is an answer.
Filmmaker, TFF blogger, author, and distribution consultant Jon Reiss is very generously offering up ten FREE consultations to filmmakers with films in the Sundance selection. This is a fantastic opportunity to figure out what is best for your film. Maybe you already know, but even then how great is it that you get someone to bounce your ideas off of.
Details will follow tomorrow, but let me see it would be very wise for you to give some thought NOW as to why you need to speak to Jon and how your film could benefit.
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This is it!
Today we have a guest post. Jon Reiss returns!
20 25 Points to Consider in Approaching Your Festival Premiere: Part 2
by Jon Reiss
Author of Think Outside the Box Office
The first part of this article concerned how to approach festivals if you want to still pursue a more conventional sales oriented strategy within the new landscape of distribution for independent film.
This second part will address what you should consider if you are going to use your premiere festival (or one of your festivals) to launch the actual
distribution and marketing of your film. Linas Phillips, Thomas Woodrow and company are doing this for Bass Ackwards at Sundance in conjunction with New Video. Sundance just announced today that three more films will at least be releasing their VODs day and date with this year’s festival. While these three films are being released by the Sundance Select series on Rainbow, it is actually run by IFC who has been pioneering festival/VOD day and date (this and more about revising filmmaker’s approach to festivals is covered extensively in Chapter 14 of Think Outside the Box Office.)
I am writing this piece for 2 reasons: 1. To aid any filmmaker who is considering launching the release of their film at their premiere festival aka Sundance/Slamdance (even though I lay out a lot of challenges to this strategy, I am still a huge fan of this approach) and 2. To assuage the guilt of many filmmakers who have been kicking themselves for not utilizing this strategy in previous years. I spoke to a number of filmmakers who were mad at themselves because they saw the amount of exposure their festival premiere generated, and they never reclaimed that exposure with the theatrical release of their film. Hence they reasoned, “if only I had released my film day and date with my _______ festival premiere”. They realized, smartly, that it is best to have all guns blazing in your release to penetrate the media landscape and that top festivals are very good at creating audience awareness. Hence why not monetize that audience awareness with the release.
However it does take a fair amount of advance work and planning in order to enact this strategy. So this year you should not kick yourself for not doing it. (Later this year or next year when filmmakers should know better – they should kick themselves!) If you are premiering at Park City and aren’t ready for this strategy now, I have a suggestion at the end of this piece about how to engage this strategy at a later date.
So here are some points to consider for a festival launch of your film’s release.
1. You should create a thought out distribution and marketing strategy that will guide you and your team through this release. Have you analyzed your goals for your film, your potential audience, and your resources? (I know this was the first point to consider for the last post – it is that important)
2. Very important in this strategy is what rights are you releasing and when. What is your sequence of rights release? Is everything day and date with the fest or only VOD or DVD? If all rights are not day and date, when are the other rights being released and how will those rights be promoted?
3. Of particular concern is theatrical. Are you launching what I term a live event/theatrical release at the festival (Section 3 of the book)? Conventional theatrical usually requires at least 3 months. But perhaps you will have alternative theatrical after the festival and then ramp up conventional theatrical. How long is your theatrical window? How does this integrate with your other rights?
4. Consider if your film is the kind of film that will generate a lot of interest and press at Park City? Perhaps do some research into the types of films (particularly those that reviewers and film writers will respond to) and see if that makes sense for your film. Even though Park City shines a great spotlight on films, it does not do so for all films, and many films get lost in the shuffle.
Perhaps there is an alternative time of the year that might shine a brighter light on your film – e.g. if there is a national month or date dealing with your film’s subject.
5. Do you have all of your materials ready to go for a release whether DIY or through a distribution partner? Are all your deliverables ready to go? Have you authored your DVD? Do you have key art? Have you printed your key art?
6. Is there a distribution partner who is interested in your film who will help you launch your film at the festival? Note that all of the films mentioned above are partnering with a larger company to help enable the release. You don’t need one company, perhaps it is a group of companies. Perhaps you have one company for DVDs and another for VOD. Many distributors need a long lead time to prepare a film for release, so chances are that this option will be difficult unless you already have it in play. However you can begin discussions with potential partners at Park City or after for such a release later down the line. More on this later.
7. If you don’t have a distribution partner in any particular rights category, do you have a DIY approach to monetizing said rights category? Do you have replication and a fulfillment company lined up? Do you have digital distribution in place for download to own, download to rent?
8. Do you have a marketing and publicity campaign that you have been developing for a couple of months? Do you have a publicist who has been talking to journalists to lay the ground work for your release?
9. Many filmmakers at Park City will just have been finishing their films to get them ready to screen. Many or most will have been so absorbed with the completion of their films that they will not be ready to release their films at Park City. In that case it is probably wise to hold off on your release for when you are more prepared. Use Park City to lay the groundwork for that later release. Don’t just think about the overall deal, actively court distribution partners who will work with you on a split rights or hybrid scenario. Find out what press is a fan of your film so that you can book live events/theatrical releases in those cities. (Have them hold the review!)
10. If you are at Park City – chances are you will be invited to other fests. Use one of those festivals (or a combination of festivals) to launch your release when you are ready. Weather Girl premiered at Slamdance last year, didn’t sell, regrouped and then launched their theatrical at LA Film Fest 6 months later. Two of the IFC releases premiered last year at Berlin and Cannes.
If you are following both posts of this two-parter, you will see that there are actually 25 total points to consider instead of the promised 20. My apologies. BTW – I am preparing a distribution and marketing tools website which is approaching its beta launch – keep posted.
Also – I will be doing a live consultation session at the Filmmaker Summit at Slamdance this year Saturday January 23rd. Projects are being submitted on line if you want to be considered. Go to: http://slamdance.com/summit/
