By Roger Jackson
Previously: Searching for Green Card
It’s now exactly 6 months since we started building KinoNation. We’re very close — a month or so — from opening the platform to the world. We now have deals with all the major US video-on-demand outlets, plus several non-US outlets. And doing more deals every week. There are never less than 2 films being uploaded to us at any time, and we have well over 100 movies in the Private Beta. We’ll have a representative at Berlinale and the European Film Market next week, and I’ll be in London in the spring to cement a series of deals with VoD outlets and content owners there. We have big — but also realistic — plans for 2013.
So I now feel moderately qualified to give advice on how to make a film stand out from the crowd — and it’s VERY crowded — in the world of video-on-demand. It’s all too common for filmmakers to pour time and money and passion into making a film, and then fall short on some basic sales elements. Video-on-demand platforms are remarkably similar to video stores. Both are segmented by film genres, and both have lots of titles arranged in some sort of grid — whether online or on-demand TV or on store shelves — that encourage consumers to scan dozens or even hundreds of titles quite rapidly. And then move on. So you have to grab audience attention within a couple of seconds. That’s not much time.
Poster Image
This is what VoD consumers will see first on Comcast or iTunes or Hulu or Amazon or wherever. Start with the objective of creating an image that has the title clearly readable, is unambiguous in its message, and provokes a reaction. That means no close-ups of an unknown face. If you don’t have recognisable talent (and most indie films don’t) then don’t expect your actor’s face to sell the film. You need something else, an image that’s drop-dead gorgeous or strange or sexy or explosive. Some examples on Hulu. And please, please, do have a poster image on IMDb. About 1 in 10 filmmakers who submit to us make this mistake. Every content programmer at every VoD outlet will, I guarantee, look at your IMDb page. If there’s no image, the chances of your film being selected will plummet. This is a very low bar which you must leap over.
Title
What’s a damn good title? There is, of course, no simple answer to this. All I know is that (for me, anyway) some titles are compelling — and some are so generic as to be a tedious turn-off. Only you can decide, but I urge you to step back from the title you’ve grown fond of and demand “Does this provoke or intrigue or grab my audience?” If not, ditch it, however painful that may be.
Short Description
When filmmakers upload their movies to KinoNation, we ask for both a short description (max. 350 characters) and a long description (no maximum.) Why the restriction on the synopsis? Because viewers have a short attention span, with lots of choices, and they don’t want to read a rambling paragraph. Think like a copy editor, make the description lean and mean — every word should count, every sentence should be sparse, like the best of Hemingway.
Trailer
If the viewer is engaged by the poster and title (and perhaps the synopsis) then hopefully she will click on the trailer. This is where you should close the deal, but unfortunately many otherwise excellent indie films fail at this hurdle. Often they’re too long and poorly conceived — and they don’t grab the viewer (who is, at this point, keen to be grabbed.) Don’t leave them thinking “so what…?” Trailers should be big and bold and URGENT. Memorable trailers are rarely subtle. You don’t have time for that. And just because big Hollywood movies have a 2 ½ minute trailer, doesn’t mean you have to. 90-120 seconds should be plenty to deliver a single narrative thread that is simple and immediate…and sells your movie.
Quotes
There’s a reason that posters and DVD covers for Hollywood movies contain pithy quotes: they lend credibility. You need at least one. It doesn’t have to be from Ebert or Variety or CNN. It just needs to tell the viewer that a reasonably objective third party thinks this film is worth an hour or two of their time.
Festival Laurels
Film festival laurels definitely sell films. Most viewers don’t study them carefully, and so don’t really parse the difference between those that tell of an award at Tribeca, versus the ones that tell of mere acceptance at a lowly third-tier fest. If you have them, add to both poster and at the beginning of the trailer. Like this one. Instant street cred.
Passion Projects
We’re working on the concept of the filmmaker’s “passion statement.” It’s a big part of our plans to drive the marketing of KinoNation films. We want to help filmmakers communicate to the VoD audience not just what the film is about, but also why they were driven to make it. I’m not exactly sure what form this will take. Probably a 30 second video that lives alongside the trailer. e.g. CU Director, speaking to camera: I made “Hell, Man” after a 9 month stint with the Marine Corps in Helmand Province, Afghanistan. War really is hell. I needed to show that. Uncut.” Would that make you click on “Play Film”? It sure would for me.
Next Up: Post # 21: Delivery Begins
Roger Jackson is a producer and the co-founder of film distribution start-up KinoNation. He was Vice President, Content for digital film pioneer iFilm.com and has produced short films in Los Angeles, documentaries in Darfur, Palestine and Bangladesh, a reality series for VH1 and one rather bad movie for FuelTV. You can reach him at roger@kinonation.com.
