You are in, and now you have all sorts of wonderful problems — the kind most filmmakers wish they could enjoy. You know, you have to do all the things you have to do for a film festival. I have tried to collect the various blog posts I have written or have found written by others that will really prepare you. There’s a lot more to be written. But this is a good start:
Tag: Sundance
Last year I wrote out 15 really good things about the indie film biz (2011). My first instincts at looking at the list, are that the 15 from last year are still in process this year. Maybe I was a bit ahead of the curve. Maybe I should hold this post until 2013. But I don’t think so — we have much to celebrate this year too.
So what are the new developments that are now taking hold? Unfortunately, my mind hasn’t found the answers as quickly as others have (and here too) even if I do consider myself quite the optimist. Okay, make that a pessmistic optimist, but an optimist nonetheless. I have struggled to hit the same number as last year, but I did it, and even exceeded it — and hopefully you’ll continue to fill in the list with what I forgot.
- Direct distribution is really working.
The last seven days have done a good job convincing me we can build this world a whole lot better and that we have the passion and know-how to keep an ambitious and diverse film culture from falling into ruin. I have been doing some meetings, going to events, meeting folks — the days are long, but the inspiration has been great. It does so much good to observe things done well and I gathered quite of few as of late.
The documentary world has knit together a series of alliances, models, forums, and structures that the fiction film world should really take note of. When the sun was setting today, and I was recognizing that it was such a inspiration-filled last few days, a dark shadow past over when I realized much of that uplift was from another form. That’s not a bad thing really. It’s nice to have role models. Indie filmmakers the world over should thank their documentary siblings for all they have given us.
What inspired me (and in no particular order)?
If we didn’t have the Indie Film support organizations, you wouldn’t have indie films in the theater. Cinereach, IFP, Film Independent, SxSW, Tribeca, Sundance, and yes, my new home, the San Francisco Film Society — it takes more than a village; it takes a freakin’ army.
The proof is in the pudding. Look at all the films in theaters this week. All these films were discovered at Sundance and supported by these various organizations. Where would they be without them? And that’s just the tip of the iceberg. And just the start. If you don’t go see them — and soon — our very culture will be threatened!
BEASTS OF THE SOUTHERN WILD written by Benh Zeitlin and Lucy Alibar and directed by Benh Zeitlin
http://www.foxsearchlight.com/beastsofthesouthernwild/
HELLO I MUST BE GOING written by Sarah Koskoff and directed by Todd Louiso
http://hello.oscilloscope.net/
KEEP THE LIGHTS ON written by Ira Sachs and Mauricio Zacharias and directed by Ira Sachs
http://keepthelightsonfilm.com/
LITTLE BIRDS written and directed by Elgin James
SLEEPWALK WITH ME written by Mike Birbiglia, Seth Barrish, and Joe Birbiglia and directed by Mike Birbiglia and Seth Barrish
http://www.sleepwalkmovie.com/
COMPLIANCE written and directed by Craig Zobel
http://www.magpictures.com/compliance/
THE WORDS written and directed by Brian Klugman and Lee Sternthal
Established in 2005 to support the development of screenplays with science or technology themes, Sundance Institute and the Alfred P. Sloan Foundation provides two different opportunities for screenwriters through a Commissioning Grant or a Fellowship. Both provide a cash award to support further development of a screenplay and to retain science advisors, along with overall creative and strategic feedback throughout development. Only one of each is awarded per year.
Eligibility
Through this commissioning grant we are able to support filmmakers with a wider range of experience than in our Screenwriting and Directing Labs, including writers and directors who have made several features as well as those at an earlier stage in their careers. For this grant, we are seeking a science or technology related narrative, English-language project that is in early draft stage or full treatment.
Grant & Support
The Commissioning Grant recipient will receive the following:
- A cash grant of up to $20,000 to provide support during the writing period
- A stipend of up to $5,000 for a science advisor and research
- Creative support during the writing process from a Creative Advisor
- The possibility of a Fellowship to a Lab
- Creative and strategic support from the Feature Film Program staff
The Fellowship recipient will receive the following:
- Attendance as a Fellow at a Screenwriters Lab, Directors Lab, Creative Producing Lab, Creative Producing Summit, or Sundance Film Festival
- A stipend of up to $5,000 for a science advisor
- A cash grant of up to $10,000 to provide support during the development of the project
- Creative and strategic support from the Feature Film Program staff
Projects must have science or technology as a major theme or scientists as major characters. We cannot consider science fiction or projects that stray too far from a base of scientific reality. We also cannot consider projects that are already being developed within the studio system (including the mini-majors); it is fine, of course, if they are later made at the studios.
The deadline for applications for the Sloan Commissioning Grant is September 7, 2012. Please feel free to pass this information on to anyone you feel might fit the criteria and benefit from this grant. The online application and further information can be found at: http://www.sundance.org/programs/sloan-grant/
Don’t you love it when you see a film and want to change the world? Don’t you love it even more when you see a film and learn that that film has already changed the world — and for the better? I sat watching Amy Ziering’s & Kirby Dick’s THE INVISIBLE WAR with my jaw hanging open, literally; my fury growing by the minute. When I was done, my understanding of the world had expanded, and my confidence in the power of film was confirmed.
As informed and engaged as we all are, there are significant acts going on that we may not be cognizant or aware of, but if we — and our representative institutions — don’t take action we are essentially giving consent to continue. Part of the complete definition of cinema these days is engagement and action, and THE INVISIBLE WAR fulfills this commitment (and more). It has made the world a safer place for those that work to make our world safe.
Ziering & Dick not only deliver an argument but provide all of the intimacy and emotional impact that a direct personal relationship usually brings. When you encounter those who have been the victim of a system that seems to endorse and covers up rape in our military forces, you can’t help but be outraged. A female soldier in a combat zone is more likely to be raped by her fellow soldiers than killed by enemy fire.
THE INVISIBLE WAR won the Audience Award at the 2012 Sundance Film Festival. It opens on June 22nd, but thanks to Goldcrest, I am hosting a free screening for those on my list. Hopefully everyone brings a bottle of wine or the beverage of their choice and we discuss it afterwards.
Visit the website here: http://invisiblewarmovie.com/
Watch the trailer here: http://youtu.be/ECOqpv45tIo
“Like” the film here: http://www.facebook.com/invisiblewarmovie
By Bob Moczydlowsky
The following post was originally published on TopSpinMedia.com.
Sure has been a lot of talk about movies around here lately, huh? 
This morning, the Sundance Institute announced an expansion of their incredibly forward-thinking Sundance Artist Services program, and we at Topspin are honored to be included alongside distribution outlets iTunes, Amazon, YouTube, Hulu, New Video, Netflix and Sundance Now as the provider of Direct-To-Fan Marketing and Distribution tools. We’re humbled to have our first major expansion outside of music to be with such a storied and benevolent institution, and we’re quite literally stoked to start helping Sundance filmmakers connect with fans and create new channels for their amazing work.
This quote from Robert Redford really says it all:
“When I founded the Institute in 1981, it was at a time when a few studios ran the industry and an artist’s biggest concern was whether their film would get made,” Redford said. “Technology has lessened that burden, but the big challenge today is how audiences can see these films. The Artist Services program is a direct response to that need. We’re not in the distribution business; we’re in the business of helping independent voices be heard.”
If you’d like to read the official press release, you can DOWNLOAD HERE.
In addition to the expansion of the Artist Services program today, Sundance also launched an online alumni community containing blog posts and essays from some of the brightest and bravest minds in indie film, like Tim League and Ted Hope. The goal is to provide a place where Sundance artists can share data and advice, and interact with distributors, technology partners and each other. Somehow, I managed to sneak my two cents in there, too. Below is a reprint of my “Direct-To-Fan Keynote” that appears inside the Sundance Artist Services site.
My hope is that all filmmakers find it useful. Please share it liberally.
You can it download it as a VIDEO or as a PDF.
Hello. My name is Bob.
I’m here to talk about Direct-to-Fan Marketing (D2F) and Distribution. I work at a software company called Topspin. We’re honored to be a part of Sundance Artist Services.
Topspin makes software used by Kevin Smith, David Lynch, Ed Burns, Trent Reznor, Arcade Fire and thousands of other artists to sell downloads, merchandise, tickets and memberships directly to fans. Our company mission is to create an artistic middle class, and we’re doing it by building a self-serve application you can use to market and distribute your work yourself.
You may think I mean self-release. Or DIY Distro. Or “creative” distribution. But those are not the same as Direct-to-Fan. What I’m talking about is a distribution and marketing strategy that should be a part of every filmmaker’s career. I’m talking about making sure you are directly connected to your core audience. I’m talking about selling premium products to super fans. And I’m hoping to persuade you to treat your audience like your most important asset. It is time to invest in your fans.
Here’s the problem I see: Filmmakers have been taught to be wholesalers, not retailers. Filmmakers make films — so the teaching goes — and then it is the job of distributors to market and distribute films.
There is actually a stigma attached to doing it oneself, as if every direct release was a sign not of true independence and autonomy but instead an indicator of the film’s quality or filmmaker’s professionalism. “Did you hear about XX film? They couldn’t get distribution. They have to self-release.” Sounds familiar, right? The goal is to make films and sell them to distributors. That’s the model.
That shit is broken. Permanently. I mean it. Yes, the “traditional model” still exists as a best-case outcome for a few films. But most likely not for your film. Sorry. Just being honest. It’s time to stop calling the best-case, long-shot, home-run option “the model”. Let’s get realistic about what’s happening:
Everyday, the odds of the traditional indie model working for your film get longer and longer. Even at Sundance, upwards of 80 percent of the films fail to find traditional distribution deals. A ton of interesting and excellent films don’t reach audiences and fail to grow the careers of the artists who made them. That’s sad. And yet, more and more excellent films get made everyday. Because technology makes production easy.
And the Web makes distribution easy, too. My phone will shoot video and upload to YouTube. Production and distribution is in your pocket! But here’s where the trouble starts: Free content, empowered fans and unlimited choice make marketing very, very hard. Fans can watch and share all day, effortlessly. But competing for their attention is really tough. Fans who want to watch a movie used to choose from the 10 films at the theatre on Friday night. Now they choose from the entire historical catalog of filmmaking on their laptops, phones, set-top boxes or VOD services. Or they skip the film altogether and play Words With Friends online. Think about your own habits. Getting fans to pay attention is harder than it has ever been.
“So, how will anyone see my work?” you ask. It’s simple, actually. You need to grow a database of fans, and market to them. Here’s how you do it:
First, make amazing films. I don’t mean pretty-good films, or better-than-average films… I mean INCREDIBLE films. Invest in quality, and invest in new. New sells. But also please make sure to budget appropriately, based on the size of your audience. Don’t have an audience? Then keep the budget LOW.
Second, give away free downloads in exchange for connection via email, Facebook and Twitter. This might mean a soundtrack, or the opening scene of the film, or some killer making-of footage. The point is to get fans excited, connected and sharing. You can’t make dollars until you have fans, and giving away incredible content is the best way to attract new fans.
Third, offer premium products fans actually want to buy, and sell these premium products at a mix of price points FIRST. Many of the folks who will end up with the $2.99 rental on iTunes would be even happier with a great-looking shirt, HD download, photo book and a Skype-call-with-the-lead-actress for $75. Don’t miss the opportunity to convert your core demand into a high-revenue product. Get creative with your products and your prices. You’ll earn more money and create happy fans who spread the word online.
Now, once you’ve grown your database and you can monetize your core fans, it’s time to look around for distribution partners. If you can prove there is demand for your art, you will have traditional distribution opportunities. But long-term success requires reversing the common logic:
Direct-to-Fan is NOT the last resort. Direct-to-Fan is the foundation of your career. Think about this way: Imagine your career is a ladder.
Each rung represents more audience paying attention to your work. Which rung are you on? For the sake of example, let’s say the ladder has 100 rungs. On rung 100 is Steven Spielberg, smiling down from the top. At rung zero is every first-time filmmaker just trying to get a project made. At rung 25 is someone like Miranda July (one of my personal favorites) and at rung 75, someone like Kevin Smith, who has a rabid fan base and relative autonomy.
Everyone starts at the bottom. From rung zero to 25, Direct-to-Fan will likely be 100 percent of your income. You won’t have traditional distribution offers, so you’ll do it all yourself. If you do it well, your audience will grow and you’ll move up the ladder. Once you start climbing, you become much more attractive to potential partners.
In the middle, you’ll mix it up. From rung 25 to 75, the mix of Direct-to-Fan income and other distribution deals will vary depending on the project.
You’ll have to license rights to move much past 25, but you’ll do it in a way that allows you to retain your control of your core audience and monetize them via premium products you control.
At the top, you’re really in control. If you make it to rung 75 or higher, Direct-to-Fan will start trending back toward a larger percentage of your revenues.
You’ll have a dedicated, connected following, and you’ll want as much creative control over your fan experience as possible. Read Kevin Smith’s Red Statements for a perfect example of this return to Direct-to-Fan in action. Sure, he’s done deals, too… but on his terms and with his audience as the top priority. In music, we’re seeing well-run D2F campaigns with top-tier artists earn 15 to 35 percent of gross revenues — and the lion’s share of the profits. There is no reason those numbers can’t be replicated in film. And during this year.
And there are many more practical examples out there, too. The film Broke* is giving away its soundtrack to grow its database. NYC filmmaker and musician Cory McAbee opted to take his serialized film Stingray Sam out exclusively via Direct-to-Fan, and he gets you hooked on the first two episodes before asking for your money.
Ed Burns has killer posters and t-shirts bundled with downloads of his new film Newlyweds, and William Morris and Barry Ptolemy have created a killer Direct-to-Fan experience for the Ray Kurzweil doc Transcendent Man.
With a database of fans, you can raise money on Kickstarter, sell premium products and ticket your own event screenings with a director Q&A. Like Kevin Smith is doing RIGHT NOW, TODAY. But most importantly… you’ll be able to RETURN to the same group of core fans for all of your future products. Build an audience. Build a brand. Always compare the money you’re offered to the value of your fan database down the line.
You may find that you’re better off keeping your film under your control than doing that no-advance, all-rights distro deal. Especially if we’re talking about short films!
Now, I know I’m getting long-winded, so I’ll wrap it up.
Here’s the summary: It’s time to make Direct-to-Fan Marketing the foundation of your career. It’s time to assume your films will be marketed by you, not acquired in a Sundance bidding war. It’s time to start building a database of core fans that you own and nurture throughout your career.
Stop calling it Self-Release. Stop calling it DIY Distribution. It’s called Direct-to-Fan Marketing, and it works for filmmakers at every rung on the ladder.
Direct-to-Fan Marketing is:
– Growing your email, Facebook and Twitter database by giving away free downloads and encouraging sharing
– Maintaining a great website that sells merch, downloads, memberships and tickets directly
– Owning your fan marketing data, and using it to raise money and promote your work throughout your career
Good Direct-to-Fan Marketing will make you more attractive to distributors. But you may find yourself telling them “No, thanks.” Your audience is your biggest asset. If you sell it, make sure you get full price.
Questions? I’m accessible. Let’s chat.
-bob
@bobmoz
VP, Product & Marketing
Bob Moczydlowsky has been kind enough to offer HOPE FOR FILM readers his service for free:
The code HOPEFORFILM entitles you to three free months of Topspin Plus, the most powerful direct-to-fan platform on the planet.
Topspin empowers you to:
– Promote your film across websites, social networks and mobile devices
– Connect with fans and offer free downloads for emails, Likes & Tweets
– Customize your store & sell digital media, physical items, tickets and more
To redeem your free account, go to topspinmedia.com and submit your email. Follow the instructions in the email to create your account, and then click “Upgrade” in your account header. Scroll down and enter this code: HOPEFORFILM
