As Jodie Foster told The Hollywood Reporter this past week, “The hardest part is getting the green light, getting the movie going.” From financing, locations, crew and talent, moving a project to green light status is a major undertaking. Reading the dailies coming out of Cannes this week there is a host of industry adjustments. From distributors looking for new ways to grab audiences, to Amazon launching a YouTube like service .to the availability of A list actors when so many are committed to “superhero” movies. Yet again another era of change in an ever changing industry. But at some point you just have to throw caution to the wind and do it.
A few days ago I crossed the 60 page mark in the political thriller I’m writing around the sport of figure skating. My aim is to have a complete first draft by the end of June. I’ve already started to reach out to a couple of key people I’ve worked with over the years on availability later on this summer.
For me it comes down to visualizing not just the film but the market in which it’s going to exist in. This is why I always write a business plan as part of the development process. Bottom line, I need to know there’s a market for the story and/or a target demographic. For Justice Is Mind it was older audiences and a few films that fell into the type of audience I was going after—Fringe meets Law & Order in a Gattaca setting. With SOS United States the story is set in a contemporary world of conflict between nations and shadow governments that can best be compared to Seven Days in May meets Clear and Present Danger.
But with this new story I’m writing, one does not need to be a rocket scientist to see that the sport of figure skating has a base of enthusiasts and participants that can be marketed to. For me it comes down to not just creating “another skating movie” but one that builds off that base with a story that revolves around a decade’s long Cold War mystery that culminates at the world figure skating championships. What it really comes down is marketing to an alternative audience.
As producer Charles Cohen told The Hollywood Reporter regarding the niche he targets, “It’s a mature audience that’s seeking an alternative to the typical Hollywood production — your big tentpole picture. People who are crying out for Marigold Hotel or Philomena or Brooklyn. Films that harken back to the ’60s and ’70s, which deal with real issues.” I could not agree more. As I learned with Justice Is Mind audiences want an alternative.
Perhaps the biggest news this past week was Amazon’s new Video Direct Service that takes direct aim at YouTube. I’ve been working with Amazon’s CreateSpace and through our distributor for Amazon Prime for several years. Amazon, in my view, is one the best places independent filmmakers have to showcase their work to a wide audience (they also own IMDb). Unlike some of these “curated” platforms that you barely hear about, Amazon’s algorithm approach puts the decision firmly in the hands of the consumer.
But there’s another thing that Amazon also gets right and that’s its approach to theatrical screenings. They know that a quality theatrical screening makes all the difference to just another VOD release. Having had a theatrical release for Justice Is Mind it also helps enormously with press and building an audience. While I’ve been a proponent of VOD for years, the film industry is steeped in the tradition of the theatrical release and rightly so. As a filmmaker, there is nothing more exhilarating than seeing your movie on the marquee and having it come to life in a theater.