As post-production continues on First Signal (we are on target for an April completion), I’ve been developing the marketing plan for the film. With the majority of independent films there’s no studio marketing department, no retained agency or staff. Marketing is another skillset that filmmakers need to develop. Thankfully during my years of publishing magazines, and my own consulting business, marketing is something I’ve been doing for years. I had some excellent mentors in my early years.
I firmly believe that an independent film needs a central online destination. Building a website used to be a task that required a special set of design skills. Thankfully that is no longer the case. Wix is my preferred platform. If you know how to click a mouse, type copy and upload a video, you can have a website in no time. I no longer use their templates, but rather build my sites from scratch. Case in point my own personal website and First Signal’s.
While I was marketing First Signal through AFM’s platform, I came across one filmmaker who was promoting their project to attendees. This was not an inexpensive film. It had some known actors from the 80s and 90s. When they posted to check out the website, all the visitor found was the dreaded “under construction” notification. It was never fixed throughout the entire market. You spend all that time and money making a film, talk about a lost opportunity to introduce it. I can’t begin to tell you the thousands of films that are marketed through AFM—all looking for a home. As time is literally money at these film markets, you only really get one chance at a first impression. One critical component of first impressions is the trailer.
This past week I started to write the trailer. A trailer is perhaps the most important calling card of a film. Yes, a poster introduces the film, but a trailer brings it to life. As First Signal is what I hope to be a series of films in the “First World Universe,” getting it right is vital. In two minutes the goal is to condense the story, without giving it all away and to convince your audience to see more. There’s certainly no pressure to deliver!
While writing a trailer is challenging, it’s one that I do enjoy. It challenges me to look past the linear script and film and see how it can be presented to (hopefully) thrill audiences.
As screenwriters we all start with an idea. We look blankly at a white page on our monitors hoping it speaks to us. Our hands at the ready on the keyboard. Our notes, if any, to the side for glance. Then suddenly, the following happens:
Intro Logo/Intro Score: The Ashton Times
“This satellite intercepted a signal that originated from Lagrange Point Two.” VO General Reager over Milstar satellite.
There has been a flurry of activity since First Signal wrapped principal photography in July. From editing, scoring, special effects to market preparation for the American Film Market, the work on a feature film hardly ends when the final “cut” is called. Post-production is where the puzzle of all the shots taken comes together. You only hope you have all the pieces! Thankfully, we do.
The one thing I’ve learned on this feature film, was that a long pre-production period was a good thing. There were casting changes that worked out for the best, ideal locations that came forward and research that proved invaluable during production and post-production. The one thing I’m glad I did during the pre-production process was attend AFM last year. It gave me a sense of how a film market operates and what to expect (or in some cases not to expect).
For AFM 2019 I have several meetings booked and several more sales agents/distributors that want to see a complete screener of First Signal. Certainly, these are all positive developments. However, as a filmmaker, the one thing you must believe in is your own film and not to be swayed by critics. One sales agent stated that I needed to introduce the “creature” early. As First Signal is a story driven science fiction film akin to Gattaca with the production style of Fail Safe, I declined that meeting (there is no “creature” in First Signal). In addition to an original story, what First Signal also offers is the start of a new science fiction series.
This weekend I picked up the sales cards/sell sheets for First Signal. A special thanks to Daniel Elek-Diamanta for the design! These sell sheets will be used like business cards during the market. What I aimed for with the sell sheet were select stills and copy that represented the story. While it’s impossible to present an entire film on such a piece of collateral, the goal is that of a trailer—promote the feature.
Out of the 82 page script, First Signal is edited up to page 76. The pieces of the puzzle are nicely coming together. Editing is a process all unto itself. It’s time consuming and detail oriented. It’s about pouring over hours of footage and audio to look for the best takes to build the story. A special thanks also to our editor (and director of photography) Daniel Groom for his work.
As I head into the last two weeks before I leave for AFM, there will be meeting preparations, practicing my pitch and finalizing the schedule. I’ll still never forget the first time I walked into the lobby of the Lowes Hotel last year—everything I saw was about the world of independent film. It’s an ideal market to network, get the latest insight and to present your project to the industry.
It is amazing to me how much this industry has evolved from my first film. When I released First World in 2007 Amazon had just announced video on demand the year before with Netflix just announcing a streaming service. Of course theatrical and DVD were still major revenue sources. But it was when I saw First World on the nascent Hulu that I knew the world of filmmaking would change forever. Yes, theatrical is still the primary revenue source, but we all know what happened to DVD. As I employed when I was a magazine publisher, I think it’s important to test and try new release and market technologies to reach audiences the way they want to watch your film.