Sorting through the numerous business cards and materials I gathered at AFM, I began my follow ups a few days after I arrived home. The return correspondence has been very encouraging. For obvious reasons I won’t publish the names of the companies I’m talking with, but suffice to say things are moving in a positive direction for two of my projects. The devil is in the details of course, but as filmmakers we are used to countless details.
As I begin to ramp up pre-production for First Signal with a May production start date, I was talking to a fellow filmmaker the other day about the importance of insuring there’s a market for our projects after we wrap production. There’s simply too much time and money involved to wind up on a shelf which translates to holding up a return on investment.
I’ve talked about this subject before when I was marketing Justice Is Mind. It was vital to me that Justice was introduced in a theatrical setting. While many submit to film festivals at considerable expense and wait for an acceptance (a practice that was frowned upon at AFM unless it’s an A level festival with potential buyers in attendance), I pushed for a theatrical run. The result was a limited run of 14 theatres, box office revenue, an international premiere on an ocean liner and substantive media placements. If I worked for years to get my film off the ground the last thing I’m going to do is pay $$$ to a second tier film festival. Then wait weeks (if not months) for a decision by a committee, then, if accepted, be at the mercy of a programmer to place my film in a time slot convenient to the festival, ceding box office revenue (filmmakers don’t receive a cut from festivals) and sharing in their public relations efforts with other films. As you can imagine, the public relations and release strategy for First Signal is already in the planning stages.
Speaking of planning stages, I had the opportunity today to visit the American Heritage Museum in Hudson, MA at the Collings Foundation. Some of you may remember my trips to the Collings Foundation for their World War II reenactment event “Battle for the Airfield” or their “Wings of Freedom Tour” around the country.
Although they are in “preview” until their Grand Opening in April of 2019, what I saw today was truly outstanding. The museum represents the history of war in America. Although it starts with the Revolutionary War all the way to the War on Terror, the primary focus is generally on World War I and World War II.
The tour starts in the orientation theatre and then proceeds to two immersive experiences before advancing to the main exhibit hall. The first is the World War I exhibit complete with a trench you can walk through. From there you proceed to the World War II exhibit which features a Mercedes-Benz W31 and Panzer 1A. Click this link to learn about all the tanks, vehicles and artifacts that will be part of the museum when it reopens in the spring. Of course, as a filmmaker, their use of archival film to enhance the static displays was brilliantly done.
In the entertainment industry it is the “one sheet” that advertises and promotes a film. In an instant the release of a one sheet sets the tone for a film that could be weeks, months or years from release. It is a form of media that should be carefully thought out. While it’s impossible to convey the entire story in a film poster, it should at least project a certain atmosphere.
When I was in post-production with Justice Is Mind my goal was to conceive of a poster that would represent the general story. With an MRI image in the background we see two sides of Henri Miller. One looking forward in the present world and the other looking backwards into World War II. I had the general concept in mind when we were shooting so I had Vernon Aldershoff, the actor that plays Henri Miller, photographed accordingly.
With Serpentine, the story revolves around a figure skater caught up in a Cold War mystery. With a sheet of ice as the backdrop, a skater is centrally framed in Red Square to convey the premise of the story. For SOS United States, the image of two F35’s flying in proximity to a cruise ship, dramatizes the accompanying tag line that says it all.
There are times when the production of a one sheet has to be as accurate as possible. First Signal was one of them. While the science fiction aspect gives one a certain amount of creative freedom, some things need to be right. The Moon to Earth vantage point was modeled after the famed “Earthrise” picture taken from Apollo 8. But it was the star field that needed to be accurate. Thankfully, Celestia, a 3D astronomy modeling program, was available (Special thanks to Daniel Elek-Diamanta for creating the poster and finding Celestia!).
Right after I registered for AFM, I was wondering what I could create to represent my various projects. While they each had their own branding and collateral (depending where they were in the production pipeline), I realized that I didn’t. Those that know me and my projects know what I create, but there is a whole industry universe out there that doesn’t.
I am therefore pleased to present the one sheet for The Ashton Times. Designed by my longtime colleague and friend Adam Starr, it is designed to promote and illustrate the type of works I create. For the last couple of weeks it has been included in my industry communications and promoted on MyAFM and Cinando. As we are an industry of image, I think it’s important to create what we can to present our projects in the best possible light.
It seems fitting that I’m preparing to leave for AFM during the anniversary week when Justice Is Mind had its international premiere on Cunard’s Queen Elizabeth in 2014. That screening proved to me that you don’t have to be a major or mini studio or have A or B list actors in your film to have a marketable project. Indeed, you only need one thing…
…a good story.