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The opening scene of First Signal

Since my last post, First Signal has been accepted as an official selection in the Bucharest Film Awards and Aasha International Film Festival. To date, this makes eleven festivals that have accepted either the trailer or feature. I have to say I’m very encouraged by these early results. While there’s no guarantee of acceptance to any festival, I remain hopeful that First Signal will continue to be discovered by film festivals around the world.

Although I had planned to start screening First Signal independently of film festivals in October, I have put that plan off until 2021 and will wait and see how the film does during its festival run. Since I’ve submitted to additional festivals over the last few weeks that have a United States or world premiere requirement, any independent screening would jeopardize acceptance.

The theatrical market is the lifeblood of the film industry. While PVOD has demonstrated great promise during the last few months, theatrical is the key to success. Without theatrical, certain types of films either simply won’t get made or will be done so with dramatically reduced budgets. Sadly, some states have enacted the most draconian and restrictive requirements for theatres I’ve ever seen, while some (Los Angeles and New York) aren’t open at all. These types of restrictions do nothing except ruin industries while promoting fear to keep people out of indoor gatherings. I’ve never subscribed to those narratives.

The bright side to all of this is that smart states and countries have very relaxed if not completely opened their economies. They smartly treat citizens like adults and not like children. What this means is the obvious, businesses and creative industries will flock to these destination points. We all know enough now to know what is reasonable about events from the last few months. But, sadly, there are those governments that, for some odd reason, what to keep control of their citizens. Those citizens will simply move as no reasonable person wants to live under any form of totalitarianism.

I continue to remain optimistic that 2021 will return the world to normalcy. Some say the world will never be the same again. Some live in a world of such pessimism that optimism is like a foreign language to them. There are those times you have to look far down the tunnel to see a glimmer of light. But when that light is found, I prefer to be with those that share that destination. Life is too short, to waste on those that want to hold you back in their world of darkness.  

While I do some repositioning with First Signal’s marketing plan for the festival market, an idea came to mind the other day for an offshoot story that would focus on one of the characters that is introduced in First Launch. This is a character that I introduced in First World, but never fully explored.  Between my archive and what I have of this character in First Launch, my aim would be to create a stand-alone story that would expand the “First World Universe” and compliment the sequel.

1947

Tital Shifts

The title card for First Signal

A couple of weeks ago I sent an update to the actors and crew of First Signal about what our release strategy may look like.  I believe, if all goes according to plan, our first theatrical screening will be sometime in October. I hope that follows with additional theatrical and festival screenings into the second quarter of 2021 with a VOD release around May. 

As someone who reads the trade publications, I see how release dates and general overall strategy is changing on a daily basis. This article in The Hollywood Reporter today, pretty much summed up the current state of the industry. Fortunately for First Signal, the film itself wrapped principal photography last year and just finished post in early June. So, all things considered, our release strategy hasn’t changed all that much.

I do believe one of the real issues that’s going to face this industry next year is available inventory of new product. With very little being produced over the last several months, eventually this empty space will catch up to the industry. I believe this is why we are seeing studios and distributors stagger their releases from the 3rd quarter of this year into 2021. They need commercial films to bring audiences back to theaters. Honestly, who really wants to see a previously released movie in a theater when you can watch it from the comfort of your sofa for a fraction of the price? Of course, I would love to see classics return to the silver screen. Particularly those from the 1930s, 40s and 50s!

So far, the festival market is going well for First Signal. I was delighted to receive a Best Director win from the Eurasia International Monthly Film Festival last week. To receive an accolade of this stature from a festival is truly an honor. This is all about building a momentum so when First Signal goes to VOD, a hopeful following has built up for the film. From a media point of view, there is so much noise to cut through to get noticed.

A scene from “Operation Troy” in First Signal

The release strategy I’m looking to employ is the model I did with Justice Is Mind. It started with a world premiere followed by a limited theatrical and special event run before it went to VOD. My feeling with Justice, and now First Signal, was to follow the studio model. If it works for them, why try to reinvent the wheel? I just adapted it for the scale of my project. At the end of Justice Is Mind’s run, we had numerous media reports and reviews that helped propel the film when it was released on VOD.

On course.

Hoping to put SOS United States into production in 2021
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