I think it’s safe to say that there isn’t a filmmaker on the planet that isn’t affected by the current world crisis. The one saving grace with First Signal is that it was always scheduled to be in post-production during this time and won’t be finished until May anyway. Color grading and sound mixing is moving right along.
While we all monitor for the opening of the economy (it’s vital this happens as soon as possible), the question is when and how to ramp up marketing and distribution efforts. I will say this, after submitting First Signal a few weeks ago to two film festivals, I have formally stopped until the film is 100% complete. With future submissions I will also require an assurance that a film festival will not default their festival from live to online. I have ZERO interest in premiering First Signal online with a film festival. It will never happen.
I’m not surprised that only seven films took up Amazon’s virtual film fest offer. Unless Amazon’s screening fee was going to offset production costs, why bother. Any filmmaker can upload their film direct to Amazon, why dilute future distribution opportunities with an online premiere.
A few days ago a film festival I submitted to with a December event date, sent this long winded email stating generally that if people don’t feel comfortable attending or their theater isn’t available, they’ll make it online – and won’t refund submission fees. I frankly couldn’t believe the gall. I guess they’ll have to answer to the credit card companies who will chargeback the submission fees to the filmmakers. Having produced many live events, you as the organizer/promoter are responsible to execute what was contracted with the customer. If you don’t you must refund. It’s as simple as that.
I have never been a traditionalist. From publishing to filmmaking, I have always taken an unconventional approach. When I launched my figure skating magazine years ago, I was told it was never going to work as I needed to do this or that or whatever. Whether it was budget related or simply because I had a different idea, I executed the way I could to accomplish what I needed to do. I brought that same approach to filmmaking. When I produced First World and quickly learned that festivals wanted shorts under 15 min long, I found science fiction festivals, unique events and, yes, online (a fledgling platform called Hulu) to present my first film.
My point in all this is being able to pivot. For better or worse the world has changed in the last couple of months. I’m not going to try to roll a square rock up a hill, when I can slide it on rails at ground level to the same destination. As filmmakers we think unconventionally when we create our projects, the same should hold true for marketing and distribution.
A few months ago I thought seriously about attending the American Film Market (AFM). Aside from the fact that I’m due for a visit to Los Angeles to catch up with friends and colleagues, there’s no question that networking opportunities at AFM are important to anyone in the industry.
Before I spend some thousands of dollars to attend (or on anything), one does have to be practical about it. Will there be a return? In my view, “Hollywood” is a year round industry and “pitching” isn’t married to a film market. But markets are something I’ve been tracking for several years and when The Hollywood Reporter starts its day 3 daily with the headline, “AFM Dealmakers in Revolt! ‘There’s Nothing for Us’”, I’m glad I didn’t make the trek.
I predicted that when Hulu came online that VOD would be the future for independent film. Now in 2017, Amazon and Netflix are the saviors of independent film. Television, whether terrestrial, cable or VOD, has taken so many A and B+ actors out of the independent film world to the more lucrative TV industry. So what’s left? Well, to quote from The Hollywood Reporter’s day 3 daily, “A lack of big-name, must-have projects is leading to plenty of grumbling at the market, with some buyers wondering if this year marks the ‘death knell’ for the indies. Says one frustrated insider: ‘It’s B-, C- and D-quality stuff’”.
If you read the dailies from the film markets you know the hundreds, if not thousands, of films that are looking for some sort of home. Something to recoup the investment that has been put up for someone’s dream. This is an industry of dreams envisioned and dreams realized. It’s important, for obvious reasons, that we keep the dream alive.
In my view the dream will be kept alive with a good story. Plain. Simple. To the point. Star driven independent films only do one thing, drive up the cost of the film with no guarantee of return at the box office. That’s fact, not fiction.
When I wrote Justice Is Mind my goal from day one was to produce it myself (with investors of course). Sure, I presented it to some production companies, but the feedback was unreal. There is this assumption that after you do all the hard work you somehow need their help. Here is a recent email I received from a production company, “I didn’t had the chance to look in details at the project as they seem to be in too early stage for us. Don’t hesitate to keep us posted when you will have a budget, cast, financial plan.” Putting aside the horrid grammar, the question begs to be asked, “And I need you why after I’ve done all this work?” The answer is simple, I don’t need you.
Producing a film is not rocket science. You just need a good script and capital. Done. Yes, it is that simple. The “rocket science” comes up if you’ve never produced because there are countless details you need to know, particularly when it comes to post-production (sound engineering anyone?). It also can get involved if you decide to use a named actor and have to deal with the myriad issues around that. Seriously, at the end of the day a filmmaker just wants to see their dream come to life. Having produced four films (3 shorts and 1 feature) and seeing them come to life on the silver screen is a feeling like none other.
Tomorrow I start to write this new feature with the same production aim as Justice Is Mind. The title of this new feature may have the word First in it, but thankfully it will be the fifth.