Another AFM is over. Aside from attendance being up, I’m not sure how much has changed from last year (or even the year before). We all know that foreign sales agents want top talent so they can sell internationally and VOD is disruptive. This “disruption” if you will has been in the works for years. But like the bygone days of magazine publishing when publishers refused to accept the internet, if one thing has changed this year it is that the industry has finally woken up to the reality that VOD is where this industry is and where it’s going for the foreseeable future. At the click of a mouse consumers will decide what they want and when they want it. But regardless of the trends it does come down to telling a story first and, oh yes, on a reasonable budget.
The foundation of every movie starts with the screenplay. In all this “noise” about the state of the industry it still surprises me how suddenly the screenplay becomes a sidebar in the conversations. How many times do we read about this “A lister” or that “A lister” attached to such and such a project. A lot of excitement, press, accolades and then the film comes out and it just doesn’t resonate with audiences…for whatever reason…and never recoups their budget. This is one trend that’s terrible for the industry. While the A lister may go to win an award for best performance, someone or some company is adding up losses. And losses are never good in any business.
But with VOD platforms on the exponential rise, budgets simply need to be adjusted as the DVD market has collapsed. I absolutely agree with AFM’s Managing Director Jonathan Wolf when he said, “We’ve got 50 companies who are in what we call mini-booths, where they only spend $3,900 for the space yet they’re bringing films and having a commercially acceptable experience. If you can make a couple films for $300,000 and sell each for $600,000, you have a business.” My political thriller SOS United States has a budget just north of $300,000.
I read a great story in IndieWire this week titled “Why It’s a Great Time to Be an Independent Filmmaker” by Naomi McDougall Jones. She could not be more right when stating, “I believe there are those who crave what I crave as an audience member; to be genuinely surprised; to have my own prejudices exploded; to leave the theater altered from whom I was when I went in.” These are the same comments I’ve heard from audience members that have seen Justice Is Mind.
Justice Is Mind and Jones’s film, Imagine I’m Beautiful, are apples and oranges in genre, but share the same type of approach to the market. We have a theatrical run, press and VOD. It’s all very doable. But it’s also work done the old fashioned way. It takes time (lots of it), research and effort.
But if there is one new trend from AFM this year that’s a major positive are the new distributors entering the market. With studios focusing on tentpoles they have created a need for the rest of the market. As Cinedigm CEO Chris McGurk tells Variety, “The majority of filmmakers have to be interested in a new model for releasing indie films, and you could not say that two or three years ago.”
And so as I write the sequel to Justice Is Mind and present First World and SOS United States for investment and development, I too believe this is a great time to be an independent filmmaker. It just takes the three ‘p’s I have often mentioned: plan, perseverance and patience.
With the trailer for Justice Is Mind days away from being released, the plan that I’ve been working on since we wrapped will soon be put in motion. What does that plan entail? I promise you it’s more than posting the trailer to YouTube, Facebook, writing the requisite press release and hoping the world finds you. I wish marketing a film (or anything) was that easy but when you are an independent filmmaker that process is continuous with the goal of standing out from the thousands of films being produced every year.
But when you look at a film festival like Sundance that gets over 12,000 submissions and only screens 119, the plan has to be diversified. Of course we all believe our film is that promised gem among many. As filmmakers we have to think that. Thankfully in today’s age of social media anyone that participates in a project can be a cheerleader in its promotion. A simple post, share or tweet and your audience is building.
There was a very interesting story in The Wrap last week that talked about the future of filmmaking. Bottom line? With the ever increasing number of digital services, networks, cable operators and the like, the one thing they all need for their audiences is programming. As Chris McGurk, CEO of Cinedigm said, “They’re in an arms race for content, and that’s creating a perfect storm for independent film.”
And speaking of audiences, my own movie going experience is much different now. Sure, I’m there to watch the film, but I first take in the audience – specifically age. Audiences are getting older which is great for this project. I didn’t write Justice Is Mind with an older audience in mind, it just turned out that way. With the average age of the actors 40+ at least the product is positioned to appeal to a more mature demographic that…ready…spends money.
The one misconception that I’ve addressed before I think needs to be stated again. A film doesn’t need to be picked up by a distributor and placed in hundreds of theatres to be considered a “movie”. Of course, I’d love to see Justice receive a theatrical release that’s handled (and financed) by a distributor, but as an independent filmmaker I can self-distribute Justice in select markets to build momentum, reviews and audiences. But at the end of the day, it’s about getting a return on investment and it doesn’t matter to me what platform that it comes from. Trust me, seeing your film on Hulu with ads running along with it is a very good thing.
With Evidence heading to additional digital platforms and with the trailer for Justice Is Mind being released in the next several days, the franchise is building. But as the saying goes, “Rome wasn’t built in a day” and things take time. While the editing is ongoing the foundation is being built to market and distribute the finished product.
But like a house, every film has its own construction plan.