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Posts tagged “Daniel Elek-Diamanta

The Fall

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The Justice Is Mind sound wave as artwork by Daniel Elek-Diamanta.

Although fall doesn’t officially start until the 22nd, for most of us in New England, it starts after the Labor Day weekend. While I like the summer, I love the fall. It’s also the time of year when I tend to be the busiest.

This week starts another class at the Naval Justice School. In addition to falling back into my character as a Special Agent of NCIS, I’ll also be directing the mock-trial program on site for the agencies that retained us. I have to say this is one acting job I always look forward to. As the majority of the same actors have returned from the previous class, I think the same can be said for all involved.

What makes this a unique gig for actors is the ability to play a character for 11 days. As these are role-playing parts, once you have the situation memorized it makes for a great opportunity to really bring a character to life. The atmosphere of the school alone is what makes it engaging as a performer.

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Justice Is Mind expands to Udu Digital!

As for law and engagement, I learned this week that Kinonation, our distributor for Justice Is Mind, secured another outlet with Udu Digital. From their email to me, “Udu is an ad supported (AVOD) streaming service available on the Roku media player that’s used by over 13 million people every month in the US.”  It’s always nice to see another outlet picking up my first feature film!

And feature film is what the fall is also about. With the Toronto International Film Festival in full swing it’s always interesting to see what deals are struck. One film that did great was Chappaquiddick with a $20 million commitment. As a Massachusetts resident most of us know of the story chronicled in this film. It will be interesting to see how this film does in the state versus the rest of the country. At the end of the day the Kennedy name is nationally known. So that alone will carry some of the marketing.

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A behind the scenes shot when I was being taped for ESPN’s The Price of Gold.

But name and marketing will be key with one other film that is gaining substantial traction at the festival. That would be I, Tonya starring Margot Robbie.  While the film has been well reviewed, it has been reported that the film arrived to the festival without distribution. Of course that may have already changed, but the real question is this – what are the commercial aspects to one of the darkest moments in figure skating history?

In addition to being at the event in Detroit in 1994, I know some of the players involved (Nancy Kerrigan in particular). I was also interviewed for ESPN’s The Price of Gold documentary in 2014 about the incident. Part of me says this story has already been told…countless times. Is this the only story that figure skating can tell or could this mean a broader interest in movies around the sport? It’s impossible to tell at this point. And, you guessed it, I’m monitoring these developments because of Serpentine.

Finally, I wrap up this week’s post with a great piece of artwork from Daniel Elek-Diamanta. This is the sound wave from Justice Is Mind, Daniel’s first composing gig. He wanted a unique wallpaper for his computer. I’d say he struck the right chord!

Newport.

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Back to Newport this week!

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Above The Fold

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Ice and Espionage. That was the title of the article about Serpentine that appeared on the cover this week of the Worcester Telegram & Gazette.  While so much of our media is consumed online, there is nothing like a printed newspaper.

It was last Monday when I started to get Google Alerts that the article that ran the previous week in the MetroWest Daily News had been picked up by the Associated Press. The article was published by outlets all over the United States. But seeing it “above the fold” on the front cover of a newspaper was not only particularly special but important for our promotional efforts.

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Paul Lussier as Philip Harrison, a mysterious sponsor, and Kim Gordon as Marlene Baxter, the President of the American Figure Skating Federation, in Serpentine.

In as much as I am a filmmaker, I’m a marketer. As I’ve stated before, it doesn’t matter what you’re doing if nobody knows about it. I’ve often used the word herculean to describe the process of making a film. The same thing can be said about securing press. It’s one thing  after a film is released, but at this early stage of Serpentine it’s even more welcome to promote the overall concept of the film – the sport of figure skating meets the Cold War.

As a former magazine publisher, I can see why they wanted some counter editorial on the cover. But coverage that worked from a reader interest point of view. Considering the political atmosphere in the United States that has polarized both sides, it makes sense to bring to readers an interesting project that just happens to have government intrigue in its storyline. It also lends credence to the fact, that figure skating, despite its challenges in the ratings over the last decade, still holds interest by general audiences. I saw this first hand at the World Figure Skating Championships in Boston and there are more than a few figure skating films and TV projects in development (I, Tonya anyone?).

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Philip Harrison’s Bentley was supplied to the production by Foley Motorsports of Shrewsbury, MA

Of course the next steps to bring Serpentine to life is the post-production process. Having handed over the hard drive to our editor, conversations with our special effects supervisor and listening to score elements by our composer, the process is moving along nicely. Our aim is for a mid-February 2017 release on Amazon Prime along with select theatrical performances and promotion.

Regarding Amazon, it looks like they will soon be taking the route of Netflix as they seek to roll out their service in 200 countries. Obviously, as a filmmaker, this comes as great news. Since my films went up on all of Amazon’s platforms the exposure and viewership has increased substantially. And unlike some VOD services, Amazon pays filmmakers on every transaction. It’s a business model that works for all concerned. For the consumer they make the choice of what to watch without someone acting as a curator. For the filmmaker it offers an opportunity to showcase your hard work to a global audience. Honestly, there’s no point in doing this if it’s just going to sit on a shelf!

The post production process is one of organization and creativity. Take for example our composer Daniel Elek-Diamanta. Like his efforts on Justice Is Mind, he starts before he has seen one second of footage. Our collaboration begins with conversations about the story and the general atmosphere. He so hit the target the other day that I placed his score with some of the footage to see how it would work. Suffice to say, it brought Serpentine to life and will probably be the general theme of the film.

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