There has been a flurry of activity since First Signal wrapped principal photography in July. From editing, scoring, special effects to market preparation for the American Film Market, the work on a feature film hardly ends when the final “cut” is called. Post-production is where the puzzle of all the shots taken comes together. You only hope you have all the pieces! Thankfully, we do.
The one thing I’ve learned on this feature film, was that a long pre-production period was a good thing. There were casting changes that worked out for the best, ideal locations that came forward and research that proved invaluable during production and post-production. The one thing I’m glad I did during the pre-production process was attend AFM last year. It gave me a sense of how a film market operates and what to expect (or in some cases not to expect).
For AFM 2019 I have several meetings booked and several more sales agents/distributors that want to see a complete screener of First Signal. Certainly, these are all positive developments. However, as a filmmaker, the one thing you must believe in is your own film and not to be swayed by critics. One sales agent stated that I needed to introduce the “creature” early. As First Signal is a story driven science fiction film akin to Gattaca with the production style of Fail Safe, I declined that meeting (there is no “creature” in First Signal). In addition to an original story, what First Signal also offers is the start of a new science fiction series.
This weekend I picked up the sales cards/sell sheets for First Signal. A special thanks to Daniel Elek-Diamanta for the design! These sell sheets will be used like business cards during the market. What I aimed for with the sell sheet were select stills and copy that represented the story. While it’s impossible to present an entire film on such a piece of collateral, the goal is that of a trailer—promote the feature.
Out of the 82 page script, First Signal is edited up to page 76. The pieces of the puzzle are nicely coming together. Editing is a process all unto itself. It’s time consuming and detail oriented. It’s about pouring over hours of footage and audio to look for the best takes to build the story. A special thanks also to our editor (and director of photography) Daniel Groom for his work.
As I head into the last two weeks before I leave for AFM, there will be meeting preparations, practicing my pitch and finalizing the schedule. I’ll still never forget the first time I walked into the lobby of the Lowes Hotel last year—everything I saw was about the world of independent film. It’s an ideal market to network, get the latest insight and to present your project to the industry.
It is amazing to me how much this industry has evolved from my first film. When I released First World in 2007 Amazon had just announced video on demand the year before with Netflix just announcing a streaming service. Of course theatrical and DVD were still major revenue sources. But it was when I saw First World on the nascent Hulu that I knew the world of filmmaking would change forever. Yes, theatrical is still the primary revenue source, but we all know what happened to DVD. As I employed when I was a magazine publisher, I think it’s important to test and try new release and market technologies to reach audiences the way they want to watch your film.
As we are about one month away from First Signal’s table read on June 16, we had a location confirmation lock with the expansive field we needed. I couldn’t be more pleased with this location. It’s exactly what the script called for.
As this location is on private property I won’t reveal its location. With an outdoor location, private property is better to shoot on. Why? It’s about privacy. While I’m all about someone learning the process of making a film, the actual process of making one is time consuming detailed work. On private property you don’t have onlookers watching from the sidelines and getting in the frame of the shot. But it’s also about taking pictures and posting them to social media, etc. Unfortunately, the wrong picture can ruin an entire film. Anyone that works in the industry knows the general policies that go with on set photography. Most sets have “still photographers” that take a variety of pictures that encompass an entire production.
While additional locations are being scouted, along with numerous other behind the scenes activity, the one thing I’m very cognizant of is the film market itself. There is no better market than Cannes to provide a fresh perspective on where the industry is going. As Alex Walton of Bloom tells the Hollywood Reporter. “International distributors are in need of product, but they’re also incredibly cautious because they’re in need of the right product. There are fewer films, fewer packages and fewer things to buy, so when we approach Cannes now, even compared to five or six years ago, it is with a completely different mindset,” Adds Entertainment One CEO Darren Throop who tells the Hollywood Reporter, “The whole concept of buying a good package on the open market and reselling it to cinema, pay and TV — that whole model has changed. The very foundation of independent film has changed.”
The one thing that has changed in the last several years is the development of franchises and the sci-fi genre has pretty much been a solid bet. As a director my job is to create a quality film that’s ready for the market. But as a producer I am making a bet on the market. It’s an interesting line to balance.
But putting aside numbers, market share and all that comes after the fact, it is the process of making a film that’s the most exciting. Watching the actors and crew bring life to your story is tremendously satisfying. As a screenwriter we spend hours, weeks and months behind a computer coming up with, what we hope, is an interesting story. But it’s seeing that story emblazoned on the silver screen that makes the entire process a worthwhile endeavor.
Part of that process is equipment. Yesterday, I purchased a drone for a pivotal shot at the end of the film. But no sooner did I complete this purchase and I’m suddenly thinking of all the other creative areas we can use a drone in First Signal. This technology has changed so much since we used one in Justice Is Mind. Add to that the cost has come down exponentially. This is why the process of filmmaking is so enticing and exciting. The democratization of the entire process from creating to distributing has changed for the better.
Yesterday I attended the annual World War II Saturday at Battleship Cove. While there seemed to be less reenactors than last year, I found it just as engaging and interesting. If I come away with having learned a few more moments during that time in history, it’s well worth the visit.
By example, I learned some interesting details behind the Sino-American Cooperative Organization (SACO). Sure, I was generally aware that the United States and China had some sort of cooperation during the war, but when it’s illuminated it puts it in perspective. That “perspective” continued after SACO dissolved which was followed by China’s civil war.
Speaking of China, Justice Is Mind has been picked up by China Mobile as a flat licensing deal. As I understand from our distributor, it’s now going through censorship and localization on their end. It will certainly be a milestone to break into the Chinese market. One does not need to be a filmmaker or read the industry trades to know that China is one of the leading film markets.
Given the tumultuous state of U.S. box office revenue this year, it’s imperative that these foreign markets are available to filmmakers. For Justice Is Mind and First World our primary foreign market is the United Kingdom. I have also noticed that viewership in Japan is picking up. But one driving force that continues to put films front and center is the importance of a marketing plan.
I can’t tell you how many times the marketing plan for an independent film seems to begin and stop at the industry trades. Never mind when you read the first cut to studio budgets seem to be in marketing. As I have often said you can have the greatest project in the world but if nobody knows about it nobody will care.
As soon as I finish writing a script, I start working on the marketing plan in terms of a target audience. With distributors relying more and more on filmmakers to assist in the marketing plan, there really needs to be one in place before the first scene is shot. With First World it was science fiction conventions. With Justice Is Mind it was law schools and universities that focused on neuroscience. With Serpentine: The Short Program it was the Ice Network. Yes, like the aforementioned, films have their primary target audience then they broaden out from there.
Amazon is a perfect example of that. Someone might have heard about Justice Is Mind from our primary plan, but found the film on Amazon. Their algorithm then points customers to other recommended films. At that point the plan is relatively complete. But it all starts with that primary plan to push consumer awareness then generally continues with social media and other digital marketing tactics on an ongoing basis.
It’s hard to believe that it was five years ago this month that we were producing Justice Is Mind. Yet here we are five years later with new markets opening. The greatest thing about the world of film is discovery. It doesn’t matter when the film was made, it’s about when a customer learns about it for the first time. In today’s world of VOD a film no longer has a shelf-life.
With Marche Du Film (Cannes) coming up, I always find it interesting to learn about the new players while reading about the fate of others. No doubt in the weeks ahead we will read in the trades about the big splash of a new company’s star driven acquisition or the sorry story of others that used to hold court on private yachts. Having been to Cannes many years ago (not for the festival) the location is truly a stunning one to announce a major project.
There is no question that this is an industry of flash. When you have good news to announce you do so publicly, loudly and in grand fashion. The whole point is to cut through the noise to get your project noticed. As I’ve said time and time again, this industry is as much about making motion pictures as it is about promoting them. This is why in so many cases when you see a production budget you multiply it by itself for marketing and public relations.
But then there are the rest of us that aren’t making $175 million motion pictures (at least not yet!). What filmmakers like me rely on is reliable consistent revenue from VOD. While so many players come and go in this industry, we rely on VOD platforms to be there year after year. Although sites like Netflix are in a public relations battle with Cannes, Amazon is playing by the rules and, “was not coming to the South of France “looking to disrupt Cannes,” adding, “You have to approach Cannes on its own terms.”
And while Cannes is one of the world’s greatest launching pads for a film, there are VOD sites like TubiTV that are also making waves. Just this past week the site announced a $20 million outside investment. Justice Is Mind has been on TubiTV for several months and has started to gain some solid traction. I’ve also noticed an increase in traffic for Justice on other VOD sites. All these upticks bode well for the industry as a whole. It shows that consumers are watching across a variety of platforms and it doesn’t matter if they are star driven $100 million plus budgets or films made for under $100K. At the end of the day audiences want to be entertained and they want the choice to be theirs.
But as the industry enters a new season it’s a review of my current projects First World, SOS United States, Serpentine and In Mind We Trust, the sequel to Justice Is Mind. Are my websites updated? Do they convey the current status of each project? You know what they say about first impressions, you only get one to make one.
There is, however, a cardinal rule that I live by. I never disclose who I’m talking to and who I submitted to. This is why I declined to respond to a local entertainment publication that reached out to me on one of my projects. This is like when actors announce who they just auditioned for (or what festivals a filmmaker submitted to). I promise you that doesn’t help you get the part any quicker. In fact, it can have an opposite result. The same holds true for behind the scenes conversations. Sure, the trades like to know what’s going on, but confidentiality is paramount.
However, I will say this. The world’s largest oversees mobile player picked up Justice Is Mind from our distributor earlier this year. But until it’s live, I’ll hold on the formal announcement.