On Thursday I returned from my second attendance at the American Film Market (AFM). By all accounts, it went well. This year I was accompanied by Daniel Groom, First Signal’s director of photography and editor. He was also representing his own feature film Alternate Ground.
My attendance at AFM in 2018 was generally a fact-finding trip and learning how a film market works. Yes, I had meetings, but it was more to promote projects in development, like First Signal, and to represent my first feature film Justice Is Mind. It’s important to note that AFM is not a film festival. Yes, AFM has screenings, but they are mostly for buyers and sales agents. AFM is one of a handful of film markets around the world. Simply put, these markets are where deals are done for independent filmmakers.
Preparing to attend a film market is the same as pre-production on a film – preparation. You research who you want to meet, make a pitch and hope for a meeting. Like an actor preparing for a part, you rehearse, memorize and have talking points. If you can’t articulate your own film, it’s hard to expect sales agents and buyers to take any interest. In a curious twist, I was in a meeting when someone wanted to present their film regarding locations they were looking for. Oddly, they couldn’t really present the logline or what the general concept was.
I would say my last meeting at AFM was the probably the best one of the market. First, they were specifically looking for films like First Signal. I met with the principal of the company and two representatives. In their suite, I was able to make a complete pitch for First Signal. From development, production to goals for a series of films in the First World Universe. I stressed the importance of marketing and kept an open mind on their points, some of those points being working with them to plan for a rollout in upcoming markets.
There is another point that’s stressed at AFM and that’s professionalism. From scheduling meetings in advance to how to introduce your projects when you don’t have a meeting scheduled. All in all, my experience was positive. But here I was in a booked meeting with a sales agent when another filmmaker arrived, interrupted my meeting and pretty much insisted the agent give them a few minutes. The agent mentioned they were in a meeting, but this filmmaker didn’t care. I just looked at this filmmaker blankly taking it all in. When the agent returned and apologized, the first thing I said was you don’t need to apologize for someone else. I’ll just say this—it’s all about first impressions.
In the end, AFM 2019 was a great market for what I was representing. This industry is rapidly changing from an economic point of view. The differences between 2018 and 2019 were apparent and stark. It’s truly about being adaptable and going with the flow. Having worked in the publishing industry, I’ve seen the advent of digital change. I knew some years ago that VOD/streaming was going to truly be the primary revenue driver for most independent filmmakers. That reality is now here.
But as you will see from my pictures, my trip wasn’t all business. From the Ronald Reagan Presidential Library, to the Queen Mary, Griffith Observatory and the USS Iowa, I always enjoy my visits to “Hollywood.” I also discovered a new navigation app called Waze. Given the traffic challenges in LA (although I think they’re worse in Boston), I highly recommend it!
This past week the pitch process for First Signal began in earnest. As long as you follow the process outlined by the American Film Market (AFM), it’s pretty straight forward. There is so much that goes into getting ready for a market. For the last few weeks it’s been about updating my websites, building First Signal’s official website and preparing other marketing materials. They say you only get one shot at a first impression, so why not give your best one.
Post-production is moving right along. The film is nearing the halfway mark with a rough cut, with the first twenty minutes generally scored and color corrected. It’s these twenty minutes that’s being pitched to interested parties at the AFM. I can’t say enough good things about the post-production team of Daniel Groom, Daniel Elek-Diamanta and Adam Starr. The post-production process is highly detailed exacting work. It requires organization, patience and diligence. Traits, I’m happy to say, that we all have. But there’s something else none of us have, an ego that gets in the way of working together. To turn a phrase from McDonald Walling (William Holden) in Executive Suite, “In your own words, Shaw, I have only one interest around here – the good of this company.”
With this post, I’m releasing an additional still that introduces the mysterious Cedric Yonah and James Griffin. Titled “When Worlds Collide,” it follows the previously released still titled “Who are you?” In that still we saw General Reager and Major Sampson looking at someone. Now we know who they were looking at. It is from this point forward in the story that the tension in First Signal builds to a revelation that leads into the sequel.
It’s hard to believe that in six weeks I’ll be back in Los Angeles. It’s even harder to believe that it’s been over ten years since I lived in the city. Like so many of us that are part of this industry we are drawn to LA for its magnetism with the word “opportunity” in the air. While I loved my years living in New York City, it’s Los Angeles that always feels like my second home when I visit.
I was living in LA when I wrote my first screenplay First World. What was the genesis that gave me the idea? It may have been all my visits to the Griffith Observatory. For it was an event at that famed institution when I had the honor to meet Ray Bradbury. For the few minutes I talked to him and told him how much I admired his work, he asked me if I was a writer. I told him briefly about First World, he smiled, shook my hand and said graciously, “You keep writing.”
For years I have followed the film markets, but none so closely as the American Film Market (AFM). As an independent filmmaker and screenwriter, I think it’s important to stay informed on the latest trends and news. As we are “indie” it’s too easy to operate in our respective vacuums without the benefit of new voices. That ended last week when I attended AFM in Santa Monica, California.
As this was my first AFM, I followed their how to work AFM guide. Several weeks prior to the start of AFM, I researched companies that might be interested in hearing more about my projects. I curated a list and then sent an email of introduction that included a brief (title/logline) of my projects for consideration of a meeting. By the time I arrived in Santa Monica, I had several meetings confirmed. In addition, I made sure my Cinando profile was completed along with the MyAFM section of AFM’s website. The completion of my profiles and subsequent postings in MyAFM conversations resulted in a few companies reaching out to me for meetings.
My industry badge granted me access for four days that began on Saturday. But as the director in me wants to get the lay of the land prior to “arriving on set,” I landed in Los Angeles on Thursday and picked up credentials on Friday. I knew that the start of the market for me on Saturday would mean putting on my acting hat. The days and weeks of memorizing the loglines and synopsis of my projects along with talking points was soon going to be put to the test. As an actor, I wouldn’t think of arriving to set without knowing my lines, attending a film market is no different. If you don’t take the time to know your own projects, why should anyone else take their time? As attendee’s schedules are booked up well in advance, AFM is all about maximizing time.
The Lowes Hotel is entirely converted for the market (you can’t enter the hotel without the proper credentials). When you enter the lobby you are soon greeted by representatives of the industry trades with the dailies, see throngs of attendees going to and fro and banners representing the myriad of companies that are bunted on the multi-floor balcony railings. What were hotel rooms before the market, are now offices. You have arrived at AFM.
Over the course of two days, meetings with producers and production companies in the United States, Canada, Germany and Romania resulted in positive experiences. Then there were the various film commissions from Russia, Georgia and Japan that also asked for meetings. On Saturday night at the official carousel cocktail reception, casual conversations resulted in meeting two producers with substantial credits (there was a specific request for China related stories – First World anyone?).
But what I do want to stress is that you can’t go into the market thinking “what can you do for me” it’s more about “what can I do for them.” Think about it, is the screenplay I have going to be a good fit for “X” production company or producer? One company I met with wasn’t interested in science fiction, but wanted to see my political thrillers. In the reverse, one producer was very keen on developing science fiction franchises and requested information on the “First World” universe. In both those cases, they asked for scripts. It pays to have a variety of projects to offer.
These meetings are also about building relationships for the long haul. All the meetings and interactions I had were positive, with the exception of one. In that case, it didn’t take long for me to realize that one was just playing the posture and poser game (he didn’t even have a business card). Yes, while AFM is all about meeting the right people and developing a network, you do have to be judicious on who you interact with.
But here’s an interesting twist of fate. Years ago I pitched Justice Is Mind to a distributor that passed on the project. For AFM, this company reached out to me about First Signal. When I was meeting with them and Justice Is Mind came up and their original pass, they presented a new division for digital distribution and asked me for a screening link. As for First Signal, the number of companies looking to get involved at the script stage is a market trend. This is an industry about product and intellectual property and that’s exactly what AFM is all about.
Now it’s about the follow up. The continuation of introductions, conversations and presentations that started at AFM. One thing that’s always excited me about this industry are the possibilities of what’s next. Because for this filmmaker, there will be a next AFM next year. As for AFM, a special thanks to Jonathan Wolf, Managing Director at AFM, for creating a welcoming atmosphere for first time attendees and his informative presentation at the AFM Orientation.
After AFM I had the opportunity to visit Eastern Costume. I was introduced to Eastern by the costume supervisor on Madam Secretary regarding Air Force Uniforms for First Signal. Another special thanks to Ian Brown, Military Technical Advisor, for a three hour tour. Whatever you need for your film, Eastern Costume has it!
Of course, my trip to Los Angeles wasn’t all business. I had some great reunions with friends along with some requisite touring. Seeing the Endeavour Space Shuttle and the King Tut exhibit at the California Science Center was truly exciting. But my favorite place to visit is the Griffith Observatory. From the wonders of science and space to its expansive views of the city, it was wonderful way to spend my last night in the city at…
…the top of the world.