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.
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.