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.
As the venerable Hannibal Lecter said, “Shall we say dinner and a show?”
Before we finished working at the Naval Justice School (NJS) several of us agreed to get together to see a play one of our fellow actors was in. Phoenyx Williams was certainly pulling double duty. Playing an NCIS Agent along with me during the day he would then travel back to Providence for nightly performances in the “Post-Electric Play” Mr. Burns (by Anne Washburn). Williams played the “electric” Mr. Burns.
But before the play, we met up for dinner at the excellent Federal Taphouse & Kitchen. Although it was exactly a week since we last saw each other at NJS, it was great catching up with new friends and sharing some interesting stories. I’ll just say this, lots of laughs! Of course the director in me is always mindful of the clock and we were soon on our way to the Wilbury Theatre for a 7:30 show.
Although most of us had been briefed on the synopsis, we honestly didn’t know what to expect. The premise from their website states, “After the collapse of civilization, a group of survivors share a campfire and begin to piece together the plot of “The Simpsons” episode “Cape Feare” entirely from memory.” It started at the campfire and then went on to two additional acts with two intermissions. I have to confess, I’ve never watched The Simpsons.
As a writer, producer and director I’ve certainly created experimental work. But with experimental work comes risk. While the story wasn’t for me (as one of the actors in the play said to me this play is either for you or isn’t), the acting, writing and production itself was excellent. Although I didn’t care for the story, the execution was brilliant and the actors are wonderfully talented. The “fun” highlight was when the actors moved the audience (we were on risers with wheels!). In conclusion, the third act was owned by Williams. He nailed it.
Whether it’s stage or film, this entire industry is an experiment of some sort or another. I applaud anyone that creates an original work and doesn’t try to duplicate someone else’s efforts. I hear time and time again from filmmakers and actors who try so hard to be like this filmmaker or this actor. How about creating your own brand? You can be sure that I want to see what Anne Washburn comes up with next and I’ll be following these actors!
As for next, this past week was also about reorganizing my projects. With Serpentine: The Short Program released, my focus goes back to promoting that project along with In Mind We Trust (the sequel to Justice Is Mind), First World and SOS United States. I say now what I’ve said before, projects do not come to fruition overnight. It takes abject dedication to bring a work to life. Whether that be a play, movie or performing career.
But with every new experience comes a new idea.