Shortly after my last post, the news came that Beyond the Curve International Film Festival had awarded First Signal Best Sci-Fi Movie. About a week later Aasha International Film Festival granted us the same award. It’s one thing to be accepted into a festival, it’s another to win an award. My sincere thanks to both festivals.
One thing I have noticed since First Signal started on the festival circuit was what festivals do for marketing and promotion. Some just don’t notify filmmakers through Film Freeway, they actively promote official selections and award winners on numerous social media channels, their websites and newsletters. This is a marketing practice that I’ve employed for many years.
When those festivals awarded us Best Sci-Fi Movie not only did I post enthusiastically to my social media channels, but included the news in my email newsletter. Naturally, I’m posting this news to my blog and have it on First Signal’s official website. Whether you are a film festival, filmmaker or actor, promotion is critical to stand apart in a field dominated by those that want to be heard. This industry is a visual one, being seen is paramount. But there is that line between being a braggart or promoter. I always aim to promote to bring awareness to a project or something of substance. “Look at me” postings don’t go very far with audiences. At the end of the day it’s about asking yourself, why do audiences need to know what I’m promoting?
As First Signal continues down the festival route, AFM returns “virtually” next month. As the registration fee is nominal, I plan on attending. I’m going to be particularly interested to learn about any new VOD/PVOD trends and what distributors stand out from the rest. In their case it’s not so much about promotion but reputation. I’ve previously posted about some unscrupulous sales agents and distributors that have approached me about First Signal (and other filmmakers I know about their projects). The one thing I’ve learned is not to be desperate to do a deal. It’s about taking the time for due diligence. I look at it like this, you wouldn’t buy a house without a home inspection, so conduct the same when a sales agent wants to do a deal—contact filmmakers that have signed with them.
While there’s no question that all our respective streaming channels are being put to excellent use, sadly the theatrical industry is struggling. Although Tenet did its best to bring audiences back to theaters in the United States, there simply wasn’t enough studio content to keep audiences coming back. When Regal announced the closure of all their operations in the United States, others like AMC and some smaller chains have vowed to stay open with some innovative marketing. I guess time will tell what type of market will emerge. Wonder Woman director Patty Jenkins had this observation, “It could be the kind of thing that happened to the music industry, where you could crumble the entire industry by making it something that can’t be profitable.” Remember folks, every industry needs to be profitable to be an industry—that also goes for the production of the films that go into the theaters. Without profitable returns, product won’t get produced.
In closing, whenever someone asks me “Is it safe” I never think about the current situation, but rather this film.
I only subscribe to a handful of writing and filmmaking newsletters. In today’s day and age anyone can have a newsletter, but what it really comes down to is content. Many years ago my former business partner recommended that I subscribe to C. Hope Clark’s FundsforWriters. The amount of useful and insightful information about the world and industry of freelance writing is nearly unlimited. For me, I always enjoy Hope’s “EDITOR’S THOUGHTS” and the featured article. I was honored when Hope asked me to write the featured article for this week’s newsletter. Titled “From Bookstore to Theater, Turning Your Book into a Movie”, you can read my article at this link.
Writing an original story is not easy by any stretch and we all approach our stories differently. But in each and every case, there is that one moment when we are inspired to write that one word or phrase that will ultimately result in a book a movie or both. When I wrote a screenplay for a friend last year based on his book, there was a road map of sorts, a foundation in which to build off the primary story. The book was the original idea, the screenplay was the adaptation. A couple of weeks ago at the World Figure Skating Championships in Boston, a friend of mine was passionately telling me about an original story that they want to turn into a movie.
And therein lies that one word that drives us creatives – passion. I can only speak for myself when it comes to writing an original story, but passion is the number one driving force for me. When you are “world building” an original story, if you aren’t excited about the concept why should anyone else be? I was having dinner with a friend last night who mentioned the complexities of the Justice Is Mind story and how it compared to a particular author and the movies that followed. The comment was very flattering.
For me, I like a complex story. A story that isn’t paint by number, but one that you need to watch more than once. I like characters that are multi-dimensional or suddenly change their tone. Take for example Margaret Miller in Justice Is Mind. In the beginning we see a concerned wife who happens to be a novelist. Suddenly in her desperate attempt to save her husband she goes against type by retaining a dubious private investigator to steal what she wants.
Having spent over three decades in the sport of figure skating in a variety of capacities, I suppose it had to be inevitable that I would conceive of a story around the sport. When talking about the concept a couple of weeks ago, I referenced the political thriller Marathon Man that starred Dustin Hoffman and Laurence Olivier. But there is another movie, a bit obscure, that is having another influence on this story—the conspiracy thriller Executive Action that starred Burt Lancaster and Robert Ryan. I say obscure, because when you look up the film you’ll see what happened when it was initially released.
In the end the goal, of course, is to write a story that audiences will enjoy. For me films are a living legacy. Long after their creatives are gone, a film lives on. One of my favorite thrillers is Alfred Hitchcock’s The Lady Vanishes (1938).
But before I vanish into this new world I’m writing, I’ll leave you with a sample piece of dialogue from an FBI supervisor, “If I know this much you can bet that someone else sure as hell does. Because suddenly, there’s a concerted effort to get Wilson’s daughter to the World Championships in a country that has no extradition treaty with the United States.”