Since my last post, First Signal has been accepted as an official selection in the Bucharest Film Awards and Aasha International Film Festival. To date, this makes eleven festivals that have accepted either the trailer or feature. I have to say I’m very encouraged by these early results. While there’s no guarantee of acceptance to any festival, I remain hopeful that First Signal will continue to be discovered by film festivals around the world.
Although I had planned to start screening First Signal independently of film festivals in October, I have put that plan off until 2021 and will wait and see how the film does during its festival run. Since I’ve submitted to additional festivals over the last few weeks that have a United States or world premiere requirement, any independent screening would jeopardize acceptance.
The theatrical market is the lifeblood of the film industry. While PVOD has demonstrated great promise during the last few months, theatrical is the key to success. Without theatrical, certain types of films either simply won’t get made or will be done so with dramatically reduced budgets. Sadly, some states have enacted the most draconian and restrictive requirements for theatres I’ve ever seen, while some (Los Angeles and New York) aren’t open at all. These types of restrictions do nothing except ruin industries while promoting fear to keep people out of indoor gatherings. I’ve never subscribed to those narratives.
The bright side to all of this is that smart states and countries have very relaxed if not completely opened their economies. They smartly treat citizens like adults and not like children. What this means is the obvious, businesses and creative industries will flock to these destination points. We all know enough now to know what is reasonable about events from the last few months. But, sadly, there are those governments that, for some odd reason, what to keep control of their citizens. Those citizens will simply move as no reasonable person wants to live under any form of totalitarianism.
I continue to remain optimistic that 2021 will return the world to normalcy. Some say the world will never be the same again. Some live in a world of such pessimism that optimism is like a foreign language to them. There are those times you have to look far down the tunnel to see a glimmer of light. But when that light is found, I prefer to be with those that share that destination. Life is too short, to waste on those that want to hold you back in their world of darkness.
While I do some repositioning with First Signal’s marketing plan for the festival market, an idea came to mind the other day for an offshoot story that would focus on one of the characters that is introduced in First Launch. This is a character that I introduced in First World, but never fully explored. Between my archive and what I have of this character in First Launch, my aim would be to create a stand-alone story that would expand the “First World Universe” and compliment the sequel.
With post-production on First Signal coming to an end, it seemed fitting that I finished a draft of the sequel early last week. Titled First Launch, the story picks up two years after events in First Signal. While First Signal introduced the First World Universe in a very contained environment, First Launch is entirely the opposite. With the majority of primary characters returning, the logline “The President faces a military coup and extrasolar war when a covertly built second generation space shuttle reveals a worldwide military destined to confront an alien presence on Earth,” sets the story shortly before the 2016 Presidential election.
While I’m glad to have finished a draft to the sequel of First Signal, my priority is to see that First Signal properly exits post-production as I plan for general marketing and distribution. As for distribution, this past week I was approached by a theater to have First Signal screen in July. While I normally would have jumped at the opportunity, I honestly can’t commit one way or another until we learn when restrictions are being lifted. I do know one thing, so long as mask requirements (something I vehemently disagree with) are order of the day there’s no point, or joy, in having a theatrical screening. While our governor may employ Orwellian powers in Massachusetts, he has no power or jurisdiction of its citizens outside this tiny state. Thus, I’m looking at screening opportunities outside of New England and the country.
I am, however, considering “attending” the virtual Cannes Marché du Film in June. As the fees are negligible, it certainly doesn’t hurt to try and see what comes of it. There’s no question that by the end of the summer, theaters worldwide will be open and the markets will endeavor to return to some sort of normalcy.
While the large theater chains can tap into a variety of reserves and credit lines, it’s the independent theaters that are most at risk during these perilous times. As their only source of revenue are ticket sales, the real concern in the industry is that some of them just won’t make it and that a vital link for independent films will simply disappear. Unless you have a robust concession, ticket sales alone just don’t carry theaters. Simply, the box office percentage that’s shared with the distributor just varies too greatly between films.
But with every economic upheaval, there is always a revelation of something new or in this case a return. How many of us remember drive-in movie theaters? I remember the days when we would all pile into the car, drive up to a parking spot, place a speaker on the side of the car and watch a film unfold on a giant screen. It’s no surprise, that moviegoers are starting to look at the drive-in as a solid alternative while the traditional theatrical experience is sorted.