A couple of weeks ago I sent an update to the actors and crew of First Signal about what our release strategy may look like. I believe, if all goes according to plan, our first theatrical screening will be sometime in October. I hope that follows with additional theatrical and festival screenings into the second quarter of 2021 with a VOD release around May.
As someone who reads the trade publications, I see how release dates and general overall strategy is changing on a daily basis. This article in The Hollywood Reporter today, pretty much summed up the current state of the industry. Fortunately for First Signal, the film itself wrapped principal photography last year and just finished post in early June. So, all things considered, our release strategy hasn’t changed all that much.
I do believe one of the real issues that’s going to face this industry next year is available inventory of new product. With very little being produced over the last several months, eventually this empty space will catch up to the industry. I believe this is why we are seeing studios and distributors stagger their releases from the 3rd quarter of this year into 2021. They need commercial films to bring audiences back to theaters. Honestly, who really wants to see a previously released movie in a theater when you can watch it from the comfort of your sofa for a fraction of the price? Of course, I would love to see classics return to the silver screen. Particularly those from the 1930s, 40s and 50s!
So far, the festival market is going well for First Signal. I was delighted to receive a Best Director win from the Eurasia International Monthly Film Festival last week. To receive an accolade of this stature from a festival is truly an honor. This is all about building a momentum so when First Signal goes to VOD, a hopeful following has built up for the film. From a media point of view, there is so much noise to cut through to get noticed.
The release strategy I’m looking to employ is the model I did with Justice Is Mind. It started with a world premiere followed by a limited theatrical and special event run before it went to VOD. My feeling with Justice, and now First Signal, was to follow the studio model. If it works for them, why try to reinvent the wheel? I just adapted it for the scale of my project. At the end of Justice Is Mind’s run, we had numerous media reports and reviews that helped propel the film when it was released on VOD.
On August 18, 2016 Justice Is Mind will celebrate its third anniversary. The same week that will see the website completed for the figure skating political thriller I’ll be announcing soon. Some ask where does the time go, for me it’s about taking the time to develop projects that I’m passionate about.
When I was writing Justice Is Mind back in 2010 writing a political thriller around the sport of figure skating was the furthest from my mind. The same could be said about Justice Is Mind when I was writing First World in 2006. As a screenwriter, it’s the idea that first calls to me and then if it sticks around a while I start to write those first few pages of a screenplay. I’m not one that writes a story using index cards, beet sheets or other devices, rather I let the story unfold as I build characters and the world they live in.
When I look at my dashboard on Amazon Video Direct and see how my films are doing across all their territories, yes, it’s a pretty cool feeling. Just like when you see your film screen in a theater. There is that sense of accomplishment that all involved in the project can share. Because, making a film is a project that does involve a village.
It is precisely because it takes a village that developing a new project takes a considerable amount of planning. Part of that planning is visiting possible locations, meeting with potential talent and laying the foundation before I seek to bring on a crew. This past week I had a great meeting at Northstar Ice Sports and from that meeting went to a local competition at the Cape (one that I competed in myself many years ago!).
I forget how small a world the sport is. No sooner do I arrive and I see one of the judges who I used to talk to regularly when I was actively involved in the sport. We still to this day reminisce about our time together at an International Skating Union Congress in Davos, Switzerland back in the 90s. I was one of the few members of the media to attend and she was moving up the ranks in the judging system. It was also nice running into a couple of coaches I haven’t seen in a while. All in all it was a great time.
This morning I was reading C. Hope Clark’s latest email newsletter and there was a particular passage that really stood out, “We should strive to be in awe of our work, and awe-struck by others. Instead of production, maybe we ought to focus on our power to seek and create awe. After all, wouldn’t you rather be remembered for the one, lone book than the fact you published a lot of forgettable stories? Or maybe you can find a place in the middle, but to do so, you need to slow down and think about the quality you produce.” I couldn’t agree more with her statement as it greatly applies to filmmakers.
If you’ve ever sat through the end credits of film you see the number of people that were involved that made the film come to life. Unlike a stage production that can be tweaked along the way once you wrap a film, it’s up to creative editing, or god forbid expense reshoots if you didn’t get what you wanted in the first place. I can thankfully say we didn’t need to do any reshoots on Justice Is Mind.
While there won’t be a special theatrical screening of Justice Is Mind this week, there will be online promotion to further introduce the film to a worldwide audience and build momentum for the sequel In Mind We Trust.
Indeed, while past projects continue to be promoted and marketed a new one is about to be announced.