Last week I had my first pre-production meeting on First Signal. That meeting was with an actress friend I met last year at the Naval Justice School who inspired me to write the story. She will be playing one of the starring roles. At some point this week I will be posting for actors relative to a table read.
As we both talked about last week, what’s exciting is building a project from the ground up. I fondly remember the days when I first heard actors saying the lines I wrote for First World. But it’s when it all comes together for a feature that project takes on a different scope. Those pre-production meetings for Justice Is Mind were involved to say nothing of the number of auditions. While it’s important to cast the right actors for a role, I believe it’s equally important they are enthusiastic about the story.
When one considers the number of projects looking for attention, enthusiasm is critical. Anyone that has been part of my projects knows that I push them (and everyone involved) as far as possible. As leadership starts from the top down, so does enthusiasm. Let’s be honest, nothing is worse than working with someone on a project who is a Debbie Downer. This isn’t about drinking the Kool-Aid, it’s about having a positive attitude.
Speaking of positive developments, all the actor contracts came through for the next class at the Naval Justice School in March. I’m looking forward to a class reunion with some as well as working with new actors I cast in the project. What’s particularly exciting is that we have a retired NCIS Special Agent that will be playing an NCIS Special Agent. As I said to her this week, your resume reads like a Tom Clancy novel! But in all seriousness, it will be great to work with someone so knowledgeable on the subject.
As for knowledge, I’ve been seeing a wide variety of reports relative to First Signal. From buildings on the Moon to alien spacecraft taking off, it certainly helps when you see mainstream media reporting on a project you’re developing.
What I think is great about the independent film world are the sheer number of opportunities and distribution outlets now available to filmmakers. But that doesn’t mean putting all your eggs into one basket. Case in point The Sundance Film Festival. This article in Variety pretty much summed up this year’s festival and market.
I honestly can’t imagine producing a film in the high six or low seven figures and counting on a festival to bring in a distribution deal. When you consider how fractured audiences are now, producing something esoteric or polarizing isn’t going to secure a mainstream distribution deal. As I mentioned in an investor pitch this week, “while it’s easy to source the past performance of other films, we know there are simply no guarantees in this industry when it comes to a financial return.” And while there are no guarantees, why limit yourself geographically when there’s a whole nation out there looking for unique stories? That’s what audiences want, a solid story.
SPACE – LAGRANGE POINT TWO
Prior to writing First World back in 2006 I would follow the film industry like most of the free world. You would learn about an upcoming film from TV, print or radio and then you would go to the theater and watch the film. From what I can remember most films in the late 70s, 80s and 90s had pretty good attendance in their first few weeks of release. Of course, VHS and DVD added substantially to the coffers and was a welcome lifeline to films that underperformed at the box office.
As I did in publishing over two decades ago, it’s one thing reading a magazine, it’s another learning how that magazine arrived in your hands from an industry point of view. But like that industry’s transition from print to digital, the independent film industry is also going through this same painful process. This article in Variety pretty much summed up the latest Toronto International Film Festival.
It’s one thing when you work in publishing and you’re managing a downturn in paid circulation (thankfully I never had to experience that), it’s entirely another when someone or some company has advanced seven to eight figures to produce a movie and is waiting for a distribution deal to materialize. The magazine has revenue, albeit less, the film has zero. Because there is so much misconception about the independent film industry, let me be clear—just because a film gets into a major film market/festival is no guarantee of distribution. There’s also nothing wrong and everything to gain win self-distribution.
What I firmly believe this all comes down to is budget and marketing. Of course everyone needs to make a living, but there needs to be a reality check on what can seriously be recouped domestically and internationally. It’s no longer about just getting the film produced, it’s about making an effort with a marketing plan to reach a target audience. Marketing takes time. Believe me when I tell you it takes longer to market a film than make it.
I don’t know. Call me old fashion or just a consummate planner. There are some solid lessons to be learned from the magazine industry. I just couldn’t deliver my magazines to our distributor and wait for revenue to roll in, I had to market on a regular basis. I had to bring enough awareness to my magazines to either get a paid subscription or a single copy newsstand buy. This all has to sound familiar if you’re a filmmaker. How do you get people to watch your film or buy it?
Stacey Parks asked in one of her blogs “You Making Money on Amazon?” Every month I get paid from Amazon from my four films running on their platform. Yes, some do much better than others. But there are sales every month. I post three times a week to their respective Facebook pages that auto post to their Twitter accounts and other broadcast functions I have set up. Google Alerts notify me of an interesting article that may warrant a pitch to an editor or, yes, a film financing entity or producer.
This all being said, I strongly believe in the future of independent filmmaking. For me the glass is always half full not half empty. It’s about coming up with a solution to a problem and seeing it through. I always pity the naysayer that says to me, “You can’t do this or that because…” Those are the people you give a wide berth to as you have, a…