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.
Last week I had the opportunity to submit In Mind We Trust as a pilot for a TV or Web series. As some of you know, In Mind We Trust is the sequel to Justice Is Mind. When I wrote the sequel a couple of years ago, I think the idea for a series was always in the back of my mind.
The question I had before I submitted was that the pilot might not make sense unless someone watches Justice Is Mind. The response back was pretty straight forward. “…to have a lot of unanswered questions at the end of a pilot script — it opens up the world any mysteries for the series.” Well if there’s questions they want, they’ll get it with this story!
It’s stories this industry wants and needs. Sure we read how the major studios are just focused on tentpoles (I loved Wonder Woman by the way), but the terrestrial networks and OTT services just continue to expand and need programming to fill their schedules. With Apple, Facebook, Vice and others actively moving to original series orders, the quest for stories continues.
The one piece of advice I was given when living in Los Angeles was to always have more than one project ready to present. I didn’t fully grasp it at the time, but it makes total sense. Some may love sci-fi but have no interest in political thrillers. Others may not want something sports related, but are looking for a drama. Well, the latter fit the bill with In Mind We Trust.
Personally, if I had my druthers, who wouldn’t want to see their concept set up at a Netflix or Amazon. When I see the production values of The Crown and The Man in the High Castle (two of my favorite shows), it’s just amazing where the industry has gone over the last several years. But like anything in this business, it’s about time and in the case of a series—staffing.
Unlike a movie that can be staffed pretty quickly, a series requires an unprecedented amount of personnel. Just take a look at the end credits of a show or their listings on IMDB. These aren’t just one off projects like a movie, these are, if the show succeeds, long-term commitments. But before any of this is even remotely considered, it comes down to the story itself.
When I think of the number of mind-reading, privacy and intelligence agency articles being published on a regular basis, I certainly think In Mind We Trust has as good a chance as any of getting a review. Thankfully, the concept has already gone through some market testing with Justice Is Mind. From a theatrical release to media coverage and VOD, anyone looking at this project can already see it’s more than just words on a page.