Friday, November 27, 2009

Why Money Matters

Perhaps things went off track from the beginning when it came to monetizing online. It is changing but has been and still is a hard road for many. During the dot.com boom tons of start up companies were given millions of dollars in hopes the start-ups would become profitable for the investors. Many of these start-ups have inevitably gone under or the idea people simply lived off the investors while a few (such as Google, Amazon, Ebay) have found or are finding (Facebook) their way toward profitability.

This easy money model that was based on investments rather than revenue started the profitability model off on the wrong foot for online businesses. To this day, I regularly hear people say that 'it'll work itself out' in reference to making money online in the film business. Online commerce will not work itself out. People will work it out and people will make it a profitable venture - not the system itself but rather the people behind the system and those creating what happens within it.

If it doesn't seem right or you don't understand it then maybe there is a reason for it and maybe you should think twice about what you are hearing. It is easy for someone who got several million dollars for a start up to say 'don't worry about the money'. Why? Because they don't need to worry about the money. They already have it. But what does that have to do with you? Nothing! You still need to worry about the money. So, if they are saying to give your film away for free maybe they are talking about their own best interest (needing product for their site) not your best interest.

Another thing to consider is that a lot of the time people act out of desperation, not sensible business strategies. If someone doesn't need money but has an idea for a site they might be willing to give everything on the site away for free. If you have a product they want they might try to convince you that you should give away your product (your film!). The reasoning might be that they aren't making money on it either but 'the money will work itself out later' or perhaps 'the exposure the films gets is the most important thing'. Keep in mind, they may not need the money. They may have been given the money already. They may need the film to fill their site. They may not have any idea how they can bring profitability to the filmmaker or the site... but, they already have the money from the backers so they can survive just fine until the money aspect works itself out. But where does that leave the filmmaker?

How does that benefit the filmmaker? It doesn't. Instead, it begins to change the public mentality that 'spending money to rent or purchase films is okay' into a mentality that films should be given away for free. This is a very dangerous mentality to instill in an audience that has always been willing to pay to watch films.

Films should not be given away for free. There is no money in it. There is money in making films available at a cost. Don't be fooled by those who are being foolish with your film. If you are a filmmaker then you need to make money from it if you wish to live off it. This is not a complicated idea or equation. It is terribly simple - to make money there must be an avenue for income. People think it's complicated because they can't make sense of it but everyone is buying into it. The reality is that it doesn't make sense to give your films away for free. So stop doing it!

Ticket prices for online movies do not need to be as high as for cinemas because the same cost for marketing and distribution do not exist. Therefore, ticket prices can become attractive and realistic for the movie going audience. There needs to be balance. Ticket prices should not be so low that filmmakers cannot make a living off their work, or so high that it makes more sense for the audience to pirate the films for free.

Another idea to consider is paying cast and crew. Many low budget films defer payment. Online companies can create systems that guarantee payment to those that work on the projects. A lot of people have spent their valuable time working to beef up a resume or learn a skill know that the money rarely, if ever, comes via deferment. The inception of an idea is the time to secure people's rights. Online film exhibitors can help promote and protect the rights of all those involved in the filmmaking process, rather than just those of the filmmaker. It is best to ensure the rights of all from the beginning so that a working model is in place to protect the rights everyone involved.

In the last couple of years contracts for actors have been changing toward one where major actors are not paid upfront so much anymore but rather they have to wait until a film is profitable to see their money. It can be hard to claim money on the back end. Each creative team member of a film is a vital entity of the film's success and each deserves to sustain their livelihood from their contributions to the films they work on. Online exhibitors can help to ensure that the profits are distributed as agreed upon by the filmmakers, cast and crew.

When we talk about online exhibition or distribution let's look at the whole picture. Let's think about everyone's needs. Let's think inclusively about all those we included in the filmmaking process and know that the more profitable it is for everyone as a whole the more the industry will thrive and the better films the audience will have at their disposal. Think through the eyes of abundance rather than limitation, fear and greed.

Money matters because people and creativity matters, because money is needed to pay bills and sustain livelihoods, because people deserve to be paid their worth, because we want good films as audience members and because the best way to watch great movies is to make sure those making them can afford to continue to make them and can afford to survive and thrive off their craft, skills and creativity.

Support the artists and value their work. It is a model that will allow the independent film industry to flourish!

Sunday, November 15, 2009

FFJ and Indie Music

Filmmaker: Does FilmFestJunkie.com accept music or is it just a platform for film?

FFJ: Yes! FFJ is happy to give musicians the same possibilities for exposure that we offer filmmakers.

FFJ values all artists equally. (Maybe we should start a section for painters!)

All contributors must own (or legally represent) all rights to their work to be able to participate.

Many independent films use original music. FFJ is fully capable of working with both entities and look forward to the opportunity.

FilmFestJunkie wants all artists - no matter their chosen form of expression - strong, healthy and financially secure. Respect each other and prosper!

Friday, November 13, 2009

Pics, Articles, and Tidbits for FilmFestJunkie




The idea of FilmFestJunkie is to build a bridge between independent film and its global audience.

Independent filmmakers are a unique bunch. Many are true individualists willing to take risks and follow their vision no matter current trends or nay-sayers. This is something to be valued and treasured in the indie filmmaker and FFJ has every intention of doing just that!

I know some of you are having a hard time figuring out what we're doing and trying to conceptualize it while others just want us to give them the formula. If you're having a hard time trying to figure it out, it's probably because something like this doesn't exist yet. We are creating it as we go along. FilmFestJunkie comes from a need and a desire to fill an unnecessary void.

We want our audience to get to know both indie film
and the filmmakers behind the projects. Independent filmmakers are cool and absolutely fascinating. FFJ wants to share this incredible group of people - almost a subculture of people - with their global audience. Part of the FFJ experience will be to bring the behind the scenes events, stories and pictures to life.

In that vein, we are looking for articles, photos, clips, etc about filmmakers and their work.
We have rules. We are not looking for tabloid trash. We respect filmmakers for the artists they are and expect all articles, photos, footage, etc to be respectful as well. If you're looking to write or submit trite mind-numbing, bottom of the barrel crap then you'll want to send it somewhere else. We aren't that kind of enterprise. We're here to uplift the mind, soul and senses with quality, thoughtful and respectful work. We don't want anything that is invasive or intrusive into a person's private life. Give the respect you would want. We are here to share, not to rip people down. Consider the Golden Rule when submitting. All things will be considered but not accepted.

That being said, we are not a goody too shoos site. We like hard, rough wild rides that lead to the unexpected and could only come out of the mind of a singularly focused and directed mind. Totally twisted, f'd up, absolutely wrong... but in all the right ways works here. That doesn't mean we don't love completely, sweet and charming love stories. We do! We also have a very soft spot for sensitive, touching animation and well-thought out docs.

Things to consider: Interviewing (video or written word) independent filmmakers, actors, cinematographers, etc while on the set or perhaps during a film festival. Photo shoot with film crew. Preferably fun and off-beat. If there is an indie film that you love and you happen to be a wild and crazy widget wonder, make one. It'll be fun! Basically, we're open to idea. If you're an aspiring writer, journalist, photo journalist, etc this could be up your alley.

If you would like to submit we'd love to see what you have to offer. We want to give our audience the inside scoop on our filmmakers or on the fabulous area where this or that film was shot, or the hilarious antidotes of how everything that could have gone wrong did... yet the film still came together. Filmmakers put their heart, soul, life and often every cent into their work. We want to hear, see and feel the passion.

Initially, there is no paid compensation. That may change in time as the site develops. We can compensate in other ways, such as viewship options, etc.

If interested, feel free to contact us at filmfestjunkie@ymail.com.

Monday, November 9, 2009

What if our US Rights Were Sold?

Independent Film DistributionFilmmaker: Would you be interested in my film? It did very well on the festival circuit and won a few awards. The U.S. rights were sold, but it sounds like you could block that out?

FilmFestJunkie: Yes! FilmFestJunkie would be interested. And yes! The platform can block countries, states, provinces, regions, cities, etc. No problem. We can help you make money directly off the rights you still own!

FilmFestJunkie is a flexible platform created to meet the various needs of independent filmmakers in reaching their global audience!



Is this a Non-Exclusive Deal?


FILMMAKER: I’d be delighted to join FilmFestJunkie. I presume this is a non-exclusive deal, and that we can withdraw specific territories if we sell them later on? (Or leave altogether, if necessary?)

FILMFESTJUNKIE: We'd be delighted to have you! You presume correctly. You can withdraw from specific territories if you sell them later on, or leave altogether, if necessary. We're here to help, not to hinder!

Can I Sell DVDs Through FilmFestJunkie?

Indie Films Online
Filmmaker: You mention DVD sales. So, filmmakers can sell DVDs via FilmFestJunkie?

FilmFestJunkie: FFJ can link to the film's website, if the filmmaker sells DVDs directly. This would allow the filmmaker to keep 100% of the DVD profits. FFJ is not in the business of selling dvds nor does the platform have any plans to move in that direction in the future.

How Would We Benefit From FilmFestJunkie?

Indie FilmsFilmmaker: We have a bank of films that we have access to - in terms of rights and access - how we would benefit from that and how would it help you.

FilmFestJunkie: You would benefit financially from the profits each time the film screened on FFJ. It's a 50/50 split before net. FilmFestJunkie would profit from our end of the split after expenses were covered. The filmmakers would profit before expenses.

The Old Distribution Model is Broken

Films Online
The old film distribution model broke a long time ago. There is nothing left to fix and it never worked very well for indies. It's time for a change and it's time to put independent filmmakers in charge and independent films on the map!

FilmFestJunkie is a platform created to empower independent filmmakers and global audiences by building a bridge between indies and their views.


Digital Rights Management (DRM)

Digital
FilmFestJunkie believes in Digital Rights Management (DRM), secured and protected rights for films.

Filmmakers deserve to control and own their films. It's time independent filmmakers start getting the respect and payment they deserve.

Most people say that they would not pirate if they had a choice. FilmFestJunkie hears them and is listening.

We're building an online viewing experience for independent film and global audiences!




Does FilmFestJunkie Have a Year or Premiere Requirement?

Film DistributorFilmmaker: Do you have any production year or premiere requirements? I'd like to send two films - one produced in 2006 and another in 2008. Neither are world premieres.

FilmFestJunkie: FFJ does not have a year or premiere requirement. Feel free to send both films. Films should premiere at festivals and screen with FFJ through participating festivals or after the film has completed its festival run.

What Costs Are Involved for Filmmakers?

DIY Film Distribution
Filmmaker:
What are the costs involved for us?

FilmFestJunkie: There are no direct costs for filmmakers. Just profit. It's a service we offer to filmmakers because we want to build a bridge between independent filmmakers and their global audiences. The platform, FFJ, makes money when films are screened. It keeps us hungry and reminds us to market!

There are other costs for filmmakers which should not be overlooked. Independent filmmakers are responsible for promoting and marketing their films (no matter then length or genre) - even Tarantino promotes the heck out of his films.

Film festivals are an excellent avenue for promoting indie films. There is little cost for this sort of promotion and a savvy filmmaker can get ample marketing and press from being on the festival circuit. This sort of publicity is invaluable and free!

A filmmaker who rests on their laurels before the marketing, advertising and promotion of their film is done will not reap the same rewards as a filmmaker who actively promotes and markets their film.

The money is there. Earn it! FilmFestJunkie has no sign-up fees, set-up fees, dues, or the like. We don't make money directly off filmmakers. We make money directly off the films... and we help you do the same! FFJ considers filmmakers to be partners and allies with common goals.

FilmFestJunkie is here to help filmmakers reach a global audience. The platform is not here to do it for the filmmaker. Don't let your film fall through the cracks. It's a new day and it is the filmmaker who can choose the destiny of their film!




Sunday, November 8, 2009

FilmFestJunkie Helps Filmmakers Make Money off Territorial Rights Owned

Self Distributing Film
Filmmaker: Would you be interested in my film? It did very well on the festival circuit and won a few awards. The U.S. rights were sold, but it sounds like you could block that out?

FilmFestJunkie: Yes, we would be interested. And, yes, we can block out countries. No problem. We can help you make money directly off the territorial rights you own!

Can FilmFestJunkie Block Territories?

Geo Blocking Films
FILMMAKER: I’d be delighted to join FilmFestJunkie with “*****”. I presume this is a non-exclusive deal, and that we can withdraw specific territories if we sell them later on? (Or leave altogether, if necessary?)

FFJ: We'd be delighted to have you! You presume correctly. You can withdraw from specific territories if y...ou sell them later on, or leave altogether, if necessary. We're here to help, not to hinder!



FilmFestJunkie is a Global Online Screening Room

Watch Movies OnlineFilmFestJunkie is not a distributor. FFJ is a global online screening room with a mission to build a bridge between independent filmmakers and their global audience. It is our goal to help empower and mobilize indie filmmakers through exposure and branding. We want to help, not hinder.

Does FilmFestJunkie Consider Older Films?

Independent Movies
Filmmaker: Can our film really participate as it was produced and screened in March 2007?

FilmFestJunkie: Yes. No problem. We're looking for good films that we can share with a global audience. The completion date is not relevant.

Share

Do Filmmakers Pay Monthly Fees to Participate?

Independent Filmmakers
Filmmaker: Do I have to pay a monthly fee for this service?

FilmFestJunkie: There are no dues, fees or set-up costs for participating filmmakers. Just profit deriving from the screening of your film.


Length, Origin, Genre, Format...

Festival Films Online
Filmmaker: What kind of films do you look for, length, origin, genre, etc...

FilmFestJunkie: All genres, all lengths, all origins! We look for good films that seem like a good fit. Each film is considered on its own merit with the audience in mind.

Filmmaker: Do you only focus on 35mm productions?

FilmFestJunkie: We are not sticklers for format. We're more interested in content.


Is FilmFestJunkie Exclusionary?

Watch Films Online
Filmmaker: I am interested. I'm in the middle of a deal with Amazon online and Netflix. Is your site exclusionary to these?

FilmFestJunkie: While FilmFestJunkie is not exclusionary, it is self-contained and will act as a one-stop shop for the indie audience but that does not prevent a filmmaker from screening online elsewhere. That being said we pay better for exclusive films and consider such films to be more valuable when consider which films to accept onto the website.

For consideration, send film(s) to:

FFJ
Attn: SCOTT
PO Box 1336
Gracie Station
NY, NY 10028




Films and Subtitles

Movies OnlineFILMMAKER: Will there be subtitles for, say, the Japanese?

FILMFESTJUNKIE: If you submit a film with subtitles, then we can upload it with subtitles. In fact, we encourage it as it will help broaden your audience on a global basis!

It is best to ensure FFJ has a clean copy without subtitles as well as a version with each subtitled language. This way the audience can watch a clean version in the film's original language.

It is also possible to submit films with subtitles in the original language for closed caption purposes.

The broader access you give, the broader audience potential you create.


Get Paid for Your Films!

Film Fest Junkie
Stop giving your films away for free. It's not necessary. Just because the industry can't figure out what to do with indies doesn't mean indies can't figure it out and make money in the process.

Yes, this includes docs especially with their ability to make money virally online via niche marketing.

Don't teach the market to devalue your films. The audience is used to paying. Why change a model that isn't broken.

Consider enticing your potential audience with a trailer, stills, reviews, behind the scenes footage, etc. These sorts of promotional tactics and informational marketing strategies can help to increase, education and intrigue your audience and can be given away for free while leading your audience toward purchasing your film whether it be in a DVD format or a direct download.

Share the milk but don't give away the cow...


Sunday, October 25, 2009


We started a new project and want you to be part of it!

What I've learned more than anything else as Festival Director of Strasbourg International Film Festival and Creative Director of Tregor Film Fest is that distribution is most important to our independent filmmakers. As we all know, the system is broken and ready for change. We've been asking questions and listening to our filmmakers. We have considered our options and have created a plan that will work on a global scale for filmmakers, festivals and audiences.

We encourage filmmakers to continue on the festival path as it is one of the best and most affordable ways for filmmakers to promote and expose their work to audiences on a global level while building hype and momentum which can them be utilized during the distribution journey. We have created a way for filmmakers to make money directly and for the long haul. We want you financially able to continue to make films because that is the best way to ensure audiences will have access to your work!

This is what we've come up with...

Film Festival Circuit
FilmFestJunkie will work closely with festivals to help festivals brand themselves globally through building an online presence and audience during their festival dates. Each filmmaker will have the opportunity to show their work during festival dates online through the festival. No filmmaker will ever be obligated to participate. It will always be a choice. The filmmaker, festival and FFJ will share equally in the box office gross (that means straight off the top profits before any bills are paid). Our goal is to empower both festivals and filmmakers. We want festivals and filmmakers alike to be strong, vital and financially self-sufficient so that each entity can concern themselves with the creative end of their business rather than the financial worriment of it. All festival films will only be shown during festival dates thereby holding festival integrity and allowing films to generate buzz while moving on to the next festival along their circuit route.

Global Online Theater
FFJ will team with filmmakers to bridge the gap between the audience and independent film. For too long now (as in forever) most independent films have not been readily available to audiences around the world. There is a small select group of us that seem to have the 'in' on festival films. It's time we begin allowing the audience to see the films they've been craving. Traditional distributors have long had difficulty profiting off indie films for reasons that simply do not apply to our business model or structure. We focus on niche audiences. We can afford to be selective and to cultivate relations with different types of niche audiences.

Moreover, having watched 1000s of films both submitted to our festivals and at other festivals (such as at Cannes, Berlinale, Edinburgh and Raindance) we know what's out there. We have the ability to build an excellent library of quality films easily and efficiently simply because we've seen these films and know what we will be bringing to our audience.

Building Trust with Audiences
You cannot build a vital business on crap. The films that screen on FFJ are quality films worth seeing. We will build an audience based on trust built from mutual respect. We respect the audience wants quality. They receive quality and therefore they will trust that we will continue to give it to them. By this means, we will build a loyal following of independent film lovers on global scale.

Working With the Rights You Have
If your film has been sold in different regions or countries we have the ability to restrict access to these locations. If your film has contracts that need to be attended to we will work with you to create communication between all parties for the best of everyone involved. We all have the same goal which is for the work to be seen. We can all work together as a unite to achieve this goal.

Making Money
Films in distribution with FFJ will receive 50% of the online box office gross. There are other companies that pay 70% of net but remember that net is what is left after all the bills are paid. Gross is what is made before expenses.

Promotion
FFJ wants your films, trailer and online promotional items. It is necessary for you to build a relationship with your audience. We respect that, know that and will want do that. We want your audience to wait in anticipation for your next project. We want to brand you! You must be the biggest promoter of your work.

Think Tarantino. He hustles nonstop promoting his films. He understands that it is necessary. You, too, must dedicate yourself to the promotion of your film. Your film and your audience deserve your attention. You have not finished once the film is complete. You have just begun. We will help you help yourself.

Our goal is to create a system that helps filmmakers support themselves so they can actually live off their filmmaking. It takes work and we expect you to help us find your audience!

Creating a Financially Profitable Online Theater for Filmmaker and Festivals
Over and over it is said that no one knows where distribution is going. We all know that online viewership will be a standard, not taking the place of theaters or festivals but rather complimenting them. Online viewing is the easiest way to access independent films or not-the-most-mainstream-films that we want to see. Let's pave the way together! Let's ensure that independent filmmakers and film festivals rise to the top of the money heap.

Keep Your Rights
We've created a system that will allow you to keep the rights to your film, gain a global audience and make money doing it.

We want you to profit and we're going to help you achieve that goal!

Send Us Your Films For Consideration
Over the next few weeks we will be adding films to the site. If you would like to be part of the revolution we'd love to have you!

Ask Questions! We've Got Answers!
Please feel free to submit films, tell your friends, forward this email and contact us with any questions or comments.

Our launch date is November 15, 2009!

We look forward to working with you!

Friday, October 2, 2009

Be Wary of the Middleman

There is a new catch phrase called 'Do it Yourself With Others' or DIYWO. Be wary of it.

Bigger isn't always better. Sometimes it's best to keep things in house. Right now, indie distribution is an open arena and anyone's game. Keep that in mind.

Remember, no one has a market on indie distribution. No one has figured it out. There is a lot of talk going around and most of what is said is coming from middlemen trying to figure out how they can make a buck off indie filmmakers.

Be skeptical. Be wary.

This 'free films for all' doesn't seem like a good bet for the financial health and well-being of filmmakers. Instead of selling out, hold out. If for no other reason because there is no one out there better suited to distribute your film (outside of major theatrical releases) than yourself at least for now. Don't give up the gold. Your film is gold. Hold onto it.

Be proactive in the distribution of our film. Submit to festivals that seem like a good fit for your work. Think grassroots.

Think longterm financial gain. If you give up the rights to your film you will not be the person making money off it. Don't be in a hurry to sell yourself short.

Your time will come. Hold tight. We'll figure it out. In the meantime, keep your work close and don't allow yourself to be bamboozled by the bs-ers.

Create. Be solid. Have faith in your work.

We need to re-establish trust with audiences. For years now distributors have been feeding audiences a heck of a lot of crap along with a sprinkling of good films.

We will need to build a bridge directly between filmmakers and the audience. It'll happen.

Submit to festivals. Promote your work. Learn how other filmmakers are reaching audiences. Don't give up. Keep strong. Know your worth and the value of your film.

Without independent filmmakers the independent film industry is nothing.

You hold the gold, so don't give it away!

Festivals are your stronghold. They seem to be one of the only solid avenues that work to ensure your work reaches an audience. Keep tight with them. Allow them to work for you and make sure you are giving them your promotional materials plus promoting your screening at each event whether or not you are able to attend. Perhaps favor festivals that favor audiences over industry. It is the audience you need to reach. The industry doesn't know what to do with you. The audience just wants to check out your work.

You are responsible for the destiny of your work. Take it. Hold on to it. Own it. Be responsible for it. Profit from it.

Thursday, September 24, 2009

Next Stop: Raindance Film Festival

I've purchased my festival pass, planned my tenative film schedule and an anxiously awaiting to very cool fest bag!
I've selected 32 films I'd like to see. Some of them overlap. So we'll see how things shift around as time goes on.

Going to Raindance will be a new and exciting adventure for me. First off, it's in London where I've never made it outside the airport yet have spent numerous hours there on several occasions. The festival itself has loads of films I haven't seen, many of which I haven't hear of, and some which I've very anxious to see.

I tried to see Love Exposure by Shion Sono in Berline through the Forum section but it was totally sold out. So here it is at Raindance!!! All 237 mins of it in its full glory. Speaking of full glory, if you're unfamiliar with Sono's work, he started off in porn and is quite the cult filmmaker. I've never watched his work in its entirety (Sophie has seen Circle Suicides on YouTube). I've seen clips. From my understanding he's a rather wild director. I remember some crazy fucking scenes in bubbles. Definitely on the wild side. Can't wait to see his work! Love Exposure (Japan) only plays once on Sunday, Oct 4th at 1:30pm.



Easier With Practice (USA) looks like a really cute, off-beat love story. It plays on Friday, Oct 2nd at 9:45pm.



The Slovanian Girl (Serbia) - Thursday, Oct 1 - 6:15pm/ Saturday, Oct 10 - 12:30pm
A young prostitute tries to keep her job secret from her family.
We screened a really cool Serbian film at SiFF '09 called, The Beautiful Blue Danube. I can't wait to see what else the country has in store! Serbia is not an inhibited country when it comes to its filmmaking. The country has been through a lot and doesn't hold back.


The Life and Death of a Porno Gang (Serbia) - October 10th, 9:30pm
Marko, a young director from Belgrade, wants more out of life than fifteen-minute quickie porn and sex with inflatable pigs. Thus the porno gang is born in worship of Eros, the god of lust, beauty, and intercourse, with no premonitions of the dangerous road ahead.

Looking for New Fests to Quench My Thirst!

For the past couple years, my main film festivals have been Edinburgh, Berlinale and Cannes. This past year I had to drop Edinburgh since we picked up Tregor Film Fest. Edinburgh and Berlinale were my 'feature film' festivals while Cannes is where I would watch my fill of shorts as a comparative study to ensure Strasbourg International Film Festival was receiving a well-rounded, top-of-the-line selection of submissions. What I've learned, particularly this past year, is that there are no holes in our submission options. SiFF is doing just fine.

Last year I was a little disenchanted with both Cannes and Berlinale.

First, since Cannes wasn't offering anything better than I already had there was little justification for me to be there. According to short film filmmakers, their shorts were being viewed between 2-6 times... total. Although, on a good note for filmmakers, there was more interest in the viewing booths this past year compared to the year before. Which didn't impact our waiting time negatively once the Short Film Corner staff asked if we'd like to go into the Buyer's Booths so we didn't have to wait and could more readily resume our film watching. This was helpful until Cannes informed me due to a 'technical' glitch all our records and notes on the shorts screened had been lost - which would have made all that effort useless had I not taken diligent manual notes. (Always keep a back-up!)

Basically, Cannes ended-up being a relaxing (albeit, unnecessary) trip. I realized I wasn't in need of anything so there was no stress, no anxiety. In fact, I felt at peace, calm and reassured that SiFF was were it was supposed to be in the submission process. Sophie and I walked along the beach, and watched Inglorious Basterds! We tried to see Tetro but no one but press was allowed in. Shame. Sophie waited forever for the first two screenings. I hate cattle call bullshit but we met some cool people in line.

Ahhh... Berlinale. We had switched up Berlinale. Two years ago I purchased all of our tickets directly online at full price. It was a huge pain in the ass and dictated that I be at the computer at 10am, know exactly what I want beforehand and make a made bash through the purchasing process to ensure tickets didn't sell out of what I wanted. Thankfully, I'm not into Competition films or it would have been a solely lacking experience. We got tickets to everything we wanted to see purchasing well over 30 sets of tickets. The online ticket booth in the Potzdamer Platz mall was a complete nightmare. Apparently it didn't occur to management to teach the workers how to use the software. Yikes!

Since the purchase buying and ticket retrieving experiences were a bit of a nightmare I decided to get delegate passes this past year in hopes of improving this aspect of the Berlinale experience - instead it ended up being a complete waste of time and energy and not worth the hundreds of dollars saved. Bottom-line if you're not in line by 8am you're not going to see anything you want to see. Who the fuck wants to see a whole bunch of shit just because they aren't up by the crack of dawn??? Not me. I was fairly turned off by the whole experience and decided it was time to try another approach - like, perhaps a different festival!

Basically, I want to have a good time. I want to enjoy my experience, be treated kindly and with respect (not deal with a bunch of snobby assholes) and watch cool and kick ass films. Let's put it this way. Out of the 30 films I saw at Berlinale this past year 4 were worth seeing. What I learned is that it pissed me off to no end to travel to another city for days on end to watch films that aren't nearly as good as what is being sent to me directly. I love to travel but every trip should be worthwhile. If I see a film with a star, I want it to be a good film. I don't just want to say hey I saw so-and-so in a film. I want to say I saw so-and-so and the film kicked ass! That really didn't happen at Berlinale this past year.

So then, what's the point of going? I'm not into networking. I don't need to shmooze or try to sell or buy anything. The markets aren't fun - maybe I just don't have the look of profession desperation which sales reps seem to yearn for. Filmmakers send us kickass films, so we're covered. I'm not at festivals looking for features.

If I can't see really cool films at a film fest then I don't want to waste my time. I was a tad bit angered by the mediocre films that played at Berlinale. Okay, there were some good ones too but I didn't get up at the crack of dawn for those tickets... and you know what... I never will. I'd rather miss them. I'm not a morning person and I'm not corporate so my job doesn't depend on me suiting up and showing up at god awful hours of the morning.

What to do? I spoke to a man at Berlinale who has been running a Eastern European film festival for about 20+ years now. He looked young. Guess he's been running it since he was 12. Nonetheless, he got me thinking. He said he liked Cannes for features. I was unimpressed. Anything at Cannes (not speaking of the market) can be seen anywhere. So what's the point of seeing it there? Okay... love Tarintino and since I very rarely go to regular cinemas - unless I'm atending a festival - I was pleased to have the opportunity to experience his latest. Even waiting in line was fun! The film was 2hrs and 40 mins long. The director's cut. Not something I'd want to miss.

The Eastern European Festival Director said he looks to other fests for grittier films. He liked Rotterdam and Viennale claiming they were more in line with the Forum films of Berlinale. Ahhh... choices.

This year I've picked up two new fests - Viennale and Raindance.

When I go to a film festival I'm looking for two things.
1. A comfortable environment. Edinburgh is very comfortable, informal and easy. Plus, the Festival Director, Hannah, is an absolutely lovely dish of something wonderfully added to the festival - as though she were your favorite sprinkles on your favorite sundae. I've never met her. Have no real desire to. But if you go, you'll watch her flutter in fear of addressing crowds and she tries her best to speak about films she loves and wants to portray in the absolute best light. She loves her retrospectives and we're all the better for it.
2. Good films. Fuck everything else. Just show me something interesting that I can't see in the cinema and might not have the opportunity to see at all if I don't see it there. Berlinale is good at this. Cannes is impossible to include in this definition. Edinburgh needs to work on it. I don't know how EIFF was this year, but the year before the brand new Under the Radar category needed a little perfecting. Honestly, that's not knocking Edinburgh. It's a festival that is willing to try, willing to take a risk, willing to test the waters and experiment and most certainly willing to show films you've not seen before!

Since Edinburgh fell from from my list of festivals this year, I wanted to pick up another 'features' fest so I started looking in the direction of Raindance - a festival I've wanted to attend over the past couple years but simply haven't been able to make time for it. The Festival Director, Elliot Grove, has been running Raindance for 17 years now. He seems passionate and directed. He has had some very kick ass musicians (Think Iggy Pop and Lou Reed) involved which means the festival has a certain bend, or focus, which differs from the other festivals I've attended. Plus, Raindance is slightly smaller which I view as a very strong attribute.

These cattle call mass produced film festivals are so washed down to absolute nothingness that the only thing left is snobbery and long lines for films you don't want to see! People run around with like depraved maniacs in such a need of the miracle cure for some ailment that certainly can't be healed at such hollow events.


Tuesday, September 22, 2009

Is FestBlast Worth the Price?

Recently a festival director was inquiring as to whether or not a new service, FestBlast, was worth the price. FestBlast's prices have since gone down substantially. Below is my response in light of the company's new developments...

Here are the new rates for FestBlast:
DISCOUNTED RATES

Save over 50% on our listed ad prices by reserving now!

Featured Area ($500 Value) - $95
Deadline Listing ($25 Value) - $15
Event Listing ($25 Value) - $10
Bottom Banner ($300 Value) - $50

I was tempted. In fact, I had decided to do it. FestBlast has 36,542 filmmakers in their database. Our database is just shy of 10K. So, I was thinking that I could increase my numbers 3x+, plus chances are very good that we have very little duplicates between the lists. A deadline blast would only cost $15, so what's there to lose? Right.

Then I went to pay. I'm thrifty. So whenever I'm about to pay I always try to come up with all scenerios to ensure the money is being well spent. I realized that I had decided not to add more emails to my database as it would increase the subscription rate by $13 per month. But... FestBlast is $15. Which would bring better profit margins? ie. More subscriptions.

FestBlast (to my understanding) is owned by Chris Hyams from Bside. Therefore the lists (FestBlast/Bside'sBlast) are probably created from the same database. I get tons of blasts from both Bside and FestBlast. It's annoying and I very rarely open them. Maybe on two occassions I've open an blast from either service. The blasts come often. If most people feel as I do about them then the emails are probably not read very often. Another thing... who uses Bside? Festivals, filmmakers(?) and film-goers, right? Therefore, by the time a filmmaker makes it to becoming a bside subscriber is he/she still an active submitter or are they now onto their festival run?

I then went onto Alexa - it's a service that will tell you where a site ranks amongst other sites.
StrasbourgFilmFest.com (Our fest website) current stats are:

1 month avg 2,878,287
3 month avg 3,236,696

FestBlast.com
1 month avg 6,210,520
3 month avg 3,147,762

Lower numbers are higher rankings. Therefore SiFF's ranking of 2.8 million is far higher than FestBlast's ranking of 6.2 mil for this month. That's not a good sign. Here are the numbers for WAB.

Withoutabox.com
1 month avg 112,143
3 month avg 100,592

Now WAB's numbers are a good sign!

SiFF's ranking is high because we just came off a fest. FestBlast's low ranking indicated that the site has been unable to generate ongoing interest in what they have to offer. WAB's numbers are predictable.

FestBlast would add our fest with every other fest that paid for that particular blast. The last blast they sent had 11 fests listed. Basically, what's my actual submission share of

1. 11 fests when most people probably aren't opening the mailings

2. How many of the 11 fests are going to submit to MY fest?

3. At least with WAB you get 6 blasts in the cost... maybe FestBlast should consider doing that...

Granted, I would only need a one submission to pay for the cost of a 'Deadline Event' fee. Still, I'm questions increasing my own email listing which would only cost $13 and which I know isn't a worn out listing of uninterested people, but I'm willing to pay for a listing that would probably cover the ONE submission cost it would cost me to run the add???? I don't know. On the other hand, it does add to overall exposure... but is that where you want to gain your exposure... For a festival that doesn't use marketing tools other than WAB (or including WAB for that matter) this is probably a service worth the price. It's a low buy-in with little risk and an absolute ability to see results.

In reality, now is probably a great time to try FestBlast. This is how it works. If you get submissions, the submissions will come in the same day the blast goes out... you may or may not get a dizzle in after that time... Don't count on it. Look specifically at the increase you received the day the blast went out. That is how you can quantitatively decide whether or not a blast was worth the money you spent on it. Everything else is BS.

If anyone is going to use or has used FestBlast (or StudentFilmmaker or other) please do let share your results and whether or not you thought the service was worth it. I'll be happy to post my results if we end up using FestBlast.

By the way, there is little chance that WAB's list gets 'worn out' since there are always new subscribers. If FestBlast wants to be taken seriously they will need to continually increase their subscriber numbers and create a website with some meat on it.

Best of luck to all of you!!! We'd love to hear your thoughts!

Christine
StrasbourgFilmFest.com

Sunday, May 10, 2009

Who is Behind the Camera?

A law used to exist which did not allow conglomerates or monopolies in the world of media. It was before the days of NewsCorp and Clear Channel. Then the law was remove and the little guy with his little independent voice was swiftly all but eliminated leaving one less uncontrolled opinion out on the market.

Depending on which side of the argument you stand, this is either a good or bad thing. Do you want to control the masses? If so, then controlling new feeds throughout the US (or the world) would prove practical and strategical.

Media has always been used to alter and sway public opinion. In wartime, the military drops leaflets upon its enemies citizens to sway opinion, cause confusion and mistrust, and to move the masses over to their way of thinking. To encourage women to work during WWII entire media campaigns were created stating it was their patriotic obligation to take the jobs of their husbands.

After the war new media campaigns were created to ensure women gave up those jobs and returned to the home. The term 'nuclear family' was created during this time. There was a huge media campaign encouraging women to 'consume'. The idea may have been introduced to stimulate economic growth in the US but the practice of swaying the masses through manipulative media has stayed and intensified.

You need this shirt to look like a real man. You need this face product if you really love yourself. You need this car or you're a nobody. This asprin will cure all your woes. These shoes will secure your place in heaven. A new house that you can't afford will be affordable to you later if you only buy it now and the government will help, ask Fannie or Fred... Every American deserves to own a piece of America, there is a shortage of land, prices will always go up. The masses will believe anything at any price whether it's good for them, or not, if sold in the right package.

So... who's behind the camera? Now that there are so few independent voice that can make it to the big screen - who are we listening to?

The film industry is at a time of flux and change. Independent filmmakers have a window of opportunity to take back control and to start profiting from their own work in a way that has not been available to them in a very long time. Independent filmmakers aren't unified like the film industry, so filmmakers have their work cut out for them!

Friday, May 8, 2009

What is a Film Festival?

Film festivals are not theaters.

Theaters are for films that have secured distribution.

Film festivals came about as a way for undiscovered films still looking for an audience to reach out to communities at a grassroots level.

Sometimes film festivals take place in theaters. Sometimes they don't.

Convoluting the two (festivals and theaters) won't do anyone or either industry any good in the long run.

Cannes is an Industry Film Festival. Created by the industry. For the industry.

Perhaps Industry Film Festivals should be labels as such to clarify the distinction and help preserve the integrity of Independent Film Festivals.

Quentin Tarantino's latest film doesn't need Cannes for distribution. That glorious bastard undoubtedly has it in the bag! Cannes is just a nice way to start things off. It's a fun little marketing ploy and finishing touch for a film's long journey - particularly considering the filmmaker's history at the festival. Necessary, no. But with Cannes, that's not the point.

Cannes is a shin dig for industry types. A place for buyers and sellers to gather and sweat things out in these tumultuous times of change within the industry. A place for stars to shine on the red carpet as the press clamors striving for the money shot. A place for filmmakers to meet and network.

Cannes is all about the industry. Sometimes it seems the industry has forgotten about filmmaking... has forgotten about the audience. Perhaps this is, in part, what led Geoffrey Gilmore to question whether or not film festivals would become obsolete in 10 years while Gilles Jacob exclaimed that festivals were alive and well. While Gilmore tried diligently to broaden the audience of independent film over the years, Jacobs exclaims that Cannes' is all about the Independents... claiming you just need to look due East.

As far as the 'anglos' go. They are alive and well, thank you very much. Maybe the problem Cannes has with them is that these films truly are independent. Cannes makes its money off the industry, not off independents. If a studio or country is backing a film then money will be spent in Cannes (of course, this year is different since some Westerners may not be attending Cannes due to the state of the economy, in part).

Independent filmmakers not backed by a studio, or a country, don't really have as much to offer Cannes. France's Center for National Cinema (CNC) forked over approximately half of Cannes 20 million euro budget this year. Rinky dink, truly independent films just don't bring in the kind of money Cannes needs to generate to justify its funding. Besides, if festivals weren't alive and well... what would Cannes be?

Gilmore... hmmm. There is no doubt this man loves the independents and film in general. He's passionate about it. Stop. Let's just stop. Let's clarify. 'Indie' arms of studios are not independent films. They are low budget arms of studios that generally range between $1-15 million. Mixing words hurts independents and helps low budget studio films. Well, that might be great for studios and the 'industry' but it hurts the world of truly independent filmmaking - particularly when discussing profit margins and revenue.

Let's not get caught up in the dichotomy. Perhaps, over the years, with all the hoopla and expectations aimed at Sundance things got a little mixed up. In the end, Gilmore walked over to a world that will allow him to deal with the fascinating and newly unraveling world of distribution. A world he can help mold and create. Smart move on the part of Tribeca - it needs direction and Gilmore was ready for change in a world awaiting someone like him to take the reigns. Nonetheless, he's perhaps backing away from festivals and questioning whether or not they even need to (or can) exist. They can... they just need a little purification.

More than ever film festivals are vitally important for the truly independent filmmaker. Festivals might not be important to the industry which constantly narrows its reach preferring to focus on 'franchises' rather than films. Fine. But what does that have to do with filmmaking? Nothing. It has to do with formulated profit for corporations.

So perhaps the conversation needs to be updated. Perhaps it's time for a little more separation. Industry productions have little-to-nothing to do with independent filmmaking.

It's time to recreate the conversation. Let's get back to basics. Film festivals are a way to bring independent films to communities. Through this initial grassroots effort a filmmaker can then spawn off into different directions allowing word-of-mouth, the audience and viewership to grow.

Independent film festivals should not try to emulate industry film festivals. On the contrary. Allow a fest to grow out of need. Allow it to occur organically rather based on the needs of a community (there are many types of communities - not all are local) than fabricated by corporate design.

There is a great demand by both independent filmmakers and their audience to connect. It is quite possible that sales reps, distribution companies and studios will become obsolete in this process. Studios don't need indies. The two don't necessarily even coincide well together. Independents don't need studios. That can be a scary thought for an independent filmmaker... but trust that the market is yours for the taking. Studios and indies often have an overlapping audience but that should not be confused with the two entities being one of the same. They are not.

"I think there are old models here," said Gilmore, asked to survey his new city and the future of festivals in general. "To be honest, that's the kind of question I think about a lot: how to reinvent festivals, what they should be doing, whether or not their agendas—which have evolved greatly—need to be rethought completely."

Film festivals need to be a springboard for new and emerging films, not a trench coat for unsavory sights.

Wednesday, May 6, 2009

Buyers at the Short Film Corner

If you are a filmmaker attending the Short Film Corner at the Cannes Film Festival than you should know who the buyers are that will be present. The SFC was kind enough to set up a handy dandy page with videos from each of the buyers.

I strongly recommend spending a little time watching each of the videos which will acquaint you with the buyers, what they are looking for and what they are willing to pay for shorts. Guadalupe ARENSBURG with Canal + Spain pays $150 mins up to 15 mins. Mary Lampe of PBS, Texas pays $60 min up to 26 mins, non-exclusive. Jean Charles MILLE is a manager who wants a three-year exclusive and 30% of sales. Roland NGUYEN pays $500 a min up to 20 mins w/3 runs over a three year w/only the first run exclusive. Betcha wanna know what he looks like, huh?!? Each buyer has a different set of rules they follow. Some buyers purchase a lot, some don't. Some want exclusives. Some don't. Figure it out. This is your business. Mind it!

If you're going to Cannes' Short Film Corner then do your homework. Know who these twenty-five buyers are and what they have to offer. Know what they look like. Basically... be prepared.

One thing that was painfully obvious last year was that no one knew who anybody was. I had several buyers ask if I was a filmmaker. Buyers and filmmakers couldn't seem to hook up. So really, take the time to learn these faces. It's as simple as hearing their 2-3 min video pitch. Don't get lost in the crowd. These people are there to find fantastic films. It's their job! Set up screenings and invite them. Do a two person booth session with them.

I have often heard it said that a short film is your calling card. I would say that is true only if it is good enough. If it is good enough, then it might very well be what these buyers are looking to take back with them. You can make money off your short film and the Short Film Corner at Cannes is an excellent place to start!

Best of luck to all of you! May you make fabulous work and prosper from it!

Tuesday, May 5, 2009

Working the Room at the Short Film Corner

Five tips for filmmakers planning on attending Cannes' Short Film Corner.

1. Bring Flyers - display them each morning on the designated walls and counter space in the Short Film Corner. If you don't already have flyers made up, don't sweat it. Go to your local copy shop and run off some color copies, or even black-and-white copies. Last year, many filmmakers made up a batch of color laser copied business cards. Be creative and imaginative.

2. Reserve a screening room. Invite people to watch your film in the screening room. Remember buyers and festival directors should take priority over actors and other directors, unless you are just there to mingle with your peers. Many screening rooms have 9 seats (at least that was the setup last year). Believe it or not, it can be very difficult to fill these few seats. Start early. Hang up flyers, in advance, with the date and time of the screening within the SFC. If you book the theater days in advance, publicize days in advance as well as the day of the screening. Flyers alone are not enough. You must get out there and tell people about it. People cannot attend unless they are specifically invited, so let people know your screening is happening and invite them to come!

3. Screen shorts in viewing booths. Shorts can be screened in booths set up to accommodate one or two viewers. Often, there is no line for a booth, particularly earlier in the week and earlier in the day. If you meet a buyer, ask them if they would like to watch your film. There seemed to be a disconnect between buyers and filmmakers last year. Try to bridge that gap. A buyer might prefer to watch the film with you in a two person booth or by themselves in a one-person booth. Or, they might prefer a DVD.

4. Keep DVDs on-hand. Not all buyers or festival directors will be able to watch your short at a convenient time for you, hand them your DVD! Last year, some filmmakers laid out a few of their dvds on the designated counter tops in the SFC. At least one of those played at our fest last year.

5. Talk and mingle. The SFC offers a happy hour each evening for the last hour before closing. I believe it was from 5-6pm last year.

Preparing for Cannes' Short Film Corner

A filmmaker just sent a thank you note for a blog I wrote last month on the Cannes' Short Film Corner. Attached to his email were two items: 1. his film's press kit, and 2. a press release announcing his film's arrival to Cannes' Short Film Corner.

The filmmaker has not submitted to either of our fests and I have nothing invested in him, nor he I. I don't know him from Adam.

This is what I can tell you about him from the friendly, short and concise email...
1. He plans ahead to ensure he is as well prepared as possible for the event he will be attending.
2. He's a short filmmaker.
3. He is compelled to participate in all aspects of the filmmaking process, including marketing and distribution.
4. If a festival were to accept his work, his marketing skills would probably prove to be a great asset toward promoting his work at the fest.
5. He understands that an independent filmmaker is formidably responsible for marketing his film after the completion of production.

Below is what I learned from the two attachments which accompanied his email.
The filmmaker's name is Craig Whitney. The film is called Harvest Home. He has a blog and a press kit which you can download from his site. Harvest Home also has a Facebook, MySpace, IMDB, ShortFilmCorner page, and a production company called Better Archangel Pictures. Not surprisingly, Harvest Home also has a trailer... Enjoy!

Saturday, May 2, 2009

Filmmakers: Wait for the Money!

There is a lot of talk floating around about the changing distribution market for indie films. It feels like filmmakers are waiting for a knight in shining armor to rescue them. With good faith and intentions filmmakers are handing over their films to people who seem to have absolutely no idea how to generate revenue from the product. Many online 'distributors' and 'rights managers' happily exclaim how audiences can watch these films for free! Does a filmmaker really need a middleman to give their film away. When it comes to resourceful avenues for marketing independent films filmmakers lead the way in progressive, successful and profitable ideas.

The revenue issue will not sort itself out. People will sort it out. The question is who is doing the sorting and on whose behalf are they sorting? If someone else is doing the thinking for you as to where your money should go, do you think they'll put it in your pocket or their own? Think about it. Think Madoff. Think for yourself. Don't be blindly led down a road of relinquished royalties and rights.

Your life is not a Disney movie. You will need to be your own knight in shining armor.

Three potentially big players in the indie world are Google, YouTube and Facebook. These entities haven't sorted out how they are going to create revenue. How are they going to sort out how you can make money?

If a company wants to put your film up for free then ask what you get out of it besides hits. Solid monetary numbers are good. If those figures only pay your phone bill then perhaps you might want to look at what other companies are offering, or at least what sort of rights they want turned over. Hold out until you get an offer worth taking or create it yourself.

Make sure you read the fine print. Question what deal is being offered to you. If your film is good, it will be good in two years. Find the right avenue by which to distribute. If you aren't patient and your film goes out for free and you can't take your rights back because you signed them away, then what? Then will you ever have the opportunity to make money from the film you worked so hard to create?

I've read that if you put a picture up on Facebook you give FB non-exclusive rights to your work. Is that indefinite? Does that mean the company can always put your photo up even 50 years from now for free? How does YouTube work? If you put your film on Google for free, non-exclusively, can you take it down? Do you have that right? Or, did you just sign your rights away? If Google has the right to continue screening your film how could you make money off the film elsewhere? Be patient? Know what you are getting into. Think longterm. Don't lose crucial control over your potential paycheck. Be weary of smooth talkers and unexplained hype.

Don't be in a hurry to get nothing for something from which you can potentially earn a living. The marketplace is changing. Be patient. If you're film is good now it will be good later and you will be able to make money from it in the long run. If you jump the gun you might lose out. Just be careful. Think before you act. Find out exactly what is in it for you. If your potential partner can't tell you, then maybe they haven't figured it out yet. Fine. Then maybe it's okay to wait until the dust has settled.

Participate in both your own success and the success of your work. The independent film market is huge and untapped. Don't believe everyone who says the market is flooded. Perhaps the problem is that old methods just aren't working anymore. We are creating a new system. This is a very exciting time for the independent film industry.

Your product is golden. Treat it like such. Don't let someone else make your money because they convinced you that your product wasn't valuable. If your work is good, it's valuable. Don't believe the rhetoric. There is no time limit on quality. Have you seen The Godfather lately? Quality is timeless. If your product is good then time is on your side and you have nothing to lose but your livelihood.

Google, YouTube and Facebook (or their proverbial equivalents) can be your best friends. These companies know how to reach an audience. What they don't know how to do is make money. That's okay. Everyone needs to start somewhere. Just remember to work with them, not for them.

Even in today's climate of flux within the industry, there are times when YouTube is clearly an excellent place to share your film and money becomes irrelevant. Let's say you're Kate Hudson and you just directed your first short which is screening at Tribeca Film Fest and you'd like the world to see it because that exposure and recognition is all the leverage you need...