This partnership between Killer Films, Massify and Ace Hotel here in NYC is some of the more interesting filmmaker happenings that I post on my Facebook page. This is an older post from October, also discussed in the following blog by Infinicine - (a resource for independent filmmakers about new technologies, copyright, and digital rights management) Some of my recent services towards helping filmmakers find strategic partnerships are also discussed and can be a foretaste of what my next blog posting will be discussing in more detail.

Killer Aced; sponsorship could help finance your indie film

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As the independent film market continues its twists and turns in the tide of new platforms, the decline of old revenue streams and the unchartered territory of new distribution models it has made room for pioneers to gain spotlight as they navigate the current environment. While film festival submissions continued to grow this year and independent limited theatrical releases remained steady, if you are a filmmaker with a completed film that has not had these opportunities this year, you are part of an ever increasing number. Even established production companies with successful past releases have had to compete with the sheer number of films all aiming at the same top film festivals. And with the recent decline and demise of independent film distributors there has been a saturation of unsold material on the market. In some ways it has leveled the playing-ground, as the distribution arena has been changing so has the relationship between the distributor and film festivals and so those established production companies that relied on secured festival screenings have now joined the rising ranks of filmmakers varied in their tenure that have had to seek other opportunities outside of the current system.

In the past two years there has been much talk of new distribution models including self-distribution (filmmakers own time and money to secure theatrical release and/or DVD sales) and hybrid distribution (a combination of traditional DVD distribution and self-distribution with the various rights including online being carved out by the filmmaker). There has been a shift of filmmakers retaining their rights and making use of the multiple platforms available. For the increasing majority of filmmakers the platforms available do not include traditional theatrical and DVD distribution and as of such there has been a rise in non-traditional screening venues also due to the increase of digital screens available. Also increasing is the number of online services available for filmmakers to create an online market place for a film, to sell the DVD and as well as multiple destinations for viewers to download or stream the film. Looking back at the catalogue of independent films that have played at film festivals in the past three years it is an increasing small minority that secured traditional distribution deals with an arising amount having gone the self-distribution route one way or another. And for those remaining films without distribution deals and no attempt to market the film or self-distribute in anyway all that is likely to remain of that film is a lingering trailer on past festivals online schedules.

There are plenty examples of filmmakers that have used individual niche marketing to carve their space out in the arena and there are a number of success stories, success being that the filmmaker has created a market-place, found an audience and at least recouped the cost. These are the pioneers that have other filmmakers following in their footsteps in what is still new ground. The one common focus for filmmakers is finding an audience, as money spent by third-party distributors on traditional print and advertising campaigns has been on a rapid decline as the distribution industry continues its restructure. VOD and stream-based ad-revenue has created more opportunities than ever before. From VOD staples; iTunes, Netflix, Amazon and the more recent IndiePix, as well as newer companies breaking ground in the feature content streaming field, Hulu and The Auteurs There are multiple opportunities providing the filmmaker can build a large enough audience that will buy, download, stream or rent their film.

As these are relatively new revenue streams it is very hard to get accurate figures and data for revenues generated from these platforms. And so, it is difficult to gage which hybrid-distribution models have been the most effective to date but by in large the biggest influences on a successful distribution model will be individual marketing tactics applied. Filmmakers have been getting savvier by including marketing budgets for distribution campaigns when raising money as well as including marketing tactics in their business plan that anticipate a hybrid-distribution strategy.

Though investors may be a little wary of revenues projected from non-traditional distribution models, it is widely agreed upon that the current system of looking at box office figures for potential income is long outdated and does not reflect the ancillary market of revenue streams that make up the average independent film’s income. So not only is the distribution model changing but also the way that a filmmaker raises money. Producers and sales reps have had to become creative when piecing finance deals together, offering a more pool-sharing revenue structure.

Some other ways that filmmakers are pioneering is to allow multiple platforms to screen their content non-exclusively at the same time and to offer their content for free online in an attempt to drive demand for theatrical and DVD sales. A good case-study of a filmmaker that really pushed the boundaries of this concept is animator and cartoonist Nina Paley, with the unconventional release of her feature animated film, Sita Sings the Blues.

Sita Sings the Blues was released under the Creative Commons Share Alike license rather than the typical copyright scheme allowing anyone to freely share the film, make copies, broadcast or sell it but it is prohibited to copyright and own the content. This business model was chosen by Paley as she projected the revenues would be higher using this method than selling her rights to distributors. I will let Paley explain for herself in the below podcast from the recent DIY Days conference in Philadelphia.

This DIY Days one day event in the heart of Philly was packed full of seminars, speakers and discussions from some of the independent industry’s innovative creators. It is at conferences and film festival panels where you get to participate in the ongoing discussions like these and where you will find a creative pool of people that are willing to share and discuss their journeys. And if you can’t attend more conferences like DIY Days are streaming segments of their conferences online opening the discussions even further.

If you are interested in attending a conference, the upcoming IFP Independent Filmmaker Conference will be in NYC Sept 19-23. With panels continuing the discussions of pioneering in the changing landscape to get your film seen and opportunities in the global marketplace.
I will continue my discussions regarding pioneering during the restructuring of the indie film market and share some of the important talks I come across, keep posted.

This was my second year in attendance at the Woodstock Film Festival and apart from it being a wonderful festival to see good independent films; it also has the added benefit and lure of being upstate New York just when the fall leaves are starting to turn.

Woodstock is also great for the filmmaker experience as the town turns itself into a screening community for the 4 days it takes place – Oct 1-5. It is really good to see filmmakers relaxed and enjoying themselves. Through the years, Woodstock’s programmers have really proven to have an eye at screening the best of the years festival picks with a strong theme of American films, music and documentaries. Woodstock’s premieres included the opening night film Gavin O’Connor’s Pride and Glory and actor Giancarlo Esposito’s directorial debut Gospel Hill.

Doc premieres included previous Woodstock winners Morgan Neville and Robert Gordon’s Johnny Cash’s America, Astra Taylor’s philosophical Examined Life and Adolfo Doring’s Blind Spot.

Of the many great films shown those to note include, New York filmmaker Sean Baker’s Prince of Broadway (which won best feature narrative), documentary Bulletproof Salesman directed by Petra Epperlein and Michael Tucker and Marc Abraham’s drama Flash of Genius.

Audience awards went to narrative Let the Right One In and the documentary Playing for Change: Music for Peace. James Schamus, received this year’s Trailblazer Award and other honorary prizes went to cinematographer Haskell Wexler and director Kevin Smith.

Panels during this year’s fest featured the likes of Academy Award winning documentarian Barbara Kopple, sales guru John Sloss, producer Ted Hope, Josh Braun of Submarine Entertainment and filmmaker Morgan Spurlock.

One of my top-picks for the panel discussions was The Documentary Story Today: How is it Doing? Moderated by Heidi Ewing, co-director of The Boys of Baraka and Jesus Camp. Ewing started off the discussion by stating that she was tired of hearing that docs are dead and attributed the apparent demise due to the previous B.O. returns on a run of break-out documentaries like The Kid Stays in the Picture and Super Size Me. She compared those B.O. figures to mirages for current filmmakers, however added that there are still a lot of opportunities out there for non-fiction. She went on to say “Obviously there is a great crisis within the studio system – but that does not mean there is the same crisis within the independents.” Morgan Spurlock also added that he did not think that it was dead, “…but if you don’t perform in the first weekend, to the industry your film is dead. It’s not like it used to be where your film got to play out regionally and nationally.” Kief Davidson, award winning documentary director of Kassim the Dream and The Devil’s Miner joined in by saying, “I think all these distributors going under is good thing and necessary for us to be able to go forward.”

Brett Morgen, whose doc The Kid Stays in the Picture grossed 1.4M, follow-up film Chicago 10 barely grossed $200K commented that, “The mistake is that when you have a big break-out you assume people will follow-up to see what you are doing next. With The Kid Stays in the Picture, we really broke records for the B.O. opening countered by the disappointing B.O. returns of Chicago 10, which by the end of the week we were deemed a flop and which I have never seen a dime. With this current system it is physically impossible to recoup with the cost of marketing to open on just a couple of screens.

Ron Mann documentary filmmaker of Grass and Go Further also on the panel noted “I have a distribution company (Films We Like) I set up a couple of years ago when Weather Underground could not get a Canadian distributor, so I released it and it went on to get an Oscar nomination. We did it all with a grassroots campaign.” His advice to filmmakers is to, “Be proactive and creative in getting sponsors and distributors with similar films as well as touring the film with speakers that will help with Q&As etc is important.”

Award winning cinematographer, Ellen Kuras and co-director of The Betrayal – Nerakhoon concurred, “There was a time when you got money upfront and the distributor put money into P&A, but now they wait to see how you do on the opening weekend to see if they will put more money in the film. So we did it ourselves by going to the internet, by hiring interns to market to the film community and NGOs – to find an audience.” Documentarian, Michael Tucker and director of Gunner Palace and Bulletproof Salesman, continued, “I believe that the audience will find the film, may not be today but it will eventually find its way. Our first Iraq film has been seen by many high school kids in a large part of America.”

For more discussion notes from the panel at Woodstock Film Festival visit The Film Panel Notetaker’s blog. Also you can watch the highlights of the Woodstock Film Festival Award Ceremony including Kevin Smith’s hilarious acceptance speech on YouTube.

The 30th annual Independent Film Week (formerly the IFP Market) took place this year at the FIT campus in New York City. This was a six-day meeting of independent filmmakers and industry in a combination of panel discussions, pitches and screenings. This is my seventh year in attendance as an industry rep. Over the years the conference has change from more of a market to a straight-up conference and this year’s event was even more streamlined.

This was the first year the conference has been at FIT which was a bit less of a communal environment then when it was held at the Puck building in SOHO. However all the events and panels were packed with filmmakers and industry professionals. There were 33 panel discussions and talks. Some of the more interesting ones included the topics; - Niche Marketing Tools, The State of Distribution, DIY Distribution, Film and Philanthropy. A highlight for me was A Conversation With Robert Greenwald, director and prolific producer (Iraq For Sale, Outfoxed) with visionary ideas for distributing docs through audience participation. Greenwald got a lively response from the audience, embracing the independent spirit.

For a full list of conference guest panelists and topics visit Independent Film Week . And thanks to The Film Panel Notetaker you can read posted notes on the discussions during the Filmmaker Conference.

My most recent client, feature narrative - postmodern Film Noir - ABLE DANGER will be opening the Brooklyn International Film Festival - Friday May 30th. My friend The FilmPanel Notetaker has a great interview with ABLE DANGER - Paul Krik posted on his blog

Check it out and if you are going to be in NYC next Friday, May 30th please come and support a local independent filmmaker and creatively independent filmmaking.

Well I have left the golden shores of LA to immerse myself in the indie NYC scene for the summer. I am happy to be back in town and actually get to enjoy it after the hectic activity that was the Tribeca Film Festival. Also good to be able to attend some of the events and attend some of the films that my friends are involved in on the East Coast - like Shooting People, IndiePix and Rooftop Films

At the end of this month I will be attending the Brooklyn International Film Festival - Brooklyn is my favorite borough and this year’s festival programming looks very promising. It is my intention to blog during the course of the summer here and for fest21.com on the NYC indie fest and community events. If you have an event please reach out and let me know about it!

JW

Ok - this is a new year and a chance to start a fresh right? Well 2007 saw the launch of my website and it seemed my genius web guru decided to opt me in for a mandatory blog. Great idea - everybody knows that a blog is the best way to self-market and to get your opinion out there. However it soon became to me like that empty journal you feel guilty about not writing in.

Sure I made a point of posting while on the circuit at Tribeca Film Festival and then nearly 6 months later when at the IFP Market. The thing is since my first posting I had been to dozens of film festivals and film events all of which were news worthy where I was in the mix of great exciting things happening for independent filmmakers and I selfishly kept it to myself and those within in my non-blog network.

Well that will now change going forward for 2008 - I have put it out there. I intend to share the news and kooky goings-on that make the indie biz the adventurous ride that it is.

So to get going here is a panel on Film Distribution that I covered for The Film Panel Notetaker

Unraveling Independent Film Distribution

American Cinematheque - Aero Theatre

Los Angeles

December 4, 2007

Panelists:

(BA) Bob Aaronson (Red Envelope Entertainment (REE), a Netflix Company)

(GG) Gary Garfinkel (Senior Vice President - Content Strategy & Acquisition, Showtime Networks)

(BS) Barry Schuler (Managing Director, DFJ Growth, Former Chairman & CEO, AOL, Inc.)

(DS) David Shultz (President, Vitagraph Films LLC (Theatrical)

(TS) Ted Sarandos (Chief Content Officer, Netflix)

(MC) Mike McClellan (VP Film Buyer for Landmark Theaters Corp)

Moderator:

(MG) Margot Gerber (American Cinematheque PR Director)

(MG) How do you decide which festivals to attend, what you watch and what you distribute?

(GG) – I attend Sundance, Toronto, Cannes, and AFM primarily. Showtime is generally more likely to buy from AFM as this market provides more genre driven films. We attend film festivals to get out there and meet the filmmakers and network but these festivals are not really where we acquire films.

(BS) I am not so much in the biz of acquisitions. My background is tech based and so driven by a move for change. My interest is in looking at how to make films that embrace new technology. The arena of distribution has ‘devolved’ as it is not taking advantage of new distribution opportunities and connecting with online communities out there. We need to take advantage of the rich ways currently available to build audiences.

(TS) – We go to Sundance, Toronto Cannes etc. We view the catalogues and decide beforehand what to watch. We feel that film festivals have become similar to the TV pilot system – where a pilot is shown to 16 people and if they don’t like it, the pilot is tossed. When I started Red Envelope it was not to continue the old distribution model but to change it. When we go to festivals we are unlikely to be involved in the bidding for a film. Mostly we are there to network and to buy and sell some films but mainly it is about meeting the filmmaker.

(BA) – Half of the films acquired by Red Envelope will be docs or a third foreign language. We go to the right festival for us – Hot Docs, Silverdocs etc. The festival is used as a filter to know that film has been seen and liked by an audience. A filmmaker should not just hold out for Sundance there are a lot more specific smaller festivals that will help you better find an audience.

(MM) - The big three – Cannes, Sundance and Toronto as well as AFM. We go to preview films and see how they do. We are also are there somewhat as consultants to say if we think the film will have an audience and how it will view. We may also help a film get distribution if we feel that it can. We have different entities and so avenues to engage on this level including Magnolia Pictures.

(DS) – Cannes, Sundance, Berlin and Toronto. We buy film rights including foreign films. We have also picked up films prior to their big debut at festivals like Sundance.

(MG) – What order should a filmmaker sell the rights to their project and how long should they wait to do so?

(GG) – Film festivals can be circus like and we tend to come into the picture after. Today if there are 100 films playing at a film festival maybe 10% get distributed theatrically and maybe another 10 get an alternative/non-theatrical release. So some of the ones that didn’t make it, may down the road and we may be one of the companies that pick it up. One thing very important, try and find a sales agent. – It is or can be hard to deal with a filmmaker as a sales agent knows the lingo and legal terms needed to make a deal. We are doing 200 deals a year and we often have worked with the same agents.

(TS) – If you made a film – try to get it out there. Don’t wait till you are behind all the other thousands applying to Sundance or attending film festivals.

(BA) – Don’t hold out for the big film festivals at the risk of losing out on a bigger premier at another one. Film festivals have become alternative distributors and Yes – it is important to get a Producers Rep/Sales Agent – you should look for a rep even before you start your film. However they are not there to do the job for you – no one is gong to sell your film like you can. Right now is a great time to take advantage of all the different platforms being created for indie films.

(TS) – If you are going to raise $35,000 to make your film, you should then raise $36,000 to help with distribution.

(MM) – There are more and more films being made and we have now entered into “micro distribution” particularly in cities like NYC. We at Landmark still prefer to work with distributors and I do recommend some form of outsource for distribution as this is who we are accustomed to dealing with.

(MG) – If you are a filmmaker what does it cost to get your film out there?

(DS) – First off - do you have a film print? If not all theaters have a digital projector – film prints cost approximately, and you will also need to make a trailer that is on film. Flat & scope trailers, posters mini one-sheets, postcards, art that can be transferred to any media – this all costs money and can be very expensive. The costs can be off-set by creating campaigns that work virally and online as well as creating html email blasts.

(MG) – What are the ad costs?

(MM) – We are a traditional outlet, so we still work with traditional methods – film reviews go a long way… It is important to know who your audience is – targeted audiences – niche audiences – based on the subject of your film. If you have a budget absolutely have a reserve for marketing. For films playing at the Landmark newspaper ads are target our main audience.

(DS) – We have spent 5 times more on advertising than we have paid for a film… To screen one weekend in NYC - $30,000 - $60,000 minimum, including a publicist. Sometimes you may need 2 or 3 publicists depending on the subjects and layers of the film.

(BS) – Let’s look at what is changing and happening. What fundamentally is happening is the new ways to get to audiences. So if you have a following on Myspace then you have an outlook – look at Netflix they have changed the landscape for proving there is an audience that are willing to search for what they want. Now theatrical is important in terms of getting your film reviewed but money can be made without ever going to a theater.

(MG) – What can a filmmaker expect to get for their film in the traditional marketplace?

(TS) – The real cost is marketing – you have to get people to go to the theater. What I would like to do is to have this amazing interactive audience – so any filmmaker can upload a film and if enough people watch it then it gets put into the mix. Why should there be any one gate keeper – when there are multiple channels to give filmmakers direct access to audiences.

(BS) – Well there are about 10 companies doing that now…

(TS) - Well now we aren’t expecting to make money.

(BA) – Now a days filmmakers can sell their film directly off their site and keep their rights and as long as you can maintain and self-distribute, you could actually sell thousands of DVDs yourself.

(MG) – What are the ballpark figures on what it costs to get an indie film out there, and what can be expected for the returns?

(DS) – We talk about NYC a lot as there are multiple indie venues to introduce your film – so easier to get a venue to screen BUT you have to commit in NYC at least $30,000 to advertising and mainly on traditional print. There’s not an Internet equivalent yet.

(MG) – What if you are from Texas or other states and want to open there?

(TS) – Well for an example we launched The Puffy Chair first in other states like Texas before NYC or LA. We did it in partnership with Roadside and together through our networks drew audiences in on a local level first.

(GG) – I saw Puffy Chair and tried to get distributors to take a look but they were slow to bite and eventually Ted through Red Envelope came to the rescue.

(BA) – I am looking for those films that are being released through smaller no-name distribution companies because I know that there is a shot at getting DVD rights that would have otherwise been snapped up by the bigger theatrical distributors.

(TS) – Never Been Thawed is an example of how to work a local market, this film had an 8 week run in Phoenix were it was found it and picked it up to bring it to a larger audience. The film This is England beat The Queen as the most popular indie film in the UK at the time. The film did not due so well theatrically in the US but did phenomenally well on DOD and VOD. I Want Someone To Eat Cheese With has done over 1 million in revenue by releasing it through video-on-demand at the same time as limited theater distribution. This is a good example of day and date marketing and the way to go to capitalize and maximize marketing.

(MG) – What is a decent gross expected for an indie film that has a week theatrical run?

(DS) – $20,000 would be above average and is around the amount needed to get other theater bookings.

(TS) – It gets so competitive – it’s all about making enough to get the 2nd week…

Audience Q & A –

Q- What is the revenue for short films?

(TS) – I have not found a way to make shorts on DVD make money.

(BS) – It’s online – sites like http://www.podshow.com/. 5-10 years form now your internet carrier will plug into your television and all these fledglings around now will be the heavy hitters later. The question is how can bring all films to all mediums.

(GG) – We take shorts but the cost to put short films on does not support what it costs to air. The real way to go is InDemand and HD – 2 years ago we would have asked if a film is available on HD as an after thought now we require it a s it is a driving force in TV today.

It is now day 4 of the 6 day event held every year by IFP and Filmmaker magazine. First thing I have to say is that this year their panels have been top notch with regards to participants, including Bill Block of QED Intl, Peter Saraf, Producer, Little Miss Sunshine and indie producer extraordinaire, Jon Kilik. I have been attending for the last 6 years and have noticed an increasing shift away from the jammed packed screenings of market films to more of a focus on emerging talent from development to co-pro opportunities pitched during a flurry of industry round-table meetings. Of which I have heard much excited feedback and expect to hear some interesting package deals as a result.

The most useful panel to date was today’s entitled, Digital Download moderated by Scott Kirsner, CinemaTech editor/writer with panelists from www.filmaka.com – a platform for emerging filmmakers; www.jaman.com – movie download service for world cinema and self-distribution champion and indie film consultant Peter Broderick. The discussion really got down to where the money is at in digital downloads and Download v DVD. For a summery of this and other IFP panels visit www.thefilmpanelnotetaker.com

IFP closes on Friday and I intend to post before its close. Also I will remain in NYC till the beginning of Oct staying on to continue meeting with the NYC indie glitterati and the real-deal filmmakers.

New York was a delight, though I am glad to back on the West Coast. As I, like other fellow Tribeca festivalgoers, sort through my array of business cards taking a moment to connect with the filmmakers and interesting industry folk I met, and hopefully adding them to my network. Of course as with most festivals and Tribeca being more on the über side, I always leave feeling that I did not get to see anywhere near enough films.
Tribeca is just the first stop for many of the international filmmakers and natives, some of them having to leave halfway through the festival to attend their screening at the 50^th San Francisco International Film Festival (SFIFF), and vice versa. Tomorrow is the last day of the SFIFF. I look forward to connecting with filmmakers to hear their experience while there and see who got the award.

Now of course the LA Film Festival (Jun 21-Jul 1) is gearing up, yesterday announcing its full line-up. This will give me a chance to catch some of the films I missed at Tribeca, including Julie Delpy’s 2 Days In Paris and Turkish director, Reha Erdem’s Times and Winds and SXSW’s premieres such as Jennifer Venditti’s doc Billy the Kid, and director Andrews Jenkins world premiere of How to Rob a Bank. To add a bit of Hollywood glamour Clint Eastwood will receive this year’s Spirit of Independence Award.

I predict that LAFF’s home - Westwood Village will be bustling this year pulling in industry and crowds alike with a strong line-up of festival gems and a promising slate of world premiers.

As I expand my blogging experience I can’t wait to include wise words of guest bloggers from the indie world. Stay posted, and comment please!!

Just got back to my room after an active event evening in Tribeca. Started off with a party at The Knitting Factory for director Stephen Kijak’s music doc “Scott Walker - 30 Century Man”. Unfortunately had to leave before singer David Driver took to the stage for a Scott Walker songbook, to attend the Made In NY soiree around the corner. The venue was jam packed with the festival filmmakers mingling with NY producers. I caught up with sister director and producer duo, Stephanie and Alexandra Johnes here at the festival with their feature doc -“Doubletime”. Attached to Discovery films entering the world of Double-Dutch jump roping, this doc first got attention at this years SXSW and is on this fests buzz radar. Final party stop this evening was the launch party for Tomorrow Unlimited a UK based online film fest and new technology forum. Met their Director or Programming, Jeremy Boxer, former ResFest programmer who was busy taking pictures to put onto their not-yet launched website. Hung out for a while with the Shooting People’s NY Director, Ingrid Kopp and was promised that there would be some SP LA events to look forward to later this year.