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1.Motivation
2.Budgets
& Breakdowns 3.Producer
Stuff 4.
Editing & Actors 5.
Festivals & Distributors
6.
Clean Up 7.
Dealing With Agents 8.
Production Checklist Proletariat
HomeFESTIVALS & DISTRIBUTORS
Congratulations. You've got something you can show to people that you're proud
of and you want it to be seen by as many people as possible. The strategies you employ
to get your film seen are varied. Here are some ideas and related experiences.
FESTIVALS
PRODUCERS REPRESENTATIVES
often can have very beneficial results for your film. A producers rep. is a person
supposedly with connections or some weight or pull with film festivals, buyers, and
distributors. They can be beneficial at both the pre-production of your film in finding
money, actors or procuring much needed favors. The drawbacks are financial, if you
can afford one that helps you get your film started it is well worth the money. Their
pricing structure changes and some are negotiable and will work a deal with you,
especially if they like the project. At the other end of your film, when it's done,
the same goes true. Film festivals and programmers are deluged with tapes, if a producers
rep can get your tape to the right person it may mean the difference between it being
in the festival and out. Most producers reps take about 25% of a sale they make to
distributors or buyers, but you can work your own individual deal with them depending
on what you think your film can do.
FILM FESTIVALS
are one of the best ways to get your film seen and reviewed, and to start some kind
of buzz about your film. Getting into festivals, and the right festivals for your
film is not a trick, but will take some clear eyed analysis of your film, your contacts,
and the festivals that are out there. It's very hard to see your film from outside
your own perspective without getting too bitter about the realities of the present
day film scene. But, you've made your film because you were motivated by something
other than money, you think it's a great film, and now you'll do your best to get
it seen, to hell with what other people think. Right?
OBVIOUSLY you don't want to send your junkie road film
to a documentary, children's, or mountain film festival. Sundance and it's satellite
festivals (Slam-Slum-Bum & Whatever'snext-dance), Toronto, Berlin, Cannes and
Rotterdam are the big festivals
for films and critics these days and getting into the "biggies" is like
everything else, connections help a great deal. It is much easier to program
a film with Winona Ryder than your cousin Ed (who also happens to be a great
actor) in a film festival. The audiences will come, pay for the tickets, and it has
prestige for the festival. Cousin Ed may have done the seminal performance
of the decade, but you'll have to get past the first wave of screening, usually done
by young, overworked interns that may or may not of heard of Orson Bean, much less
Orson Welles. Hard fact is that your film about aging may be a great film, but if
the person who sees it first is 17, your film has an extra barrier that you must
avoid if possible. Try calling the festival director, maybe you can make some personal
connection and get him to see it, this is also where a producers rep. would be very
handy, if
they know somebody and if you can afford them. Again, get references from anybody you hire
(casting your crew).
DO YOUR RESEARCH. Opening at Sundance is great, if you get in, but if you've finished
your film in February, do you wait a year before releasing it? THE WORLD PREMIERE
IS VERY IMPORTANT TO A FESTIVAL. Berlin will not take your film if it shows in
Rotterdam: Cannes will ONLY show premieres and all the other big festivals will want
to be the first to show your film. Do you wait for a year and take a chance on Sundance,
or enter Cannes, or Berlin, or Rotterdam? Do you think your film can compete with
the glitz and money at Cannes? Do you know somebody in any of the festivals that
you can be sure you will get in for your World Premiere?
What if you decide to wait a year and do not get in Sundance? That means your film is now old in festival
terms, people will hear of it and word gets around, and what do you do for a year?
You can't really promote your film because it will seem old by the time it premieres
at a festival. It's unfortunate, but being the "next big thing" is status
quo, festivals and festival directors love to discover films, and audiences like
to feel they are seeing something for the first time, as they very often do at festivals,
so promoting your film for 12 months prior to a festival could be counter productive,
and will sour a distributor for the same reason.
WHERE WILL A BIG FESTIVAL PUT YOUR FILM? If you get in the big festival are you going to be relegated to a
bad theater at 9 AM. with little publicity, against the smaller festival in which
your film will the opening night film? If your film doesn't hit it big with the big
festival you might be much better off with the smaller festival which is thrilled
to have you and will treat you and your film like the prize of the festival. However,
having shown at the big festival sometimes is enough to get many other festivals
in line to show your film next. This is something you have to decide in your strategy,
and it changes with each film, and for each festival, and EVERY
YEAR. If your film is a quirky, chatty
gen-X upbeat film in which everyone lives happily ever after can you expect a festival
with a history of programming films with 50 year old difficult characters and without
stars that win awards and get 3 picture deals to program your film? And if they do,
where will they put it and why should you wait?
ONCE YOUR FILM HAS HAD ITS WORLD PREMIERE hopefully you will be approached by a number of programmers who want
your film in their festival. The smaller festivals are often the best ones, at least
the ones you may have the most fun attending, but, you should try to organize them
close to each other, if possible. A European and a North American Premiere are independent
of each other, and usually will not hinder either Premiere. If your film is not reviewed
well in Cannes, maybe the critics here will like it, but, it's more likely if it's
at a big festival like Cannes ALL THE CRITICS will be there and will have already
reviewed your film. Very often a critic will print only a capsule review of a festival
film waiting for a longer appraisal for the theatrical release. Partially because
films can be recut and changed before a theatrical release, and partially because
many critics feel they can't devote a large amount of space to a film that may not
be seen by anyone outside the festival. This is not ALWAYS the case, some critics
only review once and will reprint that review when/if the film is released theatrically. REMEMBER, you made the film, you're responsible for what's on that screen,
you put it out there, you take whatever comes, it's a crap shoot no matter how you
figure it so just make films that you're happy with and leave it at that.
RECENTLY
I got phenomenal reviews from a city in which my film opened, embarrassing reviews, but
the one national critic who was in the theater when my film was there for press screenings
said he did not review films without distribution for fear of ruining their chance.
Well, kinda', however, he has taken a few films under his wing and has really helped
that film get around. I don't know what any of that means, maybe he was tired that
day, or bored, or just saw a bad film, whatever, it's up to you to get them in the
theater and take whatever comes. Find out their phone number, call them, talk to
them, most will be open to that kind of entreaty depending on their schedule but
call EARLY, give them every chance to make it and make it easy for them to come.
IF YOUR FILM IS NOT LOVED BY THE CRITICS you will have to try and get it in as many festivals as possible
to generate some positive word of mouth outside the critics circle. It's always better
to approach a distributor with positive notices and press about your film and just
because one critic didn't like your film, doesn't mean another one will not, and
vice versa. FORGET THE REVIEWS, DONÕT
TAKE THEM PERSONALLY. I've been pretty lucky
so far, but the truth is you will know when someone has a valid review, if they have
crap to say about your work and you know it's crap, forget it. Crap in this context
means fawning butt kissing,
and horrible derisions. If you believe the
good reviews you have to believe the bad, that cliche' said, remember that a lot
of great films have been trashed by the critics, as long as you know you've made
a good film that's all you can hope for.
ANOTHER SAD FACT
is that festival directors may be in touch with other festivals and share their opinion,
good or bad, with that director. Great if they like your film. Not so hot if they
don't. IT'S NOT A DEMOCRACY AND IT'S NOT FAIR. But it is human nature to share opinions with peers, so that's
just how it goes. I have it on good information that one festival director said,
and I quote, "I will
never put one of ------'s films in this festival." Well, don't waste your money by entering this festival. Simple. But
what does that mean for other festivals? Probably a lot, but this sort of personal attack is not indicative of all festival directors thank God, pettiness on the part of this person does not mean that
most festivals will not take a fair look at your film and base it's merits not on
some wankers opinion, but on your film. Fact is
that most festivals try to get the best they can for their festival, however, "BEST" IS
SUBJECTIVE.
MANY BAD INDEPENDENT FILMS GET MADE and how many bad films can 1 person see before they start to hate
everything? SOME FESTIVALS
ARE IN BUSINESS to make money. Be very wary
of festivals that want exorbitant fees to enter, even if you get in your entry will
mean nothing to everyone else that knows what a scam that festival is running, and
could possibly hurt your film. These are unscrupulous festivals that would like you
to believe that $150 to watch a tape of your film is a fair fee. You'll have to decide
that for yourself, I suggest dropping that festival from your list unless they invite
you, FOR FREE.
FESTIVAL ETIQUETTE
means forgetting about trashing the festival that has invited your film to screen.
I was recently at a festival in which a renown dilettante did nothing but moan and complain
and cry in the bathroom because they weren't treating this person like the royalty
they thought they were, and in a festival in which everyone else was having a great
time. Consequently this person became the festival joke and will never be invited
back. Keep your mouth shut if you're not happy and praise the festival if you are,
simple courtesy, act like a
child and expect to get treated like one.
Drink till you drop? Did it. Loved it. Don't do no more. Can't tell you how many
people I pissed off or impressed poorly, but I used the festival as an excuse to
blow off some steam after finishing my film, seemed like the perfect place. WRONG. Couldn't have been
a worse place, that's where all your peers are, and people that might be able to
help you in the future. Have fun, play safe, and remember, 1st impressions last a
long, long time.
FINAL FESTIVAL NOTE. You'll have to decide what festival, and subsequent festivals will
be the best for your film, AND, if you have not heard until very, very late in the decision process
or the deadline, WAKEUP, they may take your film, but you're not high on the prestige list.
If they really want your film, like it, and will give it a good screening slot and
press, you will know RIGHT AWAY. If it's the day before deadline and you haven't heard anything,
you may want to fall on plan b, or call the next festival and tell them that they can have the world
premiere of your new film if they act NOW. You have to take responsibility for the success of your film, it's
wonderful if Sundance fawns over your film but if they don't, and want it only as
a backup its poor position may hurt your film as much as help. DO YOUR OWN PRESS
at the festival. Whatever press the festival does is great, but you can take out
ads, offer yourself for interviews for any magazine/paper/shopping list that will
take you in that town, put up posters -
DO WHATEVER IT TAKES TO GET PEOPLE IN.
So there.
DISTRIBUTORS
DISTRIBUTORS ARE IN BUSINESS TO MAKE MONEY. No news flash, but keep it in mind. It's BUSINESS, not filmmaking.
I've heard of great relationships between filmmakers and distributors and hope that
I can establish even closer ties in the near future. I have no desire to sell films
and no problem sharing the money a film makes with a distributor that works hard
getting a good film out. MANY distributors are scrupulous and fair in their dealings for both parties. HOWEVER, as Mamet said in
The Spanish Prisoner, "In business you must assume the other guy is ALWAYS
out to screw you...". Tell me about it.
A rule of thumb for any deal with a distributor is that you make no deal without
advance sales money. Period. You can fluctuate in how much you want depending on
your film, but get as much as you can, theoretically all your production money, up
front.
A DISTRIBUTOR THAT HAS 50 FILMS to sell will be trying to sell your film first
if he has had to put out money for that film, simply to try and make his money back.
If he is successful, theoretically, so will you be. Theoretically. What he will tack
on to your film as "EXPENSES" may in fact be one of the most dishonest practices in all of filmmaking
so you will want to put a cap on his expenses in your contract. I guarantee an unscrupulous
distributor will hit that cap, but you know what's coming, it's not a surprise. He
will also have little motivation to sell your film against one he owes money on.
He might be able to sell your film without an advance, but it will not be the first
one he tries to sell.
HAVE A LAWYER LOOK AT YOUR CONTRACT, if you can't afford a lawyer, don't sign a deal. Are you interested
in a distributor that just wants your film to expand his library of films so he can
look good at the next market? Me either. Why choke up your film with a guy that won't
sell it? It's better for you to just hold on to your film because you at least have
the option to get it to somebody that will try and sell it in the future.
THE LENGTH
of your contract is important, if your deal is not favorable, or you question the
distributors ability, put a performance term in your contract. In other words put
a stipulation in your contract that if he does not perform certain functions by a
certain date the contract is null and void. I had one wanker that after 6 months
didn't perform any of the contractual agreements, then wouldn't sign a release. Twerpism
is rampant.
GET REAL.
They're not all crooks, but don't expect your film with no stars, bad reviews and
3 hours in length to sell to a market that wants violence, stars and sex. It may
be a great film, but if they can't sell it, they can't sell it. Look at the good
films that don't do well, why will yours be any different? By the same token don't
believe that your film won't sell because somebody says so. I know of a case where
a guy got $10,000 for his film and the next day the distributor sold it for 1.5 million
and the filmmaker never saw a dime. I also know of films with 1.5 million in advertising
that did not make 10,000 at the box office. So GET
REAL BUB.
SELF DISTRIBUTION is just as much, OR MORE
of a gamble as having a distributor work for you. If you have the time, the energy,
and the desire to call theaters across the country, ship tapes, ship prints, call
local papers, pay for advertising, check advertising in all the towns, colleges,
bake shops and film organizations that will show your film then go for it. You may
gain contacts, friends and experiences invaluable to you later on, BUT REMEMBER,
very few films make money that way, you could be investing money and time in a MONETARILY
fruitless endeavor. That might not mean anything to you and that's great,
but don't expect to make a lot of money on the road with one film, and be able to
pay back all your investors. Also consider what you're doing next and how much time
do you spend NOT WORKING
on the next script. Get your priorities straight
before you go on the road.
DISTRIBUTORS
have contacts you don't have, it's a tough club to break into and I've heard the
derision some distributors spew about filmmakers in private. I don't know that it
hurts the filmmaker her/his distributor doesn't like them or his/her film, but talking
trash can't help. AFTER A THEATRICAL RUN, if you're lucky enough to have booked one, you will have to start
contacting the buyers in all the markets by mail, or phone, or go to one of the various
worldwide markets at the festivals. They are very expensive but could be very lucrative
if that's what you want to do. You will have to spend money on advertising, again,
an office ($10,000 at the American Film Market), phones,
posters, tapes and all the other stuff. There are other, no-budget ways to try and
sell at these markets (AFM article) that have been
very lucrative for some, but I personally have not been very successful doing that.
MY EXPERIENCE
has been bipolar. One film with great reviews was stolen from me through my own fault
in placing any trust in this "distributor", but when he did not perform
on his contract I did not give him my negative. He then refused to perform, and after
ruining sales potential of the film started reneging on the contract I informed him
he no longer represented the film. That's the last I ever heard from him, he has
not delivered the tape elements and will not contact me. Fine. When I can afford
a lawyer I'll get the materials back, but in the meantime you just have to forget
it, move on, just another bad reputation you want nothing to do with. On another
film, again with great reviews, no one offered any advance money so I took it to
the IFFM on my own and got an immediate sale. I'm now selling that film worldwide
and have had some luck doing it, and have made certainly more than I would have from
a very small distributor. I've made no attempt to try and get it into theaters because
I simply don't have the money. Simple as that.
DON'T SELL DISTRIBUTORS SHORT. It's like used car salesmen, there are so many seedy lots out there
you have to be careful where you step. The little guys can be just as good as the
big guys, but brother, watch out. Distributors can do everything for your film if
they are behind it. Ask yourself
a few questions: How well did it do at the
festivals? Compared to what's out there, how well will it do in the theaters, in
video sales? Does it have any stars? What's the marketability of the film? IN GENERAL JUST GET REAL ABOUT YOUR FILM.
All that stuff is very important when getting a deal. Obviously if it's done great
at the festivals, DISTRIBUTORS WILL BE COMING TO YOU. If you're not the "NEXT
BIG THING", but you still have a great film, how you handle what you do with
distributors could mean the life of your film.
SKIPPING THE FESTIVAL circuit is another possibility, but has some major drawbacks. Let's say that
you think your film has some marketability but you don't want to bother with the
expense and time of film festivals, what do you do? You start setting up screenings,
or sending out tapes to the major distributors that handle the kind of film you've
made. They may love your film, and if they have the first crack at it over anyone
you may have made a friend, a great deal and see your film in theaters with a million
in advertising. A NO IS A NO FOREVER, USUALLY. If they don't like it, and
say no, no matter what it does after you then take it through the festivals they
will more than likely still say no. Who wants to admit they were wrong, especially
in the business arena? Nobody. A guy in acquisitions that said no to your film for
whatever reason in January, will probably never say yes in October.
A SIMPLE POLICY
for approaching reputable distributors is to offer them the film and wait for their
response. You might want to call in a couple of weeks, but don't bug them. The acquisitions
person may love your film, but the company he's working for may not be able to pick
it up for some reason, or may not be able to do anything right now for some reason.
DonÕt alienate them, let them tell you what they think, often they may not say
no unless youÕre a pest. They may just say not at this time, or we'd like to
think about it or some combination. Don't push them into saying no if they don't
want to, that's good for both of you. Now take your film to the festivals and if
it does do well then they can say yes and everybodies happy.
Most of the people
working with distributors are there because they
love film in one way or another, and most reputable
distributors want to put out good films that they like and move them in some way. HOWEVER, when all the movie going public ignores great films
and casts dollar after megadollar down a freezing watery hole for poorly written
tripe, the man putting up the money for the film nobody goes to has to deal with
reality. It's not a simple equation. X amount of dollars in advertising equals how
much in sales? Do you take a chance on something you like versus something you hate
that will make the payroll this month? You also have to remember how many bad,
really bad films distributors have to look at. Thousands of films, I couldn't
possible imagine looking at that many bad films and it having no affect on me, but
that's what they have to do, these are people just like you, could you watch 40 tapes
this week knowing that 39 of them will be God awful tripe and know you've got 40
more to watch next week, and the week after, and the week after? Not me.
Your problem
is going to be in dealing with the unscrupulous distributor that makes money
in a variety of ways off your film and has no intention of doing anything reputable
with any film. That's what you have to watch out for and there are a ton of them
out there. I get an anonymous list every month, usually of the same guys but it shrinks
and expands according to which guy has gone under this month and come up under another
name next month. This happens all the time. One ploy that seems to work for one guy
is getting the filmmaker to pay for advertising, prints and screening selling a relationship
with theaters. This is called a VANITY PRESS in the printing world, where
the author pays for his own printing. It's called "4 walling" in
the film world, where you rent the theater, pay for advertising and do all the leg
work. What the hell do you want to share %50 of the door with a distributor who's
doing nothing? Again, you should do everything
possible to help your release including interviews,
Q & A, personal appearances and posters and cards and whatever else you can think
of, but if you're going to four wall your film, do you really need to share it with
a distributor? The answer might be yes for your particular deal, and film, but it
needs a big ?
I recommend dealing with the top distributors
with names you recognize, and that represent films you like.
I realize this sounds simplistic, but it is simple. You like what they've done, you're
already off on the right foot. Don't discount the small distributor, he may have
just as much regard for your film as you, but not the financial ability to deliver
on his desires and then your film is dead, with his name one it. At least if you
hold on to it the rights are still yours and if you or one of your actors has huge success
and you all become . the demand for your film will
suddenly increase. If you turn into a sleaze and figure you can make money off your
actors success by shooting scenes around your original short to make it a feature
you deserve the lawyers he hires to sue you and your film into submission. PLAY FAIR. If you've
both lived up to the contract you've signed betrayal by either of you should not be a problem because you not only want
to work together again, but would like to see the film you just made have a life.
But in the end, what's the difference? We know that you've
both played fair, so none of this will apply,
WILL IT?
IT HAPPENS. Use your best judgment, and be
as intuitive as possible, if you don't have a good personal relationship, your professional
relationship will probably suffer. DON'T MAKE
INSTANT DECISIONS, take a few weeks to sign a
deal, think about it if you question it. ASK
QUESTIONS, GET IT IN WRITING.
It's your film, and you are responsible for it's life.
NEXT:
Clean Up
________________________________________________________
1.Motivation 2.Budgets
& Breakdowns 3.Producer
Stuff 4. Editing & Actors
5. Festivals & Distributors
6.
Clean Up 7.
Dealing With Agents 8. Production Checklist
Proletariat Home