This from the man himself, Jon Reiss, in response to the many wonderful posts this week from Michael Barnard, Lucas McNelly and Dennis Peters regarding the PMD.

Let me clarify some of my feelings about the PMD.   I will add my universal caveat that every film and situation is different.  But  here are some important guidelines:

1.  The best case scenario is that a PMD is on board as a full collaborator and worker from as close to inception of the film as possible.  No later than beginning of prep.  This allows for, what I feel, the optimum of the integration of audience connection and engagement (which is what distribution and marketing is at its essence).   If you wait till you have finished your film – you are in a world of hurt (I’ve said that before, but I don’t think I can say it enough) because this connection building and engagement take time and effort and cannot be hurried.

2.  The best marketing is as creative as traditional filmmaking now – and frankly the line is blurred between what is the “film” and what is marketing.  This is a de facto state of things since the rise of transmedia.  If anyone just wants to make a traditional feature these days – that is great,– I am not going to tell anyone what his or her creative output should or should not be, but  I am only pointing out that there is a tremendous amount of creative potential that focusing only on feature films ignores.  I feel as a film community we should embrace it – and many filmmakers are. It is tremendously exciting.  Look at what Lance Weiler is doing.  I was fortunate enough to be at the Warhol Museum in Pittsburgh yesterday – and many things struck me (more blog posts coming on this subject) – but he was one of the first transmedia artists – we can learn a lot from him about what it means to be a creative person AND what it means to connect with audience.  (And Sheri Candler – yes he was an incredible leader of a tribe – another post on that coming too).   I know for many of you this is old news – but I still feel there is a battle being waged about this – one that is a waste of time in my opinion.

3.  As a result, the PMD is not just a social marketer, a dealmaker, a festival publicist, a line producer, a distributor, a publicist – he or she needs to understand all aspects of the marketing and distribution of a film and conceptualize, develop and oversee its execution over the full life of a film.  To do all of the above is a tremendous amount of work – akin to being the sole producer of a film in a crew of 3 (and at times this will happen – just as micro budget films have been produced in this way).  But I do advise that there be a distribution and marketing team (I took a whole chapter of TOTBO to outline this crew and even that should be supplemented now (another blog post later). The PMD is the one who oversees all of the pieces (but as in the case of all who work on indie films – they will be working full time and busting their butt in the trenches like everyone else – because there is never enough money to hire as many people as anyone would ever like).

4.   Just as people cut their teeth in indie film by taking on smaller tasks and working their way up – so it will be with PMDs.   Electrics become gaffers become DPs.  Social media assistants become social media strategists become PMDs. (as an example) While people work up the ladder – if they want to be the top creative in the department – they will learn ALL aspects of that department on their way up.  It is an intense learning curve – but people who want it – do it.

5.  When people cut their teeth in indie film – they usually work for free or for little money to have a chance to prove themselves.  Money, work, and credit are always  negotiated in independent film.  I don’t see that changing with the PMD.  Film has always been an apprenticeship system.  Even with film schools (and PMD training is on its way – more future blog posts) – most film students discover that they still need to apprentice out of school.   This is not just true for film – but for all arts not only in the US now – but throughout the world and throughout time.

6.  An alternative to this is  a group of filmmakers who band together as a team – all chipping in resources and skills – to make a film.  They usually divide up responsibilities and credits.  But each member of the team has his or her own sweat equity skin in the game.   This is where you have new producers, directors, DPs born who have not worked through the apprentice system.  But they take the risk on a project and prove themselves.

7.  The last alternative (which usually involves apprenticeship as well) is to get a lower level paid gig in an established, commercially based company (e.g. a publicity firm, social media establishment, transmedia commercial company etc) and get paid for doing lower level work on commercial projects.  Often people do this and  learn all the ropes, change jobs to learn a different skill (again paid for commercial work) until they have enough skills to strike out on their own.

8.  All of the above goes to say that I feel that if you want to be a PMD in the indie world – it will be difficult to ask to be paid without a track record.  Like all other people in the indie world – you need to pay your dues – work on films – build a reputation, resume, reel – to show what you are worth.   Most people in indie film – especially when they are starting out – have multiple jobs and find multiple ways to make a living.

9.  If you are in film – especially indie film – to make money – I suggest finding another career.  There are many other ways to make money more simply. Chances are you’ll make more money per hour at McDonalds than from working on any indie film. The world of film and media are for people who love film and media and cannot live without it.  It is a tough life except for a very few. (Again from Warhol: “Life is very hard”).

10.  The people whom I have met who want to be PMDs around the world – have a love of film – but feel that they have a set of skills more geared toward marketing than actual production – and are excited by having a way to work in the field they love (film and media) and use their special talents.  They are not doing it primarily for money.  They are doing it because everything else besides film is unsatisfying – and while they do need to find a way to make a living – they need to be involved with film.

11.  The hope is of course – with everyone in independent film – is to find a way to do what you love and sustain yourself.  There are many, many ways that people find to do this.  It is of course tougher than ever now – especially as we are in this transitional period.  I don’t feel I have all the answers – but I am excited by what the future holds, by having discussions with passionate people who care about our world and I feel together we will all find a way to make this work.  I don’t feel that we as filmmakers are alone in this.  All media content creators and artists are facing the same conundrum – musicians, journalists, authors, artists, photo journalists, graphic artists, game designers (massive layoffs in Australia in the months prior to my visit).  We are all facing the same challenges and I feel that we can all learn from each other.

Let me know your thoughts at  @Jon_Reiss on twitter or facebook.com/ThinkOutsidetheBoxOffice

Unfortunately, a great number of key digital platforms must be accessed through the use of an aggregator. Of course there are always exceptions, but the general rule is that to get your films onto Cable VOD, iTunes, Netflix, Hulu, Sony Playstation and other device oriented options and retailer digital platforms , you will have to go through an aggregator or a distributor. We either directly or via partners offer both a commission or a flat fee option (range depends on platforms).

However, you can get onto Amazon directly. Also, you can access DIY oriented ones such as Mubi, Fans of Film and other platforms like them. To the best of our knowledge, more money is made on the key high trafficked platforms, if one can get on them.

Once again we remind you, MARKETING, MARKETING, MARKETING is key to your film’s success no matter what distribution outlet you use.

Many films enjoy their greatest success both on an awareness and financial level via HYBRID THEATRICAL / NON-THEATRICAL screenings. The film “For the Bible Tells Me So” had a successful two-year run.  We (under our previous company New American Vision) worked non theatrical screenings for END OF THE LINE to screen at over 200 venues. Caitlyn Boyle worked many screenings of the film after us. The film  “Age of Stupid” made 6-figures in profit from automated house-party screenings.

Documentaries,issue-oriented films and niche films lend themselves to this model and it can absolutely be done by yourself or with a professional company, it all comes down to how much time and energy you have to do the work entailed. TFC recommends asking filmmakers who have tapped into a similar niche that your film targets for tips and advice on reaching the audience. Educational / Institutional distributors such as Bullfrog and Cinema Guild can definitely get you bookings you could not get yourself simply by virtue of having the right database, so investigate ahead of time. You may want to hold off on regular DVD and digital distribution if this is part of your plan, non theatrical screenings are a window after all.

On the THEATRICAL side, we recommend you check out our recent blog on the topic and remember there’s a lot you can do on your own (including booking theatres). We recommend comparing the realistic upside with the investment. If you can’t come close to the recoupment on the cost of theatrical booking, really weigh whether it is worth it. Beware of service companies charging too much. We did just learn of a narrative film that self-released and grossed $650,000 and will actually profit from the release overall because that theatrical screening campaign elevated the profile of the film and therefore it got the DVD, digital and TV business the investors were hoping for. We’ve been ask not to name the film, sorry.  In any case, examples like this can go both ways so be careful and get educated *before* the release.

Inception as a way to explain duties of a PMD

This was an awesome post in Fast Company and I have to share it here. In the quest to either find a PMD to work with or to become a PMD, it may not be possible to find all of the qualities or work experience needed from just one person. It is reasonable to expect just as corporations have multiple marketing team members responsible for the myriad of duties that need to be fulfilled, a full marketing team will need to be assembled under the careful guidance of a PMD. Here is how the article explained as it related to INCEPTION:

Cobb, The Extractor, (The PMD): Executive responsible for the film brand in large. This person  is also required to not only extract ideas to form the messages about the product (the film and related content), but also introduce the new ideas that empower consumers to relate to it and pass along the message. He/she may also lead teams or individuals into each social intiative. Will also be responsible for plotting the distribution path.

Ariadne, the Architect, (Graphic designers, web developers, applications developers, writers): Build and define the online experience as well as the bridges (and Penrose stairs) that connect the dots. This might include transmedia story extensions and building those worlds around the original content.

Arthur, the Point Man, (web analytics, message analysis and propagation): Data and research analysts who gather information and intelligence and present it to the various teams for incorporation into strategies and supporting tactics.

Yusuf, the Chemist, (more technical skills, but could be done under the Architect): Social technicians and alchemists who bring architecture to life through apps, landing pages, interactive media platforms, custom tabs and the like.

Eames, the Forger, (the voice of your production that the audience responds to): Brand representative who serves as the personality and voice on the front lines in communities.

Mr. Saito, the Tourist (the influencers your team attracts  and builds relationships with): Symbolic of the influencers who serve online communities as overseers and moderators.

Miles, Cobb’s mentor (the mentality the team must have to form meaningful and lasting relationships): The ethics that serve as the inspiration for meaningful social media programs and engagement. If the mentality is purely selfish, there will be no meaningful relationships.

Fischer, the Mark: The audiences and people with whom the film’s brand hope to connect and convince to see or purchase the film.

Needless to say, there is more than enough work here for one person to handle full time for a long period of time. It could take a team of people working tirelessly to bring attention and build community around your film. Still think the person heading this effort up doesn’t deserve a producer title?

Today’s guest post is from Tyler Weaver; editor in chief of the amazing blogozine Multihyphenate and practicing PMD.

Sitting in a music business class at a shall-not-be-named institution (rhymes with “Jerklee”) during the death of the music industry as we knew it was fascinating. This was in 2003-04, and it was a sad time to be in “the industry.” Nonetheless, we clung to our hardcover and expensive door stops, taking in each lesson as we were told. But the writing was on the wall: you’re learning stuff that was out of date yesterday. Thanks for the tuition check. 

As I sat there, staring blankly at what was going on in front of me, one remark the “professor” made stuck with me: “Those who control the trucks control what’s out there and what isn’t.” 

Funnily enough, my training in business and creative marketing didn’t come from a music business course. It came from majoring in music composition, where self-distribution is the way of life. No one is going to pluck you out of obscurity when you’re writing obscure pieces of new absolute music. You have to bootstrap (as this is Sheri’s blog, I can’t let my first post go by here without mentioning the equally ubiquitous Seth Godin). You have to find your own musicians. You have to find your own performance venues (even if it’s a dude with a guitar in a subway station), and you have to get it out there. 

It was during my time there that I learned the most important lesson of creativity: It doesn’t matter how good you think you are, if no one knows about you, you’re worthless. Creativity is not only a collaboration with other creatives, it’s a collaboration with your audience as you reel them into your work and make your work part of their lives. 

When I made the career switch to film in the middle noughties, that sensibility carried over.  I’ve never been a patient person, so I have no interest in waiting for others to swoop in and get people to see my work. I was hard-wired for self-distribution because it was the only way to survive. 

When I worked at a non-profit, I used no-budget video documentaries to bring in new eyes to bad news and increase readership and site usage. The videos could stand on their own, but were meant to highlight individual stories within the purview of the NPO’s mission and cause. 

So what, you may be asking, does all of this have to do with the newly coined (and rapidly burgeoning) position of “Producer of Marketing & Distribution?” If my time as a music composer hard-wired me to self-distribution as “Plan A,” my film and NPO experience taught me the most important lesson of marketing: 

Never market something you don’t feel passionate about. 

I cared about the NPO’s mission greatly. But I was never as passionate about it as I should have been. For awhile, it was greatly successful, but then the recession hit HARD and the competition for purse strings skewed the direction of more heart-tugging causes. Failure after failure piled up, and weighed heavily. By the end, I felt like the guy trying to market the Titanic as sink-proof after the iceberg.

As a filmmaker, I would never take on a project that I wasn’t completely, unabashedly, 100% passionate about. I would never take on a project if the script wasn’t wonderful, if it didn’t make me well up with tears at the thought of someone else making this movie. As a PMD, I would never take on a project if I didn’t have the same feelings for your project. I owe you that.  

But what stirs up those feelings? A great story. 

My love of marketing comes from a love of storytelling – and in spite of my seemingly haphazard career jumping, I have always been a storyteller, be it in music, film, or marketing. Your career is a story. Your film is a story. The making of your film is a story. I want to help you tell your story. 

Orson Welles famously said, “If you want a happy ending, that depends, of course, on where you stop your story.” I’ve seen stories stop at sad endings, and at happy ones. And I’ve been responsible for both outcomes.

In today’s wild west media landscape where truly, as William Goldman remarked, “Nobody knows anything,” filmmakers and creatives are in a position of power. Our careers are in our hands now. Gone are the days where the magical distributor will discover you like a Tarantino or Rodriguez; we are no longer in the age of “making it,” but in the age of “getting it made and getting it seen.” It’s the latter part of your story that I’m excited to be a part of. 

I’m a creative because I want to see cool stuff. I want to tell a great story. I want to be engaged. I want to be told a great story. And now, I want to make sure your great story is seen and heard. We’re all truck drivers now. Our cargo: our stories. It’s my job to make sure they get where they need to go – the eyes and ears of the audience. It doesn’t matter how great you are, if you don’t bring in the last collaborator – the audience – your story is never fully told. 

And that’s not a happy ending. 

TYLER WEAVER is a storyteller whose chosen medium happens to be that expensive form called film. He’s made some stuff, like THE FOURTEEN MINUTE GAP, IL MIO CANTO LIBERO, and GATHER ‘ROUND THE MIC. He lets the world knows what he thinks as the founder and EIC of Multi-Hyphenate and takes great joy in helping other people tell their stories as a PMD and marketing strategist.  He’s currently developing a transmedia project called WHIZ!BAM!POW! that pays tribute to his lifelong love of comic books. Because he’s slightly insane, he’s simultaneously developing a new documentary. He yaks about that and more on Twitter under the creative guise of @tylerweaver

As previously stated, many distributors will have marketing procedures in place to help sell your film when it is ready for distribution. The true use of a social networking strategy comes long before your film is ready for distribution.

A social networking strategy will take many months to a year to implement and it will be an ongoing effort. This effort starts with you and your team first. You will determine whom you are trying to attract into your community and what you have to offer them of interest. It is NOT all about your film, in fact very little direct mention of your film is best. Follow the 80/20 rule, 80% of your assets are about the interests of your audience, 20% of your assets are telling them about the film. You will build your engagement pages and populate them with interesting and valuable content. You will not be asking your supporters for ANYTHING, merely building a solid base of supportive fans who will be there when you are ready for distribution.

You should never do anything that will make them feel that you have formed the community in order to use it for your own purposes. Companies and filmmakers who do this stand to ruin the very thing they have spent so much time developing; a genuine and authentic community that is very loyal and connected to you and your film. That kind of loyalty is extremely difficult to accomplish with advertising and it is really the ultimate goal of all brands.

I will start by giving credit right off the bat to my futurist heroes Gerd Leonhard and Seth Godin who spend way more time than I do contemplating issues on the future of the media business and how to succeed. What I get out of their talks and posts has helped me to formulate this post and bring my thoughts into order on how I see filmmakers sustaining themselves in the very near future.

There is a ton of talk right now on how independent filmmakers can sustain themselves by making their films and how independent film can be “saved.” So much talk, without many answers. I felt maybe I should take a stab at providing one. This is purely my reaction to all of this talk and I fully expect that I will be challenged for what I propose. It isn’t going to be palatable to the vast majority of filmmakers or others who profit from their work in the industry.

You can read the full post today on Multihyphenate.