photo credit Leilani Holmes

Once again my friend Jon Reiss will be heading to the UK for 2 events. The first is early this week at the Edinburgh Film Festival where he is giving the keynote at Short Sighted on June 22, an event that will educate you on getting your short film distributed. He also will be doing one on one consultations  with filmmakers through Creative Scotland the next day.

He will then bring his 2 day film marketing and distribution workshop to the London Film School June 25-26. The workshop is a live step by step guide into to new world of hybrid distribution and marketing including how to create a release strategy that is unique for your film, the various markets that are available for your film, how and why to engage your audience as early as possible and how to think beyond the feature film to create new forms of content and/or to market and distribute your film. He will be joined by many special guest speakers including:

Terry Stevens from Dogwoof- Using a fresh approach, Dogwoof partners with filmmakers to help themselves giving them direct access to professional film distribution services, while letting them retain the rights to their film, controlling costs, and actually having the chance of seeing revenues and profits. The film experience is changing and they intend to help filmmakers set the new rules.  Terry will speak about a new theatrical initiative that Dogwoof is launching.

Peter Gerard and Andy Green from Distrify- Via Skype: Peter and Andy will discuss DIY digital distribution.  They created Distrify which is a revolutionary toolset for social-media marketing with sales and distribution built in. Share and embed your movie trailer with Distrify. With built-in VOD, downloads, merchandise sales, and audience engagement tools including an affiliate revenue program, Distrify makes every view of your trailer a potential transaction. Sell anything, anywhere.

Chris Jones- Chris Jones is a filmmaker and author of the The Guerilla Film Makers Handbook series and he will talk about the ever confusing world of deliverables that trips up so many filmmakers.

I will skype in to talk about creating your filmmaking brand – and promoting yourself to the world as an artist. If you have no audience around your work, you have no future. I want you to have a sustainable career.

Gregory Bayne- Gregory Bayne is a filmmaker who has run three successful Kickstarter campaigns to fund and distribute his films.  Greg will talk about the dos and don’t for a successful crowdfunding campaign.

When we were there last year, all the participants raved about the quality and quantity of information they received. I am personally in touch with many of these people to this day! It was a very inspiring workshop for me as it was the first time that I really saw people get what I was trying to say and feel excited about it and determined to undertake this work. I think there is still a lot of resistance to having to undertake both the production of film as well as the marketing and distribution of work. I will never tell you that it is easy work or that you will hear the magic piece of advice that will work for every film. Anyone who promises that is a fool. But the days of artists moaning about how there isn’t a level playing field, that studios have all the  power to reach audiences are over. ANYONE can use the tools available to make their work a success. It doesn’t “just happen,” there will be blood, sweat and tears so accept that. But if you are truly looking to take advantage of the tools available to help you and gain the knowledge of how to do it, then you shouldn’t miss this workshop.

To follow all of the workshop speakers on Twitter, here are their handles

@jon_reiss @shericandler @dogwoof @gregorybayne @distrify @livingspiritpix   (Chris Jones)

In this last post based on the book REWORK, I want to address the chapter on using your web presence to teach rather than shill. I regularly advise filmmakers and artists on building their brand using online tools and one thing I always say is share your knowledge. Don’t use your website or social networking page to constantly talk about yourself and your projects. Everyone is an expert at something, so use that expertise to build relationships. Some get it, some don’t.

The book chapter is again about a page and a half and it spends some time talking about how to outmanuever the big guys. In the case of the book, they are talking about corporations. In your case, I am talking about Hollywood. Studios have large marketing departments with large budgets to spend large amounts of money to buy people’s attention. You know why that is a problem? They are doing what every other studio is doing. They buy advertising, they sponsor events, they hire agencies to redouble the efforts of the people hired full time to do that job and then complain that marketing costs are just skyrocketing. They go to great lengths to outspend each other. What they don’t do is teach.

“Teaching forms a bond you just don’t get from traditional marketing tactics. Earning loyalty by teaching forms a whole different connection. They’ll trust you more. They’ll respect you more.”

I know several filmmakers doing this right now. My friend Jon Reiss was doing this on his blog before he finally gathered up all of his writing in Think Outside the Box Office. He still blogs. Well before that, my friend Chris Jones and Genevieve Jolliffe gathered up their filmmaking knowledge into a series of books called The Guerilla Filmmakers Handbook. Chris still does this on his site and through his bi monthly internet TV show. Gary King regularly shares his experiences and thoughts on filmmaking on his blog An Indie Life. Screenwriter John August devotes his personal site to sharing his knowledge of screenwriting; he even has a tag line that says “A ton of useful information about screenwriting.” It would be so easy for them to use static sites that are completely devoted to one of their films, so much less work, but that isn’t how people get to know them. All of them can’t spend tons of money to get attention for their work, but they can spend time and energy which is not something studios are willing to do. Besides the fact that big corporations are obsessed with being secretive. Everything they do has to pass through lawyers and publicists and upper management. When you are small and niche, you can outmanuever that, you answer to yourself.

I know what you are thinking, you want that studio type success so you will emulate what they do. You can’t, you don’t have that kind of cash and the type of films you are making do not compete with the multimillion dollar extravaganzas they make. Take those thoughts and put them away. Celebrate the niche, OWN it. Where is it written you must scale big to be a success? Believe me, if the Hollywood dream is still your main goal, become a small success. They will come to you to get a piece of that. Isn’t that a better position to be in, having them come to YOU?

Now, consider how do some people become “personalities” and capitalize financially? Often it is by being a respected expert. Do you know Emeril Lagasse, Paula Deen, Martha Stewart, Robert Rodriguez, Kevin Smith? You do because they freely share their knowledge and opinions, they are respected as experts in their industry. You may not like their work, their food, their movies but you have to admit you know who they are. They didn’t get into your consciousness by being secretive and hoarding their expertise. They put it right out there along with their work. Shouldn’t it scare Paula that copying her recipes might give someone else a competitive advantage? No, just following her recipes isn’t going to result in a competitive business model. Paula is a unique talent and so are you. Share your knowledge, champion other people’s talents more than your own. You empire will grow much faster that way, rather than by toiling in secret obscurity. And be patient for god’s sake! It will take some time for you to capture attention; it won’t be immediate gratification. All of the above personalities spent long, hard hours working and sharing long before TV studios and film studios picked up their work for wide distribution so that everyone knows their names and so it will be with you. First, you have to start.

Today was the season finale of Chris Jones’ webshow The Production Office. When I visited him in May, we shot this interview and it aired on the show today. In case you missed it, here it is again. To watch all of the past shows, encore presentations are available on his site www.chrisjonesblog.com

Live in The Production Office

Now that I have been back for almost a week from the Cote d’Azur, I have been meaning to relate my experience from my first ever Cannes.

First, I horrified my roommates by continually telling them I had no particular agenda. This was absolutely true. I did not set up tons of meetings ahead of time, I wasn’t there to buy or sell a film or to watch any in particular (and I didn’t see any either). What was my purpose there then?

One, I was in the area anyway having participated in two TOTBO marketing and distribution workshops in Europe just prior. Two, if you are in the industry you must be where the industry congregates. In mid May, that is Cannes. Three, the Cannes market is immensely educational. Think your film is something special? Something never seen before? Will absolutely set the world on fire, people will clamor to see its genius simply because it is so amazing? Yeah, so do the thousands (THOUSANDS!!)  of other films being touted at the market and you have to see that to believe it. For all of those who proclaim if you create an amazing story, people will simply discover its genius, they are the most in need of a visit to a film market.

This education seems easier to grasp at Cannes than at AFM (haven’t been to EFM, so can’t comment) because it is much more trade show in spirit. The market floor is open with stands and it is easy to navigate the aisles. AFM is housed in hotel suites and less open to perusal by the non buying filmmaker. Everywhere you look is key art of every genre of film. Some with “stars,” lots with blood and zombies, family friendly animals and fantastical animation. Some with strong imagery but most with the utterly forgettable. Lots of people in suits, some even having meetings. I did not even go to the hotels along the Croisette where the more recognizable sales agencies and distributors house their offices. I had seen enough to know that if your film didn’t have its audience identified and gathered before it reached the Marche floor, you were in for immense competition for attention from buyers.

I did attend many discussions in the UK Film Center Pavilion on succeeding in festivals, the future of microbudget filmmaking (I tweeted that one, see #micromovies), success in short films. All free and very intimate. If nothing else, visit Cannes just to hang out in the International Village pavilions to meet the speakers, heads of film funds and film commissions to talk about co production opportunities. There was also lots of talk about the need for better marketing and distribution opportunities for independent film. You know I was all over that discussion, but our European counterparts do seem a few years behind in their thinking about this issue. Maybe it is all of that film fund money clouding their entrepreneurial judgement. From the workshops we organized and meeting some of the filmmakers on the ground, this issue is one that is slowly gaining prominence as the digital revolution spreads to Europe. VOD, mobile and digital platforms are not as developed as in the USA, and I consider ours in infancy. Not to mention crowdfunding. That has to be the next big subject for discussion in Europe.

I attended an informal brunch in the lovely hills above the Croisette to discuss what shape the digital revolution will take in Europe. Those in attendance ranged from old school film commissions intent on keeping everything as status quo as possible to forward thinkers who could imagine a world free of territories and windows for content. The discussions we had there will continue online and I look forward to participating in them even though I am not from Europe so my perspective is less government support dependent.

One of the highlights was watching the antics of filmmaker Chris Jones as he worked the place to chronicle every part of his Cannes journey. The yacht blag was my favorite story! He did his best to make sure that his readers, and now viewers of his LiveStream show, could see exactly what goes on at one of the world’s most glamorous events. Chris is a filmmaker after my own heart as he shares all he knows with other filmmakers and ultimately he is building up a fan base for all of his future work. A role model for sure to those aspiring to build a sustainable career in independent film.

So, as Chris would ask, what are my top 3 takeaways from Cannes? 1)Go, especially before you make a film. It is very valuable to realize that what you are asking to do when you pursue filmmaking is participate in a business. A very competitive and conniving business. That point is made crystal clear when you enter the Marche floor. 2)Soak up as much knowledge as you can from this or any major film event. Try to go without preconceived notions of how things work. At the moment, everything is in flux, no matter what anyone is trying to tell you. Everyone from the most stalwart studio to the newest venture is trying to figure out the future. Your ideas are just as valid as anyone else’s and you have every right to choose and pursue your own path to success. 3)Cannes is very inspirational. The films that play in the festival are considered among the top in the world, no matter what their gross ends up being. It is exciting to feel a part of this industry and I am not sure you can feel that any better than at Cannes. I am not talking about the fame and the glitz. The true artistry, the creativity, the meeting of the minds. All of this really crystallized for me why I would be drawn to such a bizarre profession, visual storytelling. There is so much energy and hopefulness in being around filmmakers from around the world that it sends you home with the feeling that you aren’t alone in your struggles and that your game has to come up so much more to compete.

See you next year on the Croisette!

I’m headed to London to work with the incomparable Jon Reiss and Chris Jones for the first TOTBO (Think Outside the Box Office, get used to seeing it) workshop. It will take place at Ealing Studios on May 8-10, 2010. We are all so excited to bring this to our British friends and I hope many of you will turn up. It is a knowledge packed 2 days with an optional 3rd day with Jon live workshopping actual projects in need of customized marketing and distribution advice. The price for that 3rd day, is less than his normal hourly rate, so if you are ready to go into production, you gotta take advantage. Here’s the deets. Sign up!

‘Revealing the new distribution and marketing realities is of critical importance to film makers and our community. Media content creators of all types need to understand that the days in which you could merely “create” and let someone else distribute and market are nearly over. A new paradigm exists in which making films and finding a way for that film to reach an audience are not merely equally important, but need to be organically integrated into a seamless whole.’
Jon Reiss, Los Angeles March 2010

When we wrote the first edition of The Guerilla FilmMakers Handbook back in 1994, people wanted to know… ‘how the heck do you make a film?’ Now in 2010 and six books later, we know that you can make a film. In fact, we are pretty sure you can make a terrific film. But making a film is no longer the problem.

For the first time in the history of commercial film making, YOU THE FILM MAKER, can create powerful, sustainable and income generating distribution models WITHOUT THE EXCLUSIVE NEED for third parties such as a sales agents, distributors and even broadcasters.

Your film CAN succeed or fail based on YOUR HARD WORK, TALENT, THE STORY YOU CHOOSE TO TELL AND THE BUSINESS MODEL YOU BUILD.

Finally, we are in full control of the flow of money back to us… the entrepreneurs and creatives! It’s never been more exciting to be a film maker.

This groundbreaking event is headed up by possibly the most important voice in independent cinema right now, Jon Reiss, and supported by Chris Jones of The Guerilla Film Makers Handbook, and LA based cutting edge film marketer Sheri Candler. Three voices. One powerful message and toolkit.

Saturday kicks off with us showing you how to create a 21st century ‘no budget’ (but lots of elbow grease from you) marketing strategy that will create deep connections between you, your film and your audience.

Key to the success of your film is this groundwork – in the past, this used to be a screenplay. But now that work is interwoven with a marketing campaign at concept stage. The good news is that this early marketing also acts as a cash attractor, so it could be funding your project from day one.

We will take you through the quagmire of the effective use of social media tools, creating and maintaining blogs, managing SEO (Search Engine Optimisation) to get you ranked at the top of Google, using industry sites likeIndieGoGo.com, OpenIndie, IndieScreenings and many more.

You will leave day one with a clear strategy that you can begin to implement that very evening.

Sunday and the focus shifts to the creation of a dynamic distribution and marketing strategy that is unique to your film, offering insights into the ‘real’ markets that are available (in which to release your film), how and why to engage your audience as early as possible, and how to think beyond the feature film to create new forms of content.

Key to these strategies is the understanding that you MUST generate multiple revenue streams and adopt a HYBRID distribution model.

Jon is truly a visionary who can see not only how distribution ‘is’ but also ‘how it can be…’ We are lucky that he has chosen to stop off in London on his way to Cannes to deliver this career and life changing seminar.

Monday, the additional day three – Speed Consulting – Maximum of 20 places.

Jon will assign “homework” to each project after Day 2.  On day three he will thenworkshop a distribution and marketing plan for each project in front of the group with the group’s participation. By sharing in this group dynamic, filmmakers will not only create the beginnings of their own strategy, but will start to see the broad range of approaches that they can apply throughout their career.

This will give each attendee the chance to have an accelerated consultation on their film, and they will leave with tailored concepts, insights in to the projects weaknesses and strengths, as well as a clear path to follow.

Jon’s book, Think Outside The Box Office, has transformed the strategies and careers of thousands of film makers since it was published just a few short months ago. His thinking is radical, but supported by his own real world experience as a multi award winning filmmaker. You can buy Jons book here.

Sheri Candler recently handled the marketing for micro budget Slamdance horror, ‘YellowBrickRoad.’ Here’s what they had to say about her…“Sheri is very knowledgeable about social media and viral campaigns, understands the current state of independent film marketing, and always has the best interests of the film at heart.”-Eric Hungerford, Producer,YELLOWBRICKROAD

And yes, that’s me (Chris Jones) with Sheri, at the Producers Guild Of America Awards last year where Gone Fishing won BEST FILM.

We will NOT be running this event again in 2010 so this is your ONLY chance to attend. Good luck with your movies and we hope to see you at the event!

Today, my friend and filmmaker Chris Jones posted a great podcast with Hollywood scriptwriter and instructor John Truby.  One of the things John noted is how the practice of the “spec” script is dying in Hollywood. A screenwriter has to think of him/herself as an entrepreneur/producer. Your best chance of finding studio work, an agent, or having your feature script turned into a studio financed film is to make a short film piece that showcases your talent. It will make you stand head and shoulders above the standard script submissions that agents receive every day and prove that you have a solid, marketable talent.

You can listen to the full podcast here.

Last night I had the good fortune of being invited to the Producer’s Guild of America sponsored Producer’s Challenge Awards on the Sony Pictures lot. There were a multitude of great films screened including two phenomenal doc’s called Pickin’ and Trimmin’ and One Bridge To The Next (winner for the category). But the narrative film winner of the night was from the incomparable Chris Jones and his film Gone Fishing which has enjoyed tremendous success on the festival circuit. Congratulations Chris and thanks for the invite.Chris’ big highlight for the night came when Gale Anne Hurd (producer of Aliens, Terminator, Incredible Hulk) approached him gushing about how much she loved his film. He couldn’t have looked more proud (or incredulous!). The winner gets some mentoring time with Ms. Hurd, Mark Gordon, Marshall Herskovitz or other name producers in Hollywood. I hope for Chris’ sake, Ms. Hurd will make her time available.

From what I heard about the conference from the participants, it was well worth the over $900 fee to attend. The chance to meet Clint Eastwood alone was worth the fee for some. This was the first year of the Produced By seminar and it will be interesting to see how it develops in future.