When I was running the Central Florida Film Festival I came across many feature film entries. All but a few made on a shoestring. Which means the "I didn't have money" excuse won't cut it. There were quite a few films that if they had used a professional actor/actress rather than Mom and Dad the chemistry and performances may have been much better and in turn the making of a better film.
Yes, one or two professionals do make a difference. Did you know that SAG/AFTRA has a contract for films budgeted at two hundred and twenty-five thousand dollars and under? If your film doesn't have any money, think again. Are you making the film for twenty thousand dollars? Then you qualify. The Ultra Low Budget day rate is $125/day (+ Pension & welfare). The important thing to remember is that in the Ultra Low Budget you can mix non union actors with union actors. So, with P & W make it $150/Day. There are two reasons why actors like to work. One is money and the other a good script. Most actors like to work and if you have a good script perhaps someone in the Guild might even attach their name. A dozen characters in your cast? Perhaps three guild members would do the trick. They have more experience and have been on a professional set before. That's a requirement to become a member of SAG/AFTRA.
Actors have a way of either playing up or playing down to your lead performer. Setting the bar is important and by setting that bar higher you might think you're spending more money but it's definitely making your film a better project. This could mean the difference of receiving distribution or not and perhaps even getting your money back. Check out the SAG-AFTRA.org website and take a look at the sample contract. Remember the SAG/AFTRA representatives are only doing their job and that job includes getting work for their members and at the same time making sure their performers are treated with the proper professionalism that filmmakers should treat all their performers.
Next week I will walk you through the application process. There's some paperwork to get started and it can be frightening. I'm actually in the middle of applying for a new comedy I am making in May. Have three SAG/AFTRA members attached and now need to make sure their contract is in order. By next week I will be an expert in the process and gladly share it with you.
Sunday is also Oscar night and I would be remiss if I didn't at least post my selections.
BEST ACTOR - Gary Oldman (Darkest Hour) I already told you how I feel about UK films invading our award show but Oldman was Churchill and deserves the nod.
BEST ACTRESS - Frances McDormand (3 Billboards) I loved Sally Hawkins performance in the Shape of Water but I know how the Academy thinks and no one plays the middle age mom in distress like Frances McDormand.
BEST SUPPORTING ACTRESS - Allison Janney (I, Tonya) I have it between Janney and Octavia Spencer but I watch "Mom" and Janney's transition from comedy to drama was seamless.
BEST SUPPORTING ACTOR - Sam Rockwell (3 Billboards) It was a great ensemble and Woody Harrelson could cancel him out and veteran actors like DaFoe and Plummer could slip in but going with what I thought was the best stretch for a performer.
BEST DIRECTOR - Guillermo del Toro (The Shape of Water) The Academy has set this up for del Toro or a female director (Greta Gerwig). It seems as if Three Billboards Outside Ebbing, Missouri received all it's nominations including Best Picture without the help of a director. I hate when they do that. They did it to Spielberg for "The Color Purple." Everyone gets a nomination but the director. It's amazing what department heads can do without leadership.
BEST PICTURE - The Shape of Water. I was all over Three Billboards Outside Ebbing, Missouri but both pictures were excellent and the Academy swayed my selection by omission of the director. This could however be a ploy by the academy to give the women's movement what it wants but if Lady Bird is announced as best picture don't turn off your sets. Remember last year? I wouldn't be surprised if the winning producer's are pulled off the stage by del Toro's monster and the award handed to him instead.
My final prediction is that next Monday I will be ranting about the Oscar's .
Later,
Bob
Bob Cook
Film Director
You can view previous blogs as well as our new podcast at www.BCEntertainmentGroup.com
Showing posts with label Film Making. Show all posts
Showing posts with label Film Making. Show all posts
Tuesday, February 27, 2018
Monday, January 29, 2018
WHAT'S AN OSCAR FOREIGN FILM?
I went to see "Darkest Hour" this weekend and thought what a wonderful, Oscar worthy performance, by veteran British actor, Gary Oldman. Then I thought wait a minute isn't Joe Wright a British Director? Money came from out of the U. S. too and locations were in the UK as well. Why isn't this considered a foreign film? Why is the United Kingdom granted a pass that isn't given to France, Italy, China, or the other foreign countries that compete for Best Foreign Film at the Oscars? English speaking? No, Australia sort of speaks English as do parts of Canada. Is "Darkest Hour" an excellent film? Obviously, but why push out an American made film for a foreign made film?
I get it, many American films receive locations, funding and incentives to come to their countries to make movies. However, the money from American actors, crew and other above the line expenses and even post production brings money back into the states. American above the line talent should be required in Best Feature Film Oscar nominations. Foreign (including the UK) above the line should constitute a Best Foreign Film nomination. Both "Dunkirk" and "Darkest Hour" were UK films and received numerous BFA award nominations. Good for them. Why can't the Academy of Arts and Science start to recognize home grown features and celebrate what they do for the Hollywood economy?
Put Foreign Films back in the Foreign Film category and recognize our own filmmakers and films that are made in the U.S.A.
I will have more on the Oscars in future weeks including my selections in which I am sure Gary Oldman will receive a Best Acting Oscar for his portrayal of Winston Churchill. However, Woody Harrelson's performance in "LBJ" went unseen. It opened in the U.S. on November 2, 2017, but only lasted a week in the theaters reaping a mere $2.5 million at the box office. Why?
Some great films in the theaters this month, make sure you get to see your fair share.
Until next week,
Bob
I get it, many American films receive locations, funding and incentives to come to their countries to make movies. However, the money from American actors, crew and other above the line expenses and even post production brings money back into the states. American above the line talent should be required in Best Feature Film Oscar nominations. Foreign (including the UK) above the line should constitute a Best Foreign Film nomination. Both "Dunkirk" and "Darkest Hour" were UK films and received numerous BFA award nominations. Good for them. Why can't the Academy of Arts and Science start to recognize home grown features and celebrate what they do for the Hollywood economy?
Put Foreign Films back in the Foreign Film category and recognize our own filmmakers and films that are made in the U.S.A.
I will have more on the Oscars in future weeks including my selections in which I am sure Gary Oldman will receive a Best Acting Oscar for his portrayal of Winston Churchill. However, Woody Harrelson's performance in "LBJ" went unseen. It opened in the U.S. on November 2, 2017, but only lasted a week in the theaters reaping a mere $2.5 million at the box office. Why?
Some great films in the theaters this month, make sure you get to see your fair share.
Until next week,
Bob
Wednesday, January 17, 2018
Finding the right Film Festival for your Film
IMPORTANT DATES FOR THE CENTRAL FLORIDA FILM FESTIVAL -
Early Bird Submissions _ February 1, 2018 thru March 7, 2018
Regular Entries March 8th, thru April 11th
Late Entry Period - April 12th, thru May 16th
Film Freeway Extended Deadline May 17th, thru May 31st...
I've been asked many times how we select films and how filmmakers should go about selecting a film festival that may be right for the promotion of their film. In a perfect world where all films are created equal how will you stand out and how will you eliminate yourself from becoming an official selection for the festival of your liking.
I've always preached that there are only two reasons to make a film. The first is to make money and the second to win awards. Sometimes winning awards will enhance the marketability of your film helping you to make money. Don't lose sight of the fact that becoming an official selection to a film festival enhances the value of your film. Your film at the same time should enhance the program of the film festival. How does your film rate with other films in the same category. Look for a festival and take a look at previous finalists and winners.
Everyone thinks their film is good enough to get into Sundance. That's why Sundance receives over five thousand film entries each year. Two or three percent of these entries get into the festival. if you have limited funds for festival fees make sure you have a fighting chance to get in. Festivals of two weeks or more need more films than say a four day film festival. Check out festivals in your home state. Most states have at least one and many have several. Check out what you get for your entry fee. We provide (if asked) those films that do not become an official selection a critique letting the filmmakers know where their film fell short. We believe the critique alone is worth the entry fee but becoming an official selection enhances your film by displaying festival laurels on your poster. Official Selection, Finalist, Winner, all enhance the value of your film. Take a good look at the festivals close to you. The festival may give your film a second look because of local appeal. Try to find a local tie in with your film and the festival.
Credits aren't important to a selection committee. We get it, you wrote, directed, produced, edited, shot, and served coffee to the cast. We're not interested in seeing how creatively you're able to put your name on the screen. In many cases these aren't credits they're blame. Selection committees are interested only in your film. Does it have production value? Does the cast perform well and is there chemistry? Is there creative choices in the shot selection? Does the script follow structure? Is there entertainment value? How's the sound mix, the score, the over all quality of the project? You have to be professional enough to take a step back and look at your film and decide what's it worth? If you made a film for ten grand and it looks like a million you're in but if it looks like ten bucks you're dead. However, there may be a festival out there that will screen your film. New festivals are a bit less selective than established film festivals. Because of entry fees each festival competes for the better films. This leaves smaller festivals to pick up the scraps and who cares as long as your film is an official selection someplace right? There are problems with taking anything such as if your film had a good budget and you're planning on taking the film to a distributor and you entered the Squedunk, Iowa Film Festival and lost it could hurt your value. Any win is a good win but a loss hmmmmmm? It's a choice that you will have to decide.
Don't beg for a waiver. If the festival states no waivers then it means no waivers. However, there are some festivals that have sponsors that allow waivers because they pay the entry fees. Those festivals advertise such a campaign. There are also festivals that do not have entry fees at all. Again, your research is an important part of this process. The festival will not conform to your wants and needs - you must conform to the festival's wants and needs. The Central Florida Film Festival is a competition with cash prizes and offers NO WAIVERS. It would be unfair to those that do pay the entry fees to compete. Festivals have overhead. This includes, advertising, seminars, guest speakers, screening times with theaters, and even withoutabox and Film Freeway take a percentage cut from entry fees in order for them to stay in business. Some festivals have large advertisers and grant money but they also have large salaries and expenses. Smaller festivals struggle for each dollar. Here at CENFLO we are run totally by volunteers. All money is put right back into the festival.
One final word to the wise. Follow instructions. There is a different process for each festival you apply to. Follow their instructions completely if you don't you may be eliminating yourself without knowing it. And festivals don't like to hear "the other festivals do it this way." We all know that all festivals are different and each festival has it's own niche. Do your research and take advantage of attending a film festival even if your film doesn't get in. It may help you understand why. It will also allow you to network with festival officials and other filmmakers. This will help you chances next time.
I hope this helps !
Until Next time.
Bob
Early Bird Submissions _ February 1, 2018 thru March 7, 2018
Regular Entries March 8th, thru April 11th
Late Entry Period - April 12th, thru May 16th
Film Freeway Extended Deadline May 17th, thru May 31st...
I've been asked many times how we select films and how filmmakers should go about selecting a film festival that may be right for the promotion of their film. In a perfect world where all films are created equal how will you stand out and how will you eliminate yourself from becoming an official selection for the festival of your liking.
I've always preached that there are only two reasons to make a film. The first is to make money and the second to win awards. Sometimes winning awards will enhance the marketability of your film helping you to make money. Don't lose sight of the fact that becoming an official selection to a film festival enhances the value of your film. Your film at the same time should enhance the program of the film festival. How does your film rate with other films in the same category. Look for a festival and take a look at previous finalists and winners.
Everyone thinks their film is good enough to get into Sundance. That's why Sundance receives over five thousand film entries each year. Two or three percent of these entries get into the festival. if you have limited funds for festival fees make sure you have a fighting chance to get in. Festivals of two weeks or more need more films than say a four day film festival. Check out festivals in your home state. Most states have at least one and many have several. Check out what you get for your entry fee. We provide (if asked) those films that do not become an official selection a critique letting the filmmakers know where their film fell short. We believe the critique alone is worth the entry fee but becoming an official selection enhances your film by displaying festival laurels on your poster. Official Selection, Finalist, Winner, all enhance the value of your film. Take a good look at the festivals close to you. The festival may give your film a second look because of local appeal. Try to find a local tie in with your film and the festival.
Credits aren't important to a selection committee. We get it, you wrote, directed, produced, edited, shot, and served coffee to the cast. We're not interested in seeing how creatively you're able to put your name on the screen. In many cases these aren't credits they're blame. Selection committees are interested only in your film. Does it have production value? Does the cast perform well and is there chemistry? Is there creative choices in the shot selection? Does the script follow structure? Is there entertainment value? How's the sound mix, the score, the over all quality of the project? You have to be professional enough to take a step back and look at your film and decide what's it worth? If you made a film for ten grand and it looks like a million you're in but if it looks like ten bucks you're dead. However, there may be a festival out there that will screen your film. New festivals are a bit less selective than established film festivals. Because of entry fees each festival competes for the better films. This leaves smaller festivals to pick up the scraps and who cares as long as your film is an official selection someplace right? There are problems with taking anything such as if your film had a good budget and you're planning on taking the film to a distributor and you entered the Squedunk, Iowa Film Festival and lost it could hurt your value. Any win is a good win but a loss hmmmmmm? It's a choice that you will have to decide.
Don't beg for a waiver. If the festival states no waivers then it means no waivers. However, there are some festivals that have sponsors that allow waivers because they pay the entry fees. Those festivals advertise such a campaign. There are also festivals that do not have entry fees at all. Again, your research is an important part of this process. The festival will not conform to your wants and needs - you must conform to the festival's wants and needs. The Central Florida Film Festival is a competition with cash prizes and offers NO WAIVERS. It would be unfair to those that do pay the entry fees to compete. Festivals have overhead. This includes, advertising, seminars, guest speakers, screening times with theaters, and even withoutabox and Film Freeway take a percentage cut from entry fees in order for them to stay in business. Some festivals have large advertisers and grant money but they also have large salaries and expenses. Smaller festivals struggle for each dollar. Here at CENFLO we are run totally by volunteers. All money is put right back into the festival.
One final word to the wise. Follow instructions. There is a different process for each festival you apply to. Follow their instructions completely if you don't you may be eliminating yourself without knowing it. And festivals don't like to hear "the other festivals do it this way." We all know that all festivals are different and each festival has it's own niche. Do your research and take advantage of attending a film festival even if your film doesn't get in. It may help you understand why. It will also allow you to network with festival officials and other filmmakers. This will help you chances next time.
I hope this helps !
Until Next time.
Bob
Monday, December 18, 2017
NAME THAT FILM!
Remember the old game show "Name that Tune?" It was the one where two contestants would bid on how few notes it would take for them to name the title of a famous song. I'd always laugh when some contestant would say "I can name that tune in ONE note," and the emcee would reply, "All right, Sally, name that tune!" I attended a pitch fest with distributors and producers on the panel. The idea was to pitch either a project or completed film in hope of getting one of the panel members interested enough in your project to fund or purchase it. I was able to see one of the features that was being pitched and knew two other filmmakers and wanted to observe their pitches. It's always good to listen and learn.
A filmmaker who made a wonderful faith based film (not going to tell the title to protect identity) was first up. I viewed his film online and although there were a few minor flaws (which happens in low budget film making) the acting was good, production value good, music original, and story line watchable. This was a good feature length film worth distributing. The filmmaker's selling point during his pitch was that he made the film for only five thousand dollars. I immediately thought of the game show. Why would a filmmaker tell anyone how much he made his film for? Proud of making the film for no money are you? What about the people that helped you make the film? Isn't there a value on friendship and favors? It's called soft money, or goods and services and all part of the budgeting process.
I saw the credits of his film and there were quite a few actors and crew members that made his vision possible. There should be a value on their services even though you didn't pay for them. Think!!! Why would a distributor pay you fifty thousand if he knew you made the film for five? The lesson here is when you are in prep and working out your budget write EVERYTHING down. What crew are you using, what equipment do you need, where are you going to shoot? Put a value on it. Mike is my camera guy because he owns a camera and he will work for free. Great! Put a value on Mike and on his camera rental. We didn't use a dolly, we used a wheelchair or Mom let me use their house and pool to make the film. Who cares? It's what's on the screen that counts. Put a value on it.
I worked for director Paul Leder in the 80's & 90's and we made a film entitled "The 11th Commandment" (1987 - aka Body Count). At a screening of the film at the American Film Market, Paul was approached by Jonathan D. Krane. This is the same Jonathan D. Krane that produced several successful John Travolta films. He owned and operated a distribution company in the 80's called Manson International (which eventually became MCEG) and he was at the screening of "The 11th Commandment." He asked Paul what he made the film for and Paul replied "What do you think?" JK said $500K and Paul replied, "You're good." Krane offered $350K and a good percentage on the back end. Paul took the deal. We made the film for $125K with another $125K in deferred costs (the costs that goes to the people that worked for practically nothing!). Paul still had enough profit to start the process all over again. P.S. we never saw a dime on the back end.
I guess what I'm trying to tell filmmakers just getting out of film school is, the pride you show in knowing that you made a good film for practically nothing should be kept to yourself. If you need to brag about yourself use the term "Cost vs. Production value." Saying you made your film for five thousand dollars isn't going to get your film sold but a cost ratio of 20 to 1 will keep everyone thinking, "Nice film, wonder what his budget was?" Try it, you'll like the results.
One last thing as a follow up to last week's post, I am starting to understand the meaning of the word "following." The more followers you have the more value is placed on what you are saying or doing. Think of what Senator McCarthy could have accomplished if he had social media to out communists within the Hollywood circle. Are today's outed sex offenders the Communists of today? Should art suffer because of the misdeeds of the artist? It's getting to the point that I don't look forward to the Hollywood trade papers. Don't want to get back on that tangent again (for Travis' sake) but I saw "Wonder Wheel" the other day and Kate Winslet was marvelous. Oscar worthy, as was Woody Allen's direction and script. I can't believe that at eighty-one he still can tell a great cinematic story and elicit great performances from his ensemble. I can only hope that I am able to dress myself at eighty-one. Go see the film and share your thoughts in the comments section.
This is my last column before Christmas and I want to wish everyone Season's Greetings. Be well, be safe and most of all be thankful for what we have and for those that help to make our dreams come true. Merry Christmas!
Bob
Bob Cook
Film Director
B.C. Entertainment Group, Inc.
A filmmaker who made a wonderful faith based film (not going to tell the title to protect identity) was first up. I viewed his film online and although there were a few minor flaws (which happens in low budget film making) the acting was good, production value good, music original, and story line watchable. This was a good feature length film worth distributing. The filmmaker's selling point during his pitch was that he made the film for only five thousand dollars. I immediately thought of the game show. Why would a filmmaker tell anyone how much he made his film for? Proud of making the film for no money are you? What about the people that helped you make the film? Isn't there a value on friendship and favors? It's called soft money, or goods and services and all part of the budgeting process.
I saw the credits of his film and there were quite a few actors and crew members that made his vision possible. There should be a value on their services even though you didn't pay for them. Think!!! Why would a distributor pay you fifty thousand if he knew you made the film for five? The lesson here is when you are in prep and working out your budget write EVERYTHING down. What crew are you using, what equipment do you need, where are you going to shoot? Put a value on it. Mike is my camera guy because he owns a camera and he will work for free. Great! Put a value on Mike and on his camera rental. We didn't use a dolly, we used a wheelchair or Mom let me use their house and pool to make the film. Who cares? It's what's on the screen that counts. Put a value on it.
I worked for director Paul Leder in the 80's & 90's and we made a film entitled "The 11th Commandment" (1987 - aka Body Count). At a screening of the film at the American Film Market, Paul was approached by Jonathan D. Krane. This is the same Jonathan D. Krane that produced several successful John Travolta films. He owned and operated a distribution company in the 80's called Manson International (which eventually became MCEG) and he was at the screening of "The 11th Commandment." He asked Paul what he made the film for and Paul replied "What do you think?" JK said $500K and Paul replied, "You're good." Krane offered $350K and a good percentage on the back end. Paul took the deal. We made the film for $125K with another $125K in deferred costs (the costs that goes to the people that worked for practically nothing!). Paul still had enough profit to start the process all over again. P.S. we never saw a dime on the back end.
I guess what I'm trying to tell filmmakers just getting out of film school is, the pride you show in knowing that you made a good film for practically nothing should be kept to yourself. If you need to brag about yourself use the term "Cost vs. Production value." Saying you made your film for five thousand dollars isn't going to get your film sold but a cost ratio of 20 to 1 will keep everyone thinking, "Nice film, wonder what his budget was?" Try it, you'll like the results.
One last thing as a follow up to last week's post, I am starting to understand the meaning of the word "following." The more followers you have the more value is placed on what you are saying or doing. Think of what Senator McCarthy could have accomplished if he had social media to out communists within the Hollywood circle. Are today's outed sex offenders the Communists of today? Should art suffer because of the misdeeds of the artist? It's getting to the point that I don't look forward to the Hollywood trade papers. Don't want to get back on that tangent again (for Travis' sake) but I saw "Wonder Wheel" the other day and Kate Winslet was marvelous. Oscar worthy, as was Woody Allen's direction and script. I can't believe that at eighty-one he still can tell a great cinematic story and elicit great performances from his ensemble. I can only hope that I am able to dress myself at eighty-one. Go see the film and share your thoughts in the comments section.
This is my last column before Christmas and I want to wish everyone Season's Greetings. Be well, be safe and most of all be thankful for what we have and for those that help to make our dreams come true. Merry Christmas!
Bob
Bob Cook
Film Director
B.C. Entertainment Group, Inc.
Monday, December 11, 2017
I got a car for my agent...and it was a good trade!
I purchased tickets to see the new STAR WARS movie. I bought them online and started thinking "another industry job is being done away with". Seriously, I went to the movies and bought tickets at a ticket vending machine and had to pick out seats from a chart. One person in the ticket booth in case you only had cash and one person at a podium tearing tickets for all twenty-four screens. I'm surprised you aren't allowed to bag your own popcorn or pour your own drinks. I am assuming that day will come.
Negative cutters are already a dinosaur and what's a print? Everything is done digital and by computer making the process cheaper. However, I haven't seen the price of admission going down. The big studio corporations use the computer age to cut jobs and increase bottom line. When are these studios going to begin making new films and not just reboots, remakes and sequels?
I spoke to John Shea (Frontier Booking) over the weekend. John is a long time friend and agent who has told me even his job is being phased out by Internet postings. Here's an agent that has been in the business for over twenty-five years and he's struggling to keep the doors open because the new generation of performers believe they can self market through social media. How crazy is that? About as crazy as a filmmaker that wants to self distribute his film online rather than pay a percentage to a distributor to increase his chances of getting money back for his investors.
Is it because crowd funding doesn't demand a profit to be turned? Where have the days of pitching a film for the purpose of showing an investor how (with your business plan) can create a return on investment. As a filmmaker do you look at an audition tape that has been edited to be perfect or would you rather meet with someone in person. How about trust in networking? For years agents and casting directors worked together keeping the producers and directors of the world happy by supplying the right choice. To me it's important to make sure an actor is punctual, dressed properly and has the demeanor you want representing not only your company but you and your film. You've heard the expression "You are what you eat?" How about you are judged by those that represent you? (I just made that one up). If an actor/actress can't get to the audition on time and can't remember sides, what are the chances they're going to be a good casting choice?
I just returned last month from AFM (American Film Market) and there are hundreds of distributors looking for product. Many have connections with the larger VOD and PPV companies. Companies that you just can't try to send your film to and honestly have a fighting chance. Networking with distributors is as important as making the film itself. Due diligence my friends, use the Internet as a source of research and not immediate display. See what's the most lucrative direction for you to get the word out for your film and at the same time minimize the risk while maximizing the return. We do still care about return, right?
There are no short cuts. The film industry is evolving and we as filmmakers need to evolve with it. Yes, it's easier for a filmmaker to write, produce, direct, shoot and edit the project in this new era but should we? Because the computer age allows us to cut out jobs, should we? Isn't it better for a filmmaker to use another set of eyes to insure their vision is what the story is telling? Distributors are now just as interested in how many influencers your film has instead of what name stars are driving your film. Yes, there are distributors that continue to look at a film based on name value but newer distributors are finding new ways to create a buzz for your film.
I'm going to try something new and original to see if this theory works. I'll keep you in the loop whether or not it does.
Until then, support Independent film!
Bob Cook
www.BCEntertainmentGroup.com
Negative cutters are already a dinosaur and what's a print? Everything is done digital and by computer making the process cheaper. However, I haven't seen the price of admission going down. The big studio corporations use the computer age to cut jobs and increase bottom line. When are these studios going to begin making new films and not just reboots, remakes and sequels?
I spoke to John Shea (Frontier Booking) over the weekend. John is a long time friend and agent who has told me even his job is being phased out by Internet postings. Here's an agent that has been in the business for over twenty-five years and he's struggling to keep the doors open because the new generation of performers believe they can self market through social media. How crazy is that? About as crazy as a filmmaker that wants to self distribute his film online rather than pay a percentage to a distributor to increase his chances of getting money back for his investors.
Is it because crowd funding doesn't demand a profit to be turned? Where have the days of pitching a film for the purpose of showing an investor how (with your business plan) can create a return on investment. As a filmmaker do you look at an audition tape that has been edited to be perfect or would you rather meet with someone in person. How about trust in networking? For years agents and casting directors worked together keeping the producers and directors of the world happy by supplying the right choice. To me it's important to make sure an actor is punctual, dressed properly and has the demeanor you want representing not only your company but you and your film. You've heard the expression "You are what you eat?" How about you are judged by those that represent you? (I just made that one up). If an actor/actress can't get to the audition on time and can't remember sides, what are the chances they're going to be a good casting choice?
I just returned last month from AFM (American Film Market) and there are hundreds of distributors looking for product. Many have connections with the larger VOD and PPV companies. Companies that you just can't try to send your film to and honestly have a fighting chance. Networking with distributors is as important as making the film itself. Due diligence my friends, use the Internet as a source of research and not immediate display. See what's the most lucrative direction for you to get the word out for your film and at the same time minimize the risk while maximizing the return. We do still care about return, right?
There are no short cuts. The film industry is evolving and we as filmmakers need to evolve with it. Yes, it's easier for a filmmaker to write, produce, direct, shoot and edit the project in this new era but should we? Because the computer age allows us to cut out jobs, should we? Isn't it better for a filmmaker to use another set of eyes to insure their vision is what the story is telling? Distributors are now just as interested in how many influencers your film has instead of what name stars are driving your film. Yes, there are distributors that continue to look at a film based on name value but newer distributors are finding new ways to create a buzz for your film.
I'm going to try something new and original to see if this theory works. I'll keep you in the loop whether or not it does.
Until then, support Independent film!
Bob Cook
www.BCEntertainmentGroup.com
Monday, November 20, 2017
A Funny Thing Happened on the way to AFM....
On November 1-8, 2017, I attended the American Film Market in Santa Monica, California. It was the 19th time I attended and saw many survivors from the video days. The main focus was AFM is expensive but yet we survive. How?
"Keeping up with the times" was the most consistent response. During a seminar about streaming I was reassured about something I have been preaching at my film festival for over a decade. Don't post or stream your film unless it's a last resort. The first thing a distributor asks (after if it's financed or completed) is how many followers do you have? Promising those that put up money via crowd funding doesn't count. This is especially true if you already promised them a copy of the film as part of their donation reward. Better to promise them a still or poster of the film and have them download the film at a price when a distributor makes it available.
But why should I share that revenue with a distributor when I can do it myself? Good point but the answer is that a distributor has the means to get your film a larger reach of viewers. If you have a large following it gives you leverage when making a deal. Having three hundred benefactors isn't a large following but having a leading performer with four million followers on social media is!
Netflix is very picky when selecting a film for distribution. They also have a process and distributors with a track record for providing films to Netflix helps. It doesn't guarantee anything but it's a foot in the door and if your film holds up and is in the genre they need, you have a shot. Netflix distributes 25% of the streaming content and your film, if selected, would have a two year play. If your film doesn't stream well then it's replaced. Sound familiar? Back in the video (Mom & Pop) days if your film didn't rent it was placed in the "Previously Viewed" bin and sold off to make room on the shelf. Same principal holds here.
Hulu holds the same principal but accounts for 35% and Amazon pretty much takes anything that you can download with a few exceptions. They account for 85%. So telling your investors that you can guarantee them distribution via Amazon doesn't quite mean a return on their dollar. Having a distributor placing your film in top of the line Video on Demand companies, means they will invest in a marketing strategy and promote you film. Estimates from Netflix and Hulu hold more weight. This means it's better to be rejected by several sources before you cut bait and self-distribute on Amazon.
Yes there is an Amazon Prime Access but they are currently figuring out how to distribute via VOD. Hulu and Amazon use to have venues where you could post your films and they would show commercials during your screening. The filmmaker would receive a portion of the advertising. This isn't something they thought was lucrative enough for the providers and they have gone to monthly fees. Competition is strong which means supply and demand is needed. Just like in the VHS days, if you have a film with a track record you have an excellent chance of getting distribution.
Now that I have put my days as a Festival Director behind me, I can concentrate more on being a filmmaker. I also want to help as many young filmmakers as possible as I journey back into the Hollywood "Rat Race". Why just learn from your mistakes when you can learn from mine? I will be writing a weekly blog providing filmmakers with information helpful to producing and distributing your products. In January 2018, we will begin covering information as you, the filmmaker, request. Simply ask a question and I will research your answer and make it part of another blog. This is how we can help each other continue to survive in this ever changing world of film making.
See you at the movies!
Bob Cook
President
B.C. Entertainment Group, Inc.
"Keeping up with the times" was the most consistent response. During a seminar about streaming I was reassured about something I have been preaching at my film festival for over a decade. Don't post or stream your film unless it's a last resort. The first thing a distributor asks (after if it's financed or completed) is how many followers do you have? Promising those that put up money via crowd funding doesn't count. This is especially true if you already promised them a copy of the film as part of their donation reward. Better to promise them a still or poster of the film and have them download the film at a price when a distributor makes it available.
But why should I share that revenue with a distributor when I can do it myself? Good point but the answer is that a distributor has the means to get your film a larger reach of viewers. If you have a large following it gives you leverage when making a deal. Having three hundred benefactors isn't a large following but having a leading performer with four million followers on social media is!
Netflix is very picky when selecting a film for distribution. They also have a process and distributors with a track record for providing films to Netflix helps. It doesn't guarantee anything but it's a foot in the door and if your film holds up and is in the genre they need, you have a shot. Netflix distributes 25% of the streaming content and your film, if selected, would have a two year play. If your film doesn't stream well then it's replaced. Sound familiar? Back in the video (Mom & Pop) days if your film didn't rent it was placed in the "Previously Viewed" bin and sold off to make room on the shelf. Same principal holds here.
Hulu holds the same principal but accounts for 35% and Amazon pretty much takes anything that you can download with a few exceptions. They account for 85%. So telling your investors that you can guarantee them distribution via Amazon doesn't quite mean a return on their dollar. Having a distributor placing your film in top of the line Video on Demand companies, means they will invest in a marketing strategy and promote you film. Estimates from Netflix and Hulu hold more weight. This means it's better to be rejected by several sources before you cut bait and self-distribute on Amazon.
Yes there is an Amazon Prime Access but they are currently figuring out how to distribute via VOD. Hulu and Amazon use to have venues where you could post your films and they would show commercials during your screening. The filmmaker would receive a portion of the advertising. This isn't something they thought was lucrative enough for the providers and they have gone to monthly fees. Competition is strong which means supply and demand is needed. Just like in the VHS days, if you have a film with a track record you have an excellent chance of getting distribution.
Now that I have put my days as a Festival Director behind me, I can concentrate more on being a filmmaker. I also want to help as many young filmmakers as possible as I journey back into the Hollywood "Rat Race". Why just learn from your mistakes when you can learn from mine? I will be writing a weekly blog providing filmmakers with information helpful to producing and distributing your products. In January 2018, we will begin covering information as you, the filmmaker, request. Simply ask a question and I will research your answer and make it part of another blog. This is how we can help each other continue to survive in this ever changing world of film making.
See you at the movies!
Bob Cook
President
B.C. Entertainment Group, Inc.
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