The DIY World

The reality is that in today’s world, if you want to be an independent filmmaker you have to embrace the idea of DIY distribution.

Even if you are able  to secure a traditional deal for some or all of the rights, the filmmaker has to become part of the distribution and marketing of his or her film in order for the film to be successful.   Using the examples of perhaps the two recently most successful  indies,  ”Paranormal Activity” and “Precious”  in both cases, the filmmakers have been instrumental in getting the word out to the audiences even though the films are being released by traditional distributors.

Of course, if I am not able to sell some or all of the rights to “Claustrophobia”, it becomes my job to be the distributor in fact.   At the moment, it is unclear what path the film will follow (traditional, DIY, or a hybrid of both.)

In any case,  I will be putting the word out soon through various social networks and a widening circle of friends and follows to help me reach “Claustrophobia’s” audiences.    I’ll talk more about this later.

Distribution and the Independent Film Business

The independent film business, along with the rest of the economy is in turmoil.  We all know that.   The question is what to do to survive and thrive in these challenging times.

Last weekend  I attended Film Independent’s “Filmmaker Forum” at the DGA in Hollywood.    While there was some doom and gloom about the current state of affairs,  there is beginning to emerge a clearer picture of  the way forward.

Because both theatrical and DVD sales have gone over a cliff,  what is beginning to emerge is  a VOD model as a major ancillary (and perhaps, primary) mode of distribution.    We are not there yet mainly because the infrastructure has not been put in place, but it appears it will be within a few years (1-3).

However, distribution companies are now beginning to pay more and more attention to aquiring those rights either separately or as part of a larger package.   This is good news for “Claustrophobia.”      I’m beginning to attract some interest from various distributors, reps, and agents and the VOD rights are a significant part of that interest.  I’m not prepared to be specific yet  about who is expressing interest.   I’m just in the beginning stages of discussions,  but the progress is encouraging.    I’ll talk more about this later.   In the meantime, wish me luck.

Patience

It’s been a while since I posted a blog, so I though I should do a quick update.

Because the response has been so slow from  the initial round of submissions to various distributors, representatives, and agents, I decided to make two more.   I targeted foreign sales and distribution companies in order to get  a different perspective.   And so we’ll see.

Some of the slowness of the responses I believe is due to the current economic conditions coupled with the changing landscape in the independent film business.   As an example, virtually no deals got done at the recently concluded Toronto Film Festival (One of the biggest film  markets in the world)   The main reason seems to be the continuing changes in the distribution business, particularly for independent films, coupled with a surplus of product.

As a consequence, I’ve been counseled to be persistent and patient.   And I’ve kept myself busy doing other things.

One of the things I’m working on is a behind-the-scenes video (possibly two) for the “Claustrophobia” website.   I’ll post it as soon as it’s completed.

As far as the website is concerned, I’m still keeping it low-profile until the distribution is set.    I continue to believe with attention spans being as short as they are (and getting shorter) this is the right strategy for the site.

More soon, I hope.

Waiting on submissions

Because there are a number of different approaches I could take to selling and distributing the film, my initial marketing strategy with “Claustrophobia”  is firstly to try and establish how it would be perceived in the marketplace and what it might be worth before devising the marketing plan.

As a consequence, I’ve put the film out initially to just a few select agents, reps, distributors and festival programmers to solicit their feedback.

I’ve followed up with all of them and the responses have  been only moderately enlightening.

One producer’s rep said that they fully considered it and decided it wasn’t for them.   His was unwilling to give any further feedback.

The other rep said they are still considering it (whatever that means).   One of the distributors thought the film was “very well done” but they were looking for films with a higher profile cast.      Others have  not seen it yet.

I’ll continue to make additional submissions until a picture (so to speak) emerges and the path becomes clear.

Patience and persistence are the the watchwords of the day, both of which I fortunately possess  in abundance.

Screeners

Many people have asked me about the availability of screeners for “Claustrophobia.”

So far, I give out a total of seven, mainly to assorted reps, agents, programmers, and distributors.    It’s not that I don’t want people, especially those who have worked on the film to have copies, but I’ve heard so many horror stories about bootlegs and piracy that I’ve decide not to give any out (unless it sales and marketing related) until the film is sold.

My apologies to those of you who have yet to see the film.  I’m hoping you’ll be able to see it soon

The First Screening

We had the first “public” screening last Saturday  for “Claustrophobia” and it went really well despite a slight glitch in the projection.

We showed it in Blu-Ray and I was blown away by how good it looked.  However, when I was doing the picture check with the projectionist, I only played the first couple of minutes and didn’t realize (because the first scene is outside and daytime) that the image was projected  a little bit too dark.   Nevertheless, the response was overwhelmingly positive.

Of course, the audience was composed mainly of family, friends, colleagues, and professional associates so that the stated responses were no doubt colored by my relationships.

However, Richard Marshall had suggested that during the screening I should try to watch and listen to the audience response as  a truer gauge of how the film was working.   I did that.    I came away with the impression that at least this audience was attentive, engaged and appropriately responsive.

Still, one of the true measures for me of the success of the film  (if not the truest) is whether I’m able to sell it. Toward that end I’ve sent presentation packages to a half a dozen key people in the business to get some professional feedback on the movie’s salability.     We shall 2 16see.

Still, I feel a sense of accomplishment, regardless of what happens.   More on this topic in my next post.

The Finished Poster/ Key Art

I thought I should post the finished key art.     I had it blown up (approx 24″ x 36″)  for the screening today so that I could use it as a lobby card.     I ‘m all atwitter about screening today for my friends, family and colleagues.   I’ll let you all know how it goes.onesheet04.03

Screening/ Marketing

I’m jazzed about screening “Claustrophobia” next Saturday ( 8/1 at 5 PM) for friends, family, colleagues and a few industry folk.

We’re screening in Blu-Ray.  And as with practically every other step along the way, there have been technical challenges to get it to work correctly.    Keep your fingers crossed.   I’m going to the screening facility  next week just to make sure that the disc plays in their machine.    I don’t want to take  any chances, even though we’ve already tried it out on a home Blue-Ray machine and it looks great.

At the same time,  I working on the presentation package which I’m going to start sending out next week to potential agents, reps and buyers.   It’s looking really good.

Really Finished (Right?)

Yesterday, Richard Marshall gave me the finished film.

Yes, I know I said a a couple of posts ago that “Claustrophobia” was “finished.”  But beyond the question of whether a film is ever really finished (or just stops a various, hopefully interesting, places along the way),  according  to my current definition of finished, I’m done.

Let me explain.

One of my goals for “Claustrophobia” was to get to the point where I could go out confidently to various distributors and representatives with something that would make them want to sign on.   And while some that I’ve already spoken to said that they wouldn’t mind (or even prefer) to look at the film in an unfinished state, my experience and my intuition tells me that I’m best served by showing the film in its most completely realized (that I can manage)  form.

So yesterday, Richard gave me a DVD with the “last”  sound notes (and a new soundtrack) incorporated into film.

That’s my current working definition of finished.

What I need to do next is author the  DVD (including the film, the trailer, and the Key Art) and begin to send it out to a select group of buyers and agents.   Wish me luck.

I’ve included the latest version of the poster.   Any feedback would be appreciated.

And onesheet04.03I’ve arranged a screening on August 1st for family, friends, and industry:  yet another milestone.

Finished

I can’t believe I am actually saying this, but “Claustrophobia” is done!

We had the last sound session on Thursday and in a couple of hours we had everything resolved.   A lot of what we were doing was removing bits and pieces of V.O. dialogue and score (less is more) and we were all happy with the results.      And we’re done!

Now all that’s left to do is to lay the new tracks back in (Wait a minute: I thought I was done.) to the project and we can begin  to output the movie in whatever formats we need.

In my last post, I talked about creating a presentation package for the various buyers, agents, and reps; the three main components being the film, the trailer, and the key art.

All the components are done with the exception of the key art which is still not resolved.   The main issues are the typefaces and placement of the title and the tagline.    Von  (our graphic designer) has offered a number of alternatives, but none of them work for me.     The main image is dynamite ( in my opinion) and I’m unwilling to sign off on the rest of it until it matches the quality of the image.

Because I think I’ve gotten a little burnt out on the process, I’m not able to articulate clearly what I want.  So I asked Richard Marshall to take a fresh look.  (Among his many talents he’s also a graphic designer.)  I’m nothing if not doggedly determined to make every element of this project as good as it can be.

Then I  can begin authoring the presentation DVD’s with all the various components in place and be confident that it will be a fair representation of the work.