Monthly Archives: July 2010

PMD Rising

As some of you may know, I coined a new crew category titled the Producer of Marketing and Distribution (or PMD) in my book Think Outside the Box Office. I came up with the idea when trying to think of a solution to the enormous amount of work that distribution and marketing can be for filmmakers without a distributor. The concept boils down to: you didn’t make your film on your own – why should you release it on your own. You can read about the concept of the PMD in one of my other posts. I am happy to report that this concept is gaining traction. I was spurred to write this post after 25% (20 out of 80) of each of my Perth and Adelaide workshops indicated that they wanted to be PMDs (this is before my upcoming classes in Sydney and Melbourne). In Adelaide, the SA Film Corporation has plans to set up an in house PMD to help support the distribution efforts of independent filmmakers in South Australia.

Also just this week Adam Daniel Mezei who in January wrote a great blog post about the responsibilities of a PMD, has set himself up as a PMD for Hire. One of the attendees of my Amsterdam workshop has another PMD site and is already working on a Dutch film as a PMD. A group of Vancouver attendees formed a PMD support group this past month.

I feel that this beginning indicates that there a huge numbers of potential PMDs in the world who love films, don’t want to be on set and love the work of distribution and marketing. These are the people we filmmakers should seek out to be our PMDs.

This August I will be heading to the University Film and Video Conference (for US film school profs) to give 2 presentations on how and why to teach film distribution and marketing to film students. This is not just so that writer/directors can be aware of the realities of the world that awaits them, it is also to train a new generation of PMDs (and their support crew).

Finally, I will be working on my own educational initiative for PMDs (beyond the 2 day workshops that I am giving).

My goal is that in five years time, whenever a filmmaker puts out a call for a PMD they will receive as many resumes for a PMD as for a DP or Editor or AD. Even if a film ends up with traditional distribution, the work of a PMD during prep, production and post is invaluable. If the film doesn’t obtain traditional distribution (or doesn’t want traditional distribution) a PMD (and a complete distribution and marketing crew) are vital.

from Melbourne July 22, 2010

Screen Hub’s Lyn Norfor on Jon Reiss and Thinking Outside of the Box Office!

Jon Reiss: Thinking Outside the Box Office
by: Lyn Norfor

Screen Hub
Thursday 15 July, 2010

Jon Reiss, independent filmmaker and proselyte, wrote Thinking Outside the Box Office, and is running a series of events around Australia, including MIFF. Lyn Norfor was reminded of the 50% rule – “50% of the time and resources to make the film and 50% to connect the film to your audience..”

In 2007, Jon Reiss screened his documentary, Bomb It, about the global explosion of graffiti art and culture, at the prestigious Tribeca Film Festival. He did all the right things and, with five sold-out screenings and people lined up round the block for each screening, he expected a good distribution deal plus sales. But – nothing, no deals. A week later, Bomb It was available for sale on Canal Street – as a bootleg.

This is a story that Reiss relates regularly – in his book and his workshops, as an example of how radically the film distribution market has changed and how essential it is now for filmmakers to rethink the way their films are marketed and distributed. Reiss is a big fan of Do It Yourself (DIY) as a philosophy and attitude for marketing and distributing your film and which, he says, does not mean doing it all on your own. Rather, it means not leaving the distribution of your film to others and to build a team to reach as wide an audience as possible for your film.

Reiss is a working filmmaker who walks his talk. After his experience at Tribeca, Reiss went about distributing Bomb It through a hybrid distribution model, a term coined by distribution strategist and SPAA fringe regular, Peter Broderick. Reiss organised his own theatrical release and did a no-advance deal with New Video who handled the DVD release and download-to-own digital rights.

Based on his experiences, Reiss then wrote his book “Think Outside the Box – The Ultimate Guide to Film Distribution and Marketing for the Digital Age” which he self published. He has also built a website, created a two-day workshop and is planning updates for his book. In addition, he is currently filming material, as he travels round the world delivering his workshops, for a Bomb It web series – two to three minute webisodes, for which he received an advance against an ad revenue share from Bablegum (a free-to-view internet television platform supported by advertising).

An important step for filmmakers, according to Reiss, is to know what you want from your film and who the audience is for your film. Once you know that, you can then begin designing a marketing and distribution plan specifically for your film. And ideally, before you begin making your film – or at least during production. Now, some filmmakers may shudder at this but, Reiss says, they need to remember the 50/50 rule – 50% of the time and resources to make the film and 50% to connect the film to your audience.

Reiss is also very quick to point out that, although the filmmaker needs to understand the whole process, they also need to work with other people who have skills in those areas the filmmaker does not.

He has created a new film position, the Producer of Marketing and Distribution (PMD) and Reiss reckons it is a huge growth area in our industry. With less funds available and less films being picked up by traditional broadcasters and distributors, more filmmakers are left to their own devices to distribute their films. So build your team, find people with the marketing and distribution skills and bring them into the film industry to work with you. Reiss’ enthusiasm and excitement at the opportunities being created as old structures and ways of doing things break down is tempered by the realities of being a working creative entrepreneur – which he says all artists need to be.

Karen Pearlman (Head of Screen Studies, AFTRS) first heard of his workshops last year and encouraged AFTRS to bring Reiss out to Australia. So this July AFTRS and Screen Australia, in conjunction with MIFF 37 Degrees South in Melbourne, present the workshop Think Outside the Box Office.

Reiss has designed the two-day workshops to be practical as well as providing a place for filmmakers to share and discuss their projects. The first day is about content and information, using Reiss’ own films plus those of the participants as illustrations and discussion points.

The second day is focussed on selecting a number of participant projects for which market and distribution strategies are created. Reiss asks three key questions of each project – what is the goal of the film and the filmmakers? Who is their audience? What are their resources? The question that typically takes the most time to figure out is the audience question. Opening this question up to the group can be extremely helpful to the filmmakers, Reiss reports, and one of the favourite parts of the workshop for many participants. Reiss believes the workshops can appeal to a wide range of people –to anyone who is interested in marketing and distribution but may not necessarily want to make films.

Audience development is the new buzz word and one that will be music to the ears of our funding agencies. Reiss emphasises the importance of beginning to develop an audience for your film before the film is broadcast or screened. In the US independent distribution market, Reiss says, broadcasters and distribution entities are looking for partnerships with filmmakers who are interested in sharing the work of audience development. The marketplace is changing and so are release strategies. Reiss cites as examples the shorter windows between theatrical and DVD release for films such as Avatar and Alice in Wonderland and how that helps influence independent distributors.

Reiss is very strong on split rights, where the rights to each of the various revenue streams (theatrical, DVD, VOD etc) are split apart so they can be sold individually. A split rights scenario is at the heart of a hybrid strategy to release your film and, in general Reiss claims, the filmmaker can make more money than with an overall deal (where a distributor buys all the rights for your film for a long time).

He divides rights into three groups: (i) live event/theatrical – and includes all types of theatrical, non-theatrical, alternative theatrical and grassroots screenings; (ii) consumer products/merchandise – a tactile product such as DVD (individual DVDs, boxed sets, signed sets, special editions etc), educational sales, t-shirts, CDs, books etc; (iii) digital – television and cable (including FTA and subscription TV), Pay-per-view/Video on demand; (iv) digital rights and mobile – internet channels such as download to own, download to rent and various forms of streaming. Reiss’s book, “Think Outside the Box Office”, provides loads of information on this subject.

Again, Reiss reiterates that the distribution market is changing rapidly and many independent distributors are being forced by necessity to become more flexible.

Reiss finds this a ‘super exciting time’ and says it should inspire us to think about film more expansively, with longer storytelling structures – all of which helps create a long term career in film. When filmmakers have control over their distribution contracts, over a longer period of time and across multiple outlets, then a career arc can be developed with more predictable income streams and a ‘sustainable business’ built. With filmmakers holding onto more rights, there are also more opportunities to develop cross media extensions from the film. Knowing your audience is the key to deciding which products and packages to create for your film. Reiss tells how he is currently developing an iPhone app for street and graffiti art.

Although Reiss recognises that the amount of work is increasing as the money decreases, he says this is true not just for filmmakers but for all artists and content creators. His next version of “Think Outside the Box Office” is targeted at musicians, visual artists and all media content creators. He encourages us all to embrace the new opportunities and be inspired to re-conceptualise ourselves as filmmakers!

Reiss’ workshop dates:
Sydney: Sat 24 – Sun 25 July AFTRS Melbourne : Monday 26 – Tuesday 27 July AFTRS
Lyn Norfor
Lyn Norfor is a producer with factual and drama television projects in development.

Rooftop Films, Indiewire and Snag Films Giant Celebration!

“Our friends at Rooftop Films, Indiewire and Snag Films are having a giant celebration this Thursday the 15th – Check it out:”

Thursday, July 15, 2010

8 p.m. – screening and party
Free admission for our invited guests.

For all those who wish to join us please purchase your tickets at: http://www.rooftopfilms.com/2010/schedule/49-aardvark

Open Road Rooftop, Lower East Side
350 Grand St, NYC 10002

More info at:

http://www.indiewire.com/article/rooftop_films_snagfilms_iw_birthday_sneak_peek_of_aardvark/

MAKING SENSE OF DISTRIBUTION PANELS – POST LAFF’s SEIZE THE POWER SYMPOSIUM

Posted on by Alexandra

The Film Collaborative was recently on a panel at the Los Angeles Film Festival as part of their SEIZE THE POWER SYMPOSIUM which focused on DIY & DIGITAL Distribution. This was the description of the panel we were on and that I moderated and will discuss below:

NEW DIGITAL DISTRIBUTION INITIATIVES
Leading digital distribution executives present new solutions for distribution
as they explain their business models and the opportunities they offer
filmmakers to reach audiences and bring in revenue for their films.

Erick Opeka, New Video
Nolan Gallagher, Gravitas Ventures
Orly Ravid, The Film Collaborative (TFC)
Scilla Andreen, IndieFlix

After the panel was over someone asked how he could decide which one of us to work with; he liked us all. It was clear to me that even though we had just finished an hour long panel at which we each presented our respective companies and then answered questions, it was not enough to make clear to everyone the way in which to relate to each company and how to make decisions about whom to work with in distribution.

Recently on Ted Hope’s blog

Jon Reiss and Ted Hope and many others including filmmakers discussed the relevance of panels and expert books and even more recently Jon Reiss wrote a blog titled “Coping with Symposium Workshop Brain Fry”. That is what I want to address here, specifically in relation to the panel I moderated and was on called “New Digital Initiatives”.

At the LAFF Panel all the companies discussed what they do and here’s some of that information below, and what we recommend a filmmaker do to make sense of information given at a panel.

Gravitas Ventures talked about its focus on Cable VOD and the fact that it works with Warner Brothers (WB) which (when WB takes a film) can lead to a film being available in up to as many as 50,000,000 homes via about 30 – 40 cable operators and up to 80,000,000 – 90,000,000 homes when one factors in digital. When WB does not take the film on Gravitas can at least get the film out to about up to 12,000,000 – 15,000,000 Cable VOD homes. Of course one in this circumstance has to realize that when WB is in the picture, there are two fees being taken as well as two companies being relied on to provide information and to pay. The other aspects to analyze are 1. the benefits of having a studio involved in VOD and Digital often leads to HIGHER revenues from Cable MSOs (Multi System Operators) and digital platforms and also MARKETING LEVERAGE. But, 2. the Studios are also glutted and not necessarily focusing on your film and you may get lost or inadvertently shafted (and I know it’s happened) so one has to have contractual commitments or protective clauses, and 3. They won’t let you keep digital rights usually, though maybe Netflix SVOD; and 4. accounting can be soft on the details. Gravitas does 2-year deals and about 350 -400 films per year and is the largest VOD aggregator at this time. Gravitas noted revenues per film ranging from as low as $5,000 – $250,000. A FILMMAKER must ADDRESS MARKETING and COSTS RECOUPMENT whether in dealing with Gravitas or any other Cable VOD & Digital Aggregator (e.g. TFC also works with Brainstorm Media & Fluent / Lions Gate), or any of the other studios who are or will be opening up to “independent product”.

The Film Collaborative’s entire purpose is to help sift through the information available at the time your film is ready or will be ready for release and help you resolve your COMPLETE DISTRIBUTION STRATEGY. Gravitas Ventures can get you the VOD and digital access you need but they don’t necessarily do much in the way of marketing so that will be more up to you to either have them commit to that effort or do it yourself (and perhaps in collaboration with us and our marketing partners). A marketing plus (+) though for Gravitas is that if WB gets behind your film, they can get iTunes and the Cable Operators to give your film a bigger marketing push. This can be very valuable.

Continue Reading The Article Use the Following URL: http://www.thefilmcollaborative.org/blog/?p=76