Tag: Sheri Candler

Keys to a Successful Film Launch Pt 1

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Keys to a Successful Film Launch Pt  1

By Jon Reiss and Sheri Candler

For the past six months, my company, Hybrid Cinema, has been working on the release of Bob Hercules’s new documentary film Joffrey: Mavericks of American Dance,about the history of the Joffrey ballet. This is a capsule post to explain the highlights of launching a documentary into the marketplace when working with a modest budget. Future posts will go more in depth on certain aspects of this release.

With at least 35,000 feature films on the film festival circuit every year, by some estimates, very few films are going to premiere at one of the top 5 film festivals.   When that happens, filmmakers need to decide what is the best launch for their film.   We concluded that in the case of the Joffrey film (and we feel that this is the case for many films), some form of robust live event premiere would help to create awareness for the film in the oversaturated media landscape.   Live events are great publicity generators, allowing you to focus marketing efforts on a specific event.   Festivals are great partners for these types of events – even if you don’t get into a top 10 festival – because you can create a unique experience by partnering with open minded and adventurous festival that is already connected to press and audiences.

In creating a live event premiere, you need to consider the following:

1.  A premiere that will reach your audience.  Very early in creating our distribution strategy, we identified ballet fans (and more specifically fans of the Joffrey ballet and even more specifically the alumni of the Joffrey ballet-more on audience identification in a later post) as the natural audience for Joffrey:  Mavericks of American Dance.   Sure, there are other audiences for a film like this – but it is essential to go after who will be the most passionate about seeing the film.   For this reason, we targeted the Dance on Camera Film Festival which not only is one of the premiere dance film festivals in the world, it is based in New York City – the birthplace of the Joffrey ballet and the center of the dance world in the United States.

2. Creating an event that will garner attention for your film.   Festivals have many films to care for and promote as well as promoting the brand of the festival in general and often they have a small staff to accomplish all of this.  There is a lot for the media to choose from for coverage.  What will make your film unique and interesting to cover?  We decided early on to partner with Emerging Pictures to simulcast the screening of Joffrey at the DOC festival not only to reach a nationwide audience, but to create a larger story for the press to pay attention to. Emerging was a natural choice because they screen live ballet performances from Europe through a digital network of cinemas throughout the US, so their cinemas already have an audience for this type of programming. They also have the technology in place at Lincoln Center that enables a netcast to happen so the venue and the festival wouldn’t have to figure out the logistics of the simulcast.

Even though a festival premiere is an event in and of itself, that is not always  enough to attract attention from the media or from audiences.   You should always strive to create your live events to be as unique as possible, both from the perspective of media coverage and from the perspective of the audience, to create that need to attend.  Many subjects in the Joffrey film are iconic dancers in the ballet world, what ballet fan would not want to interact with them? We created a post screening panel of former dancers that the audience in the theater could interact with and meet after the screening, but we also enabled audiences even across the country the ability to interact as well.    Having this panel discussion netcast live to theaters around the country allowed audiences in to ask questions of this panel as well as interact with each other via Twitter using the hashtag  #joffreymovie – creating a unique event not only in the Walter Reade Theater in New York City, but in 44 other cities around the country at the same time. This is also a unique event for media coverage because so few films take advantage of the technology today that enables something like this to happen and having such a concentration of iconic dancers in one place makes this newsworthy.

3. The budget you have to work with.  We have a modest budget for the release of Joffrey so we had to do a lot with limited means.  We have a small staff handling publicity, audience outreach, booking screenings and organizing merchandise sales. Bearing this in mind, we needed the most bang for the effort because we launched the film into the market during our festival premiere. We won’t have separate budgets for festival publicity and then release publicity in order to start selling.

Utilizing the Emerging network only costs at most $1000 (which can be taken off the top).  Similar satellite systems through companies like Fathom and Cinedigm can cost $75,000 to $250,000 because of the cost in satellite time.

In addition, by covering much of the country at the same time – it allowed us to pursue reviews and articles in multiple markets – thereby most effective use of our publicity budget.

4. Creating assets before and during the release.

In another post, we will talk at length about the need for additional media assets to promote your film and all of the ways we have done this.   One way that you can garner additional assets during release is by filming and documenting your events.

You want to film the event itself – outside the theater, crowd shots, audience arriving at seats, applause, the audience watching the film during the screening and the entire Q&A. Very important to capture audience expectation before and reaction after the screening.  I recommend having two cameras so that one can be filming the Q&A and the other filming the crowd reaction outside.  You also want a photographer shooting the event if possible.

What you film can be utilized in a number of ways:

  • Short promotional videos that you can release on your Youtube channel to promote the film.  For the premiere we created two videos.  The first is about the film, opening night and audience reaction.

The second piece which we are now premiering with this article concerns the simulcast of the film and the audience participation.

  • Still photography of the people and personalities at the event (especially those that are interesting to your core audience and some that may be interesting to society pages and other publications).
  • Longer pieces of the Q&A panel discussion or even of just the filmmakers in conversation.  You can use these on your extra features.  Since our extra features have already been locked and since we have received numerous requests from people around the country to see these panels, we are going to put the full-length panel discussions up on the web on Distrify and charge a dollar or two for the viewing as an additional revenue stream.

5. The need to have the next steps planned. Many times filmmakers are so busy planning their premiere, they neglect to prepare for what will happen after this. Where will all of this publicity attention go? In the past, they hoped it led to a distribution deal, but that cannot be relied upon now. There is no reason that direct distribution should not be the next step and that some kind of event theatrical screenings can be booked. In the lead up and following our premiere, we have booked over 20 other screenings and we continue to set up screenings. We also launched our online store just after the premiere and have sold several thousand dollars in DVDs/merchandise. Don’t let the efforts and the financial resources you put into the premiere stall out from waiting. In a future post, we will talk about how we prepared for sales by setting up the web store and creating the merchandise.

The Results

We ended up screening in 45 cities throughout the US to launch the release of the film.   A number of these screenings actually sold out.  We received press articles and reviews in a number of major markets (even though the film was only screening once).    Through TweetReach, we were able to quantify the exposure via Twitter for the event. According to our TweetReach report, our hashtag #joffreymovie  reached 200,549 people through 270 tweets just on that day.   Some of the comments we received through twitter:

#JoffreyMovie Santa Fe, NM – our audience loved it, thank you so much! congrats on premiering a new, high tech way of running a Q&A!”

@JoffreyMovie #joffreymovie It’s insightful, performance history is fantastic. pic.twitter.com/tBeFP9IN.”

“The excellent #joffreymovie & panel yesterday @danceoncamera made me wistful for @joffreyballet of old. I loved taking class w Mr. Joffrey.”

The release continues and we will provide some in depth posts on this site of the different methods we have used to reach audiences and generate awareness and sales for the film.

Jon Reiss is a filmmaker, author and strategist who wrote the book Think Outside the Box Office and is a year round lab leader for the IFP Filmmaker Labs.  He will be at SXSW this weekend participating in the panel “Tough Love: Why You’re Still Not Festival Ready” on Saturday, March 10, 2012 He will also be signing the book Selling Your Film Without Selling Your Soul that he co-wrote with The Film Collaborative and Sheri Candler.   Next week he will be at Johns Hopkins University in Baltimore for the Digital Capital Symposium March 13-14, speaking on Artistic Entrepreneurship.  If you’re in the Austin or Baltimore areas, please drop in and introduce yourself. Follow Like

Sheri Candler is an inbound marketing strategist for independent films. Through the use of content marketing tools such as social networking, podcasts, blogs, and online media publications, as well as relationship building with organizations & influencers, she assists filmmakers in building an engaged & robust online community for their work that will help develop and sustain their careers. Currently, she is working with Hybrid Cinema to release the documentary film Joffrey: Mavericks of American Dance, a history of the Joffrey Ballet. She can be reached on Facebook, on Twitter  and on Google Plus.

An Innovative Launch for Joffrey: Mavericks of American Dance

An Innovative Launch for Joffrey: Mavericks of American Dance
By Jon Reiss

For the past four months, my company Hybrid Cinema has been working on the release of the new film Joffrey: Mavericks of American Dance directed by Bob Hercules about the history of the Joffrey ballet. I will be writing a number of posts outlining the unique path that I and my partner on this release, Sheri Candler have taken to release this documentary about the history of the groundbreaking dance company The Joffrey Ballet.

In my book Think Outside the Box Office and in subsequent posts, I have written about the advantages and challenges of launching a film after its world– premiere festival. Many filmmakers have complained that they can never recapture the exposure they gain with their first festival. As a result there have been a number of attempts to launch a film in some fashion out of a premiere festival. Orly Ravid writes in Selling Your Film Without Selling Your Soul, about BassAckwards which launched via YouTube Rentals during Sundance 2009.

IFC has been running its Festival Direct program to provide a promotional lift to its VOD releases for several years. For instance IFC will premieres films at SXSW and follows it up with screenings in a few cities while it premieres day and date on VOD with the festival. Tribeca has started using their festival as a launch for a number of films that they distribute on VOD.

The chief advantage of using a world premiere to launch a film’s release is to condense all of the publicity into one window – thereby conserving precious resources and taking full advantage of press garnered via the premiere. It also utilizes the promotional muscle that many festivals can muster to promote the release. The principal challenge is being prepared – having all of the necessary tools and distribution and marketing channels lined up to take advantage of the promotion. In general this has been beyond the abilities of most independent filmmakers who are just scrambling to get their films finished in time for their first festival. Another challenge is the short window of time that films have to get everything lined up after they receive acceptance to a film festival.

One of the first things we did for Joffrey was to target the Dance On Camera (DOC) film festival as a perfect launch for the film. It is not only one of the premiere dance film festivals in the United States (if not the world), it is also based in NYC – where the Joffrey Ballet got its start. It is based at Lincoln Center through the Film Society of Lincoln Center, one of the epicenters for culture in the US and the world.

Simultaneously I started speaking to Ira Deutchman of Emerging Pictures because I felt that Joffrey would be a perfect match for his network of theaters across the United States. For the past number of years Emerging Pictures has been simulcasting culturally oriented films, many of which feature live Q&As.

The Emerging deal is very filmmaker friendly with 30% of the box office going to the filmmaker if you pay $1000 for encoding, or 25% of the box office going to the filmmaker without any money upfront. Emerging takes care of all deliveries and collections from the theaters. Because of their ongoing relationship with theaters, Emerging is able to collect from theaters and in turn is able to pay the filmmakers.

I proposed to Deirdre Towers and Joanna Ney of Dance on Camera that through Emerging, we could be the first film to launch its release out of its world premiere, simulcasting to cities across the US. The partnership is also beneficial for Dance on Camera as it gets their name out in these theaters where ballet and dance fans will watch the simulcast and interact with the festival. It’s a winning situation for all which is what a partnership should be.

Emerging does not actually “simulcast” the screening of the film, the theaters download it in advance (hence no print costs), but the theaters carry the Q&A event after the screening via netcast. As important, people at the theaters around the country can tweet questions to the post screening panel in NY – so that they are actually participating in the Q&A – making it a national event. Once the film is on Emerging’s server they can book screenings of the film at a later date at no additional cost.

Currently we are screening in 42 cities throughout the US to launch the release of the film. We will start selling 6 panel Digipak DVDs of the film at the premiere and off the website February 1st – in addition to posters, 50th Anniversary photo books of the Joffrey Ballet and an eBook reprint of Sasha Anawalt’s book The Joffrey Ballet: Robert Joffrey and the Making of an American Dance Company (out of print for over a decade until this January 27th – she is launching her eBook to coincide with the launch of the film). We will roll out other merchandise over the course of the release. We will follow this up very quickly with digital DIY via Distrify in order to capitalize on the international attention we will receive from the publicity via the worldwide web. The biggest challenge has been to get the project ready to release in the short window since we found out we were selected for Dance on Camera.

We have also been planning events throughout the United States that will run through the spring and potentially throughout the summer. Most of these events have similar Q&As with former notable Joffrey dancers – many of whom head established dance organizations in cities throughout the US and are actually also coordinating the screenings in their cities. To start the process of the Los Angeles screening, I met with former Joffrey dancer Carole Valleskey who runs the nonprofit California Dance Institute. We then sought the involvement of Leslie Carothers-Aromaa another Joffrey dancer who teaches at the Colburn School and helped secure the 430 seat Zipper Hall. We’re selling tickets for $20 a piece and are 1/3 sold out as this goes to press. These screenings will lead up to a day and date DVD and digital release by New Video (more on the timing of this in a later post) in June. To book and coordinate the rest of the events in the US, we brought on Liz Ogilvie and Paola Freccero of Crowdstarter.

The other type of event that we have wanted to set up from the beginning is to have a live ballet component to the screenings. This has turned out to be very difficult to set up due to either expense or theatres not being equipped with an appropriate, safe stage for the dancers. However the screening being set up by former Joffrey dancer Trinette Singleton in Allentown, Pennsylvania will have this feature and we are pushing for more.

A final note – one aspect of what attracted me to Joffrey: Mavericks of American Dance was the fact that Bob Joffrey and his partner Gerald Arpino were early artist entrepreneurs. They came to NY with no connections to the established dance world, set up a dance studio to train young dancers and then toured the US in a borrowed station wagon like so many indie bands and filmmakers.

Sheri and I will be writing a number of other posts about the various aspects of the release and marketing in the coming months – we look forward to your feedback.

Joffrey: Mavericks of American Dance premieres January 27th at the Dance on Camera Film Festival at Lincoln Center, NYC. Check the website for the cities where the January 28 live simulcast is taking place. The film was directed by Bob Hercules (A Good Man, Forgiving Dr. Mengele), produced by Una Jackman and Erica Mann Ramis and executive produced by Harold Ramis and Jay Alix.

Jon Reiss is a filmmaker, author and strategist who wrote the book Think Outside the Box Office and co-authored Selling Your Film Without Selling Your Soul with The Film Collaborative and Sheri Candler. He will be appearing at a number of panels at Park City this week and is a year round lab leader for the IFP Filmmaker Labs. Follow Like

Some Basic Principles of Film Distribution and Marketing for Independents

Sheri Candler and I were just holding a week long discussion on the D-Word about distribution and marketing for filmmakers occassioned by the release of the book that I co-wrote with her and The Film Collaborative, Selling Your Film Without Selling Your Soul. Doug Block who was our moderator asked me to summarize my thoughts on the subject and it seemed to create a pithy little post encapsulating some of my core beliefs when it comes to helping filmmakers release their films.So I have included them here and encourage you (especially if you are a doc filmmaker) to join D-Word and to check out the Selling Your Film topic which is archived.  Please note that in trying to make sure I didn’t dither over the wording of this post – it was written on the fly and unedited – I’m going to try to increase my blog writing speed in the coming months!

My Summary for the D-Word:

Distribution and marketing of a film should start as early as possible – and be integrated into the filmmaking process as much as possible. Doing this will benefit the film and make the release more successful and make your life easier.

Each film needs its own distribution and marketing plan – unique to that film. The distribution and marketing for any one film will depend on several factors:

1. Goals of the filmmaking team (all should be on the same page).

2. The film itself – what is appropriate for this film.

3. The audience of that film:

Who is the audience (be specific)?
Where does the audience learn about films?
How does that audience consume films?

Connect with your audiences early and often.

Only talk about you and your film 20% of the time in social media – MAX!

Connect with organizations that are connected with the audience of your film.

4. The filmmaking teams resources. How much money and/or time is available.

To help solve the time issue – I recommend bringing in a PMD to help with the distribution and marketing of the film.

Bring the PMD on as early as possible (see first sentence above).

Budget for distribution and marketing – expect it will be 50/50 – eg 50% on production and 50% on distribution and marketing. You may be one of the lucky ones to have a great distributor come along and write you a check and take it “off your hands” – but the % aren’t that great these days.

Think strategically about how you are going to release your film that will achieve your goals and connect with your audience – in terms of the products that you can create:

1. Strive to make your Live Event/Theatrical screenings unique – and event worthy – what will motivate people to come out for your film.

2. Create unique merchandise for your film. People still like to buy things – just often not DVDs in ugly cases.

3. Think strategically about how you will release your digital rights – including TV/Cable and how they fit into the overall plan.

That’s a pretty good 2 minute drill of what I try to convey to filmmakers to help them with connecting their films to audiences.

NEW BOOK LAUNCH! AND IT’S FREE!

I am super excited to announce the publication of a new book written by myself, Sheri Candler and The Film Collaborative titled Selling Your Film Without Selling Your Soul!

I am also super excited to tell you that you can download the PDFor ePub version for free or by tomorrow you can order the paperback for $9.99 ($10 off the regular retail price of $19.99) by clicking here.
Continue reading →

Books, Books and More Books

Posted on by Jon Reiss

This morning at midnight another book that I am participating in, The Modern MovieMaking Movement launched for free on the web.  All you need to get your own copie is to click on the link above.  My chapter is on the PMD and the New 50/50.  I am in very good company as the other authors are Jurgen Wolff,  Jason Brubaker, Tom Malloy,  Sheri Candler, Carole Dean,  Norman Berns, Gary King, Gordon Firemark and Peter D. Marshall.

Here is the idea behind the book: While the philosophy is evolving, Modern MovieMaking is defined by an era of entrepreneurial filmmakers who do not ask permission to make, market or sell movies. Instead of making movies and hoping the movie will get seen, picked up and sold through traditional distribution channels, the modern moviemaker makes movies, directly engages with the audience and builds community around his or her movie titles.

Topics Covered in the Book:

Uncover Successful, Modern Screenwriting Tips – Jurgen Wolff

Find Out How To Make the Most of Movie Money – Norman C. Berns

Discover Six Ways to Finance Your Feature Film – Gordon Firemark

The State of The (indie filmmaker) Union – Tom Malloy

Get The Inside Scoop On Crowdfunding – Carole Dean

Plan Your Production For Maximum Success – Peter D. Marshall

Modern Guerrilla Filmmaking – Gary King

Navigate Film Festivals and Do Them Right – Sheri Candler

Sell Your Movie Without the Middle-Man – Jason Brubaker

The Producer of Marketing and Distribution and The New 50/50 – Jon Reiss

Also a heads up – I am also a featured interview in Lloyd Kaufman’s new book Sell Your Own Damn Movie which recently topped the top 1% of books in Amazon sales. Go Lloyd!

And yes Selling Your Film Without Selling Your Soul which I am authoring with The Film Collaborative and Sheri Candler launches at IFP Week.   Join the Facebook page. Also – I have launched a new “like” page – you can check out clips of almost all my previous work there – and photos – and we’ll be adding a lot more content over the next month!

Report from the UK: The PMD, Digital Rights and Booking Theatrical in the UK

I’m back now from my trip to the UK – workshop and consulting at the Edinburgh Film Festival as well as a workshop at the London Film School.  What I love about travelling and doing these workshops is meeting people who are really helping change the lives of filmmakers, creating tools and resources to help them release and monetize their films!

First – in Edinburgh:

I had dinner with Peter and Andy from Distrify which I think is an incredibly powerful Broadband VOD platform.  The most significant aspect of it is that it not only allows your audience to share your trailer (with a direct ability to buy) but it also incentivizes your audience (and others) to do this via a built-in affiliate program.  You can also set different price points in a number of different currencies so that you can adjust pricing for local financial circumstances (eg different prices for first world buyers and third world buyers).  In addition:  you can take your money out whenever you want, you can sell different combinations of streaming, download and DVD (only on-demand currently – but they are working on fulfillment) and their user interface is very simple.  I strongly suggest checking them out.

I also spent a fair amount of time with Michael Franklin from Creative Scotland who is very eager to develop new models for film coming out of the north.  One of my meetings that he arranged was with the Scottish Documentary Institute who are in the process of hiring a Producer of Marketing and Distribution for the institute to work with all of their films and filmmakers.  Of course I love that idea.  I’ve heard of other government funds considering this action – but this is the first one that I know of that will be put into place.

In London, I had a nice chat with James Collie who produced and released Beyond Biba and is currently distributing Beetle Queen Conquers Tokyo in the UK.   He told me about an accessible digital rights and VOD aggregator in the UK called Re:Fine that is a bit of a cross between Distribber and a conventional aggregator.  For 300£ they will aggregate your film to iTunes and then take 19% in addition to the standard iTunes take of 30% – so filmmakers end up with 51%.   A pretty decent deal.  According to James, they also aggregate to other platforms.

At my London workshop, James gave a great presentation about booking theatrical in the UK and revealed two significant resources.  The first is Launching Films which for 30£ they will list your film in a schedule used by most film reviewers and bookers in the UK along with all the major releases.  He indicated that through this listing he was called up by all the major reviewers in London for Beetle Queen.  In addition, included in the fee, they will also set up your press screenings in London (you have to pay for the screening room).

The second resource is The Independent Cinema Office which lists contact information for most of the independent theaters throughout the UK – giving you direct access to the people who program theaters.

VOD seems to still be in its formulative stages in the UK with only 2 major players:  Skynet and Virgin.  I heard that you needed to have a very significant theatrical campaign (over 1 million spend) to get on Virgin although this was just something I overheard – but didn’t strike me as odd.

Finally I met with Terry Stevens who runs home video at Dogwoof (Dogwoof is releasing Bomb It July 25th in the UK).   At my LFS workshop he spoke about the Ambassador program they are setting up – coordinating with community groups and community screenings venues to create a network of alternative screening locations to host live event/theatrical screenings.    Initially this will be for Dogwoof films, but it seems that eventually the goal is to open up this ability to all films.

Let me know if you have any questions or comments.

And a heads up – the book that I am writing with The Film Collaborative and Sheri Candler: Selling Your Film Without Selling Your Soul (link to fb page) is launching at IFP Week in September!  Stay tuned.

Heading to the UK Next Week and Upcoming Releases

The first segment of the IFP Filmmaker Labs were very fun and exciting this year.  A great group of docs and narrative.

Next week I will be in the UK. First doing a one day TOTBO workshop at the Edinburgh Film Festival on June 22nd then I’ll be doing a Keynote for Short Sighted presented by BAFTA and Shooting People on the 23rd.   I’ll also be doing one on one consultations with films on the 23rd through Creative Scotland.

Next I’m doing a 2 day workshop at the London Film School June 25th, 26th, so if you are in London I hope to see you then.   For this workshop we have the some excellent special guests lined up:  Terry Stevens from Dogwoof,  Chris Jones, filmmaker and author of the Guerilla Filmmaker’s Handbook Series and via skype we’ll have Sheri Candler, filmmaker Gregory Bayne giving tips for a successful crowdfunding campaign and Peter Gerard of the exciting new DIY distribution tool Distrify.

And some other previews of upcoming releases:

Dogwoof will be releasing the multi language PAL version of Bomb It July 25th.

In September, The Film Collaborative, Sheri Candler and I will be releasing Selling Your Film Without Selling Your Soul Presented by PreScreen – Case Studies in Hybrid, DIY and P2P Independent Distribution.  This is a series of case studies that dives deep into independent film distribution.  There will be much more information on this in the coming months – if you would like to know more – check out (and like) the Facebook page for the book.  We’ll be launching at the IFP Week in NYC where I will also be for part 3 of the IFP Filmmaker Labs.

Back to Writing – 3 More Books

Posted on by Jon Reiss

I have embarked on writing again and have two new books in the works and one more on the horizon.   First off, I am writing a book on the Producer of Marketing and Distribution or PMD.  In the tradition of Think Outside the Box Office, the book will define the role and responsibilities specific to the PMD, lay out best practices for those wanting to be PMDs,  lay out the tasks for a PMD over the lifecycle of a film, provide guidance on how to fulfill those tasks.  This includes developing a marketing and distribution plan and budget, the PMD in prep, production and post, audience engagement, timing of rights, as well as different marketing and distribution options available to films.  The book will cover education of PMDs and will propose a curriculum of study for PMDs.    I will be tweeting my progress on this book starting next week.

Secondly, I am working with The Film Collaborative and Sheri Candler on an electronic book of film case studies.    Each of us are drilling down to the specifics of a number of films distribution and marketing paths and providing hard numbers on their successes (and failures) to help filmmakers make informed decisions about the releases of their films.  This project was generated by The Film Collaborative who brought Sheri and I on board and is part of their educational initiative.  (as you know from my book and previous writings I am a big fan of what TFC does – and you know I’m a big fan of Sheri’s as well!).   We are currently locking down the title – and would love your input:  Please participate in our on-line survey.

On the horizon – I am writing a book about how all the art forms: music, film, art, photography, book authorship, journalism, dance,  comedy, gamers and expanded storytellers (etc) are all utilizing similar techniques to get their work made, marketed and distributed.   I came upon this idea while researching examples for my TOTBO workshops and discovered that many of the other art forms (music especially of course) were much further ahead than film in using these techniques.  But I also discovered that while some people used some of the techniques available, many would leave numerous opportunities unexplored – didn’t even know those opportunities existed.  As a result I saw a purpose for writing a book in which I would adapt and expand the system that I outlined in Think Outside the Box Office for all the arts.  This project will allow artists to learn from others and create opportunities for themselves that they may not have thought of by the nature of the traditional paths of their respective fields.   It will also provide a guide in how to use these techniques.   Over the next months, year, I will be interviewing a wide range of artists on this topic and I will be sharing excerpts on this blog.  I look forward to your input and feedback!!  (Look out for a revamped website and FB page in the future as well).

PMDs In Action

As you know, Sheri Candlerand I have been reaching out to working Producer’s of Marketing and Distribution (PMDs) and a few have contacted me with some festival and awards news:

Stephen Dypiangco who is currently working as a PMD on “How to Live Forever” by Mark Wexler is also working as a PMD on a short film  “God of Love” which was just nominated for an Oscar.   Pretty exciting for Stephen and his team – and the first Oscar nom for a film with a PMD.   Perhaps next year there will be a feature nominated with a PMD!

Sally Hogsdon who is based in England is working as a PMD for “Sound It Out” was just announced as part of the SXSW lineup.  She is working with James Collie of “Beyond Biba” fame who is working as the distribution consultant on the film.    I had the pleasure of meeting when I was in London last spring for the first TOTBO workshop.

Kinyarwanda which was one of the IFP Filmmaker Lab films in 2010 won the World Cinema Audience Award: Dramatic at Sundance.  Tommy Oliver started off on Kinyarwanda as the PMD but then got so involved in the film he now has full producer credit (and I am hoping he still claims PMD credit as well).

Congrats to all.  If you are a PMD and have some exciting news and/or want to be in the loop for a PMD tips, news etc – drop me an email through this blog!

Guest Post: PMD Training at Break Neck Speed

Today’s guest post is from Producer of Marketing and Distribution who lives and works Joe Jestus. Joe introduced himself to me on Twitter as a PMD living and working in the “next film capital of the United States”: Oklahoma. Joe actually changed his title to PMD when he discovered what it was. I asked him to write about his experiences and he has a lot of great information to share! Special thanks to Sheri Candler for helping facilitate this post. Sheri and I are starting to meet a lot of PMDs around the world and we are asking them to share their experiences with us – so look for more of these great posts.

PMD Training at Break Neck Speed
3 Things I Wish I Knew 12 Months Ago as a PMD
by Joe Jestus, PMD – Trost Moving Pictures

Sitting down to write this article and looking back it’s hard to believe that just a year ago the independent studio I work for (Trost Moving Pictures) had just one feature film, “Find Me” that was starting to appear in small retail stores and sporadically at that. Fast forward to present day, where we just wrapped principle photography on our third feature film, “The Lamp” a few weeks ago and our second feature film, ”A Christmas Snow” is now in 2,500 Walmart stores around the country and in numerous other stores as well. The last 12 months have been nothing short of a whirlwind and I’d like to share with you some of the things I learned as a PMD (which I didn’t even know existed 12 months ago).

Lesson 1: Placement and Sell Through

Last year when we began looking for a way to get “Find Me” into stores we checked out traditional distributors and kept getting the traditional response: their money goes in last and comes out first and besides a small advance we get an even smaller portion of DVD sales. We thought we could do better, so we hired a consultant/product placement person to work on getting our film into stores and we used a fulfillment house that already had supply chain connections with the stores we were trying to get our DVD placed in.

When thinking about marketing, we all know you have to get people in seats at theaters and people at shelves in stores or having your film in theaters or on shelves is not only pointless but expensive. But what you might not know is that before you can get your film on a store shelf you have to market to the stores and then more often than not, pay for that spot on the shelf through one of two ways and that is what’s known as your placement cost.

Stores aren’t just in the business of selling things, they are in the real estate business and they want to be paid for their space. That end cap, front of store spot, custom display, special doorbuster promotion, even the difference between having your film spine out or face out will cost you. You can pay for this with an upfront placement cost, which can run from hundreds of dollars to millions of dollars depending on if you have ancillary products that go with your film and also how many stores you want your film in. Another option is to give a greater discount to the store on your film to either get the placement cost discounted or reduced. But because it is an independent film, more than likely you’ll have to pay some sort of placement cost, because the store is not sure if it will sell enough product to make up for in margin what they lose in placement fees.

So in order to get into stores, there will be a cost and you’ll need to know who is paying for this and how much are they paying. With “Find Me” we didn’t have a lot of money (surprise, surprise) so we opted to just get it in stores wherever, whereas with “A Christmas Snow” our distributor has paid for better placement and it’s helped with walk in sales. In fact, over this last Black Friday weekend, one chain of stores did a special doorbuster promotion with “A Christmas Snow” and moved 6 times the amount of DVDs another similar chain did, but those sales do come at a cost. This is where the ability to test, learn, and refine your marketing and distribution comes into play. Is it better to move thousands of copies at a lower margin or less copies at a higher margin? Another good point to include in any contract with a distributor is to make sure you get final approval on any major discounts given to a specific retailer. Yes, Walmart may want 20,000 DVDs but at what percentage discount? Does it make sense? This all depends on the goals you have set for your film, as Jon Reiss said in his book, “Think Outside the Box Office” These are all questions that I’ve had to consider on a daily basis as a PMD.

As important as it is being on store shelves (there are some people who still would rather walk into their local store than buy online, not to mention those who still think it’s not a real movie until it’s in a theater or major store – like your relatives and friends), it’s really no better than being in a theater without marketing. Marketing to the consumer to get them to the store to buy you film is called sell through marketing. Without this second type of marketing, placement can become a money pit.

Yes, you have walk in sales and some stores will market your product to their lists and in their catalogs, but once again you probably had to pay for that spot. There are some independent stores that come together under an organization for marketing and you can get in their catalogs as well, but you need to be sure to ask two things from these groups: 1) What does it cost? (then figure out how many DVDs you have to move to break even or make a 20% profit at least) and 2) Are the stores required to carry the products in the catalog? Some organizations require the stores to carry the products and others don’t. So you might spend $2,000 to get into a catalog and then when someone walks into that store asking for your film, they walk out empty handed because the store didn’t carry it.

With “Find Me,” we learned some tough lessons and one of the most important was that stores work on relationships. They have certain fulfillment centers they can use and others they won’t use. Certain distributors they like and others they don’t like – ask around and find someone that is well respected. Our consultant was well respected and a great guy, but because we didn’t have the capital to garner better placement or drive customers into stores we weren’t profitable due to production, replication, and brokering costs. Something had to change for our next film.

For “A Christmas Snow,” we partnered with a publishing house that was looking to get into films. In addition to the film, we created two books. One is a novel of the film written by best-selling author Jim Stovall and the other is a companion teaching book written by the director Tracy J Trost. The companion book, called “Restored” is a journal of one of the main characters and follows them from before the film right through to the end of the movie. With these extra products, we could make a higher margin on the DVDs while our distributor made a higher percentage on the books. We also had a wider reach with placement into larger store chains. That said, we have turned down some well known stores simply because the placement costs were too steep and it didn’t make financial sense, again this is why it’s important you have some say in your distribution.

Lesson 2: Get Help

In addition to continuing work on “A Christmas Snow,” I am transitioning to “The Lamp” and on both films we’ve had the pleasure of finding other talented people to add to our team, both salaried and temporary. Everyday, I’m communicating with our contacts at the distributor and our publicist as well. Publicity is another relationship based industry contacts and having a publicist who knows publishing people is key. We’ve learned a lot in regards to publicity including a 6 week tour that I took with my family, my business partner/film director Tracy J Trost and his family – but that’s a story for another day – thousands of miles, 7 kids, and 2 RVs, it sounds like a Disney film.

Most recently, we’ve brought on a Special Events Manager to begin building relationships with charities, churches, and other family based organizations so that we can team up with them for charitable screenings of our films. She’s also taking over some of the daily social networking updates, newsletter, and blogging from me as well so that I can focus more on big picture planning and relationship building. It’s important to find people who are good at what they do and let them do it. In all honesty, the list of what a PMD doesn’t do would probably be much shorter and quicker to write and that’s why it’s imperative you find people who can help out with certain tasks or projects or you’ll quickly fall behind and you won’t catch up. Whether its planning your premiere, updating your site, social networks, getting versions of your film for International distribution and TV broadcast made/shipped, or getting the word out to the press – these things all take time and the more you can empower talented people around you to accomplish these tasks while you oversee the process, the better. After all, what’s the benefit of doing what you love if you’re so worn out at the end you can’t do it again?

Even if you don’t have the capital to hire salaried employees, you need to “start thinking like a studio” as Sheri Candler says. With each project you’ll find people you want to work with again and others that you’re pretty sure you won’t be sending a Christmas card to this year. Either way though you need to get help… or I guess you could move back in with your parents, not have a spouse, kids, or pet and that might work too.

Lesson 3: Adapt and Respond

Another important lesson we learned was in the casting process of “A Christmas Snow,” we had this idea to do an open casting call in December 2009 for every part in the film. Actors and actresses could upload a video of themselves to our Facebook page http://www.facebook.com/AChristmasSnow as an audition, not only would it possibly help us find a cast for our film but we thought it would be a great way to get the word out about our film. The director, Tracy J Trost, recorded a video for each part with his vision for the character and his direction for the lines they would need to read. We had hundreds if not thousands of submissions and most people loved the entire process. However, one thing we hadn’t thought of was some actors/actresses didn’t want to put their auditions up publicly for all the world to see, in addition to that, one of the parts was for a 10 year old girl and a few parents were uneasy about uploading their daughters’ audition to our facebook page as well. We hadn’t figured anyone wanting to be a movie star would have an issue with being seen publicly, but we found out they did.

This was one of the many times we found out you will always need to be ready to adapt and respond as you begin to deploy your plans. Some plans will work almost exactly as you had planned and others will look nothing like what you thought and there is one common reason for this: PEOPLE. You can never guarantee what they are going to do, or more importantly, how they are going to see things.

What you thought was a great idea might be a terrible idea to the audience you are trying to reach so you need to be ready to adapt and respond. What you think is a great deal, might seem like a ripoff to your audience and you need to adapt accordingly, all the while keeping the goals you have set for your film in mind.

Look Mom No Hands

These are just three of the many important lessons I’ve learned over the last year as a PMD and quite honestly I wouldn’t change a thing, except for maybe a few more DVD sales :-) But the truth, is if you want to be an experienced PMD, then start getting some experience. There is no right or wrong way to do it, as long as it gets you where you want to go.

So find out where you want to go, take off the training wheels, get out there and start trying something – anything, all the while learning from those along side you who are trying as well. Follow other PMD’s on twitter and befriend them on facebook, when one of us succeeds, we all succeed. I look forward to hearing of your successes and soon to be successes (formerly known as failure) and please above all else, enjoy the ride!

About Joe Jestus: Joe Jestus is currently the PMD at Trost Moving Pictures an independent film studio based in Tulsa, OK and according to his Twitter Bio he’s also a husband, father, and BFF. You can reach him at: Twitter or Facebook but please don’t interrupt his daily epic ping pong match.