I know what you’re thinking – Why is this filmmaking, modern moviemaking advocate of internet VOD distribution talking to you about how to design a DVD cover?

Because…

Regardless of distribution technology, your audience still values the visual representation of your movie as a tangible product. And in ways akin to marketing an eBook via Amazon Kindle, you still need a killer design to represent your movie.

To help explain this further, I reached out to my buddy Ian Hannin. If the name sounds familiar, it means you probably read popular comic books. Over the past decade, Ian is responsible for coloring some of the most popular comic books in existence for Marvel Comics and DC Comics.

But in addition to Ian Hannin’s comic book coloring experience, he also designs movie marketing materials, such as movie posters, virtual covers, DVD covers and the actual artwork that goes on a DVD disc to make it look pro.

Jason Brubaker
How important is having good movie art for filmmakers?

Ian Hannin
People judge a book by the cover. Same with DVD or virtual DVD. You need to have high end, awesome illustration.

Jason Brubaker
What components of movie marketing art are most important?

Ian Hannin
Make sure the design complements the subject matter and tone of the movie. A lot of filmmakers fail to think about their target audience when designing movie marketing collateral.

Jason Brubaker
What’s the biggest mistake filmmakers make in their design?

Ian Hannin
The craftsmanship of the DVD cover often leaves a lot to be desired. In the popular marketplaces, such as Amazon and iTunes, your movie will be competing for virtual shelf space with expensive studio titles. Your job is to create high resolution, easy to read and enticing movie marketing materials… Does the movie artwork draw you in and make you want to see the movie?

Jason Brubaker
A lot of filmmakers try to do this themselves. What is your advice there?

Ian Hannin
If you have someone in your team good at graphic art, awesome. Just make sure your art complements the movie and helps you attract your target audience. But if you don’t have a good guy on your team, you can always email me. Maybe I know someone.

Jason Brubaker
You mean like you?

Ian Hannin
Maybe. HaHa!

Jason Brubaker
How can filmmakers hire you?

Ian Hannin
Go to www.IanHannin.com and contact me through the contact page.

Jason Brubaker
How much do you charge?

Ian Hannin
Depends on the package. Just email me at www.IanHannin.com. Let me know what you’re looking for.

Jason Brubaker
Thanks for stopping by Filmmaking Stuff!

Ian Hannin
Thanks. Happy to help filmmakers in need of art!

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Next time you need to make your filmmaking stuff look awesome, reach out to Ian Hannin and see if he can help you. Oh, also, in full disclosure, I am friends with Ian. He will probably buy me a burrito for any business I throw his way.

Happy Filmmaking!

Posted under INTERVIEWS

In the following FREE 100 page filmmaking action guide, TEN very well known filmmakers provide insight to the ever changing world of Independent filmmaking.

“Here’s a Brief Overview Of What’s Included In This FREE Filmmaking Action Guide!”

 

Posted under INTERVIEWS

Filmmaker Levi Abrino Hits The Big Time

Any time you take action towards the realization of your filmmaking goals, you will inevitably meet people who think your pursuits are silly. These cynics will ask, “what have you done?” And you’ll respond: “I made a short. It’s in the film festivals.” And invariably, these cynical idiots will shrug their shoulders, and shrug you off, saying “Never heard of it.”

Thank goodness there are filmmakers who don’t give a crap about these idiots.

Back in 2003, before before I moved to Los Angles, I stopped by my Pennsylvanian hometown for the Harrisburg Arts Film Festival, where I saw a short movie called Burying Dvorak by filmmaker Levi Abrino. I gotta tell you, the film was awesome. Levi is talented.

I was so moved by Levi’s story, that I made an effort to stay in touch with Levi through the years via some of the social networking sites. And I gotta tell you… Some awesome things have taken shape in Levi’s life. Last year Levi edited a short called God Of Love. You may have heard the movie. God Of Love won the 2011 Academy Award for the best short!

Not bad. But it gets better…

Later this month, Levi has been invited to screen his current movie Little Horses at the Director’s Guild here in Los Angeles.

Aside from promoting Levi, I felt compelled to share his story because it serves as a reminder to us all. It is important for all filmmakers push through the BS and make your movies… No matter what anybody thinks or says about you.

Because you never know. Sometimes even a short movie can win you an Oscar!

 

Posted under INTERVIEWS

If you’re just starting out as a filmmaker, deciding if you should attend a traditional film school is something you need to decide. And it’s a costly decision – some of my friends here in Los Angeles are over fifty-thousand dollars in debt.

While most of my friends value having a college education, all agree that having a  film school degree will not guarantee success in Hollywood. Like any industry, becoming successful requires passion, commitment and hard work.

Last year, I was introduced to filmmaker Seth Hymes. When he was in high school, he worked as Production Assistant, Sound Tech and an Editor. After high school, he went off to film school. In fact, he graduated from NYU with honors. From there, he was an editor for Fox News Channel and also managed to get two features into production.

So I sat down with Seth and asked him some questions about his experience.

Jason Brubaker
Seth. After visiting your website and chatting, you seem to have an interesting perspective on formal film school education. What are your thoughts? Is there any value in film school?

Seth Hymes
No, there isn’t. And it’s a great question. What does “value” mean? It means that something adds merit or worth to your life for a reasonable cost. A lot of people say things like “you learn the basics” and it’s a “good place to experiment”.

Jason Brubaker
So in your experience, you think film school is over priced?

Seth Hymes
Well, in film school, you write a check for $100,000. In return, they give you a $2,000 video camera and tell you how to push the on button. Are you going to learn something? Sure. Is it valuable? No. There is no value in learning basic technical concepts for an obscene mark up in cost.

Jason Brubaker
In the past, students enrolled in film school because held the promise of networking, as well as access to equipment. You’re saying this sort of stuff is no longer relevant?

Seth Hymes
The 3 main “values” of film school are no longer relevant. They are, access to equipment, lessons in filmmaking craft and connections. In the 60s, 70s, and 80s, when people like Lucas, Scorsese, and Spike Lee went to film school, it was probably a good investment. You couldn’t just pick up a high quality HD camera and start shooting. Filmmaking equipment cost a ton of money and was hard to find. You really couldn’t learn about things like continuity and storyboarding without either apprenticing with a filmmaker or going to school. And it was a good place to meet other creative professionals.

Jason Brubaker
But all of that has changed.

Seth Hymes
Yeah. If you look at today, High Definition filmmaking equipment costs less than a semester at most film schools. The craft of filmmaking, from lighting, editing, shot composition, writing – all of it is available to learn on websites like yours, as well as other sites all over the net. And these days, most connections happen through the net. And further, many new filmmakers find their agents because they produce a short and get some heat on youtube, rather than meeting them in school.

Jason Brubaker
Sort of a silly question. But would you recommend that anybody attends film school?

Seth Hymes
I do not recommend anybody attend film school. It is an unholy waste of money and time. And not only are the schools making a huge profit, they also neglect to teach their grads about anything of real value or importance when it comes to having a career in the business. Things like real networking, fundraising, or film distribution.

Jason Brubaker
So instead of film school, what suggestions do you have for any students who is considering a degree in filmmaking?

Seth Hymes
If you’re considering film school, here’s the litmus test. If it’s a community college or vocational school where classes are anywhere from $60 to $1000, go for it. If anyone is charging more than that, they are making an obscene profit and should be dismissed outright. You will be mocked within the film business for attending such an institution. Instead, I recommend that students save their money, buy their own equipment, and learn how to shoot their own movie.

These days, filmmakers can learn everything you need to know in a week or less.

Jason Brubaker
Reading your posts on other websites and the comments that follow, I can see why some filmmakers, especially the filmmakers sitting on film school debt can get a little emotional with your perspective.

Seth Hymes
Most film school grads and filmmakers agree with me, but there are a few haters. Some people hate hearing the truth. It’s hard for some people to admit they got hosed out of $100K, but the consensus everywhere is that film school is a waste.

Jason Brubaker
I took a look at your website. Tell us what you teach there.

Seth Hymes
I teach people first, exactly why places like NYU are a complete joke and secondly, what to do instead of film school. There’s a lot of pressure to go to college, and I understand that. My book “Film Fooled” is a powerful reality check, a class by class account of NYU’s film curriculum to help people realize that no, they are not missing out on anything by skipping film school.

Jason Brubaker
Sounds like you think film schools should improve their curriculum.

Seth Hymes
Yeah. I get into the stuff they should be teaching in schools. Mainly, how to be taken seriously as a director from day one, how to get on real film sets, meet real working filmmakers, write feature scripts, manage a set, hire film students, and get seen. Anyone taking my course will be 4 years ahead of any film school student in just a week.

Jason Brubaker
Ok. So tell us about your online film course.

Seth Hymes
Ok. To find out more about my courseware at Film School Secrets, prospective filmmakers can Click Here!

Jason Brubaker
Thanks for stopping by Seth.

Seth Hymes
Thanks for having me.

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As a general disclaimer, all the links in this article are affiliate links. Please conduct your own due diligence before making any purchase, both here and anywhere on earth.

Posted under INTERVIEWS

I love Kevin Smith’s attitude towards modern movie distribution. If you’re like most independent filmmakers, what Kevin was able to accomplish from his days of Clerks has been amazing. Back then, he not only dreamed the Sundance Dream, but he realized the dream.

The Sundance dream is the idea that you will make your movie, get into Sundance, sell your movie and live happily ever after. As I have been telling you all along, the demise of DVD sales channels, replaced by ever evolving VOD marketplaces are impacting Filmmakers everywhere.

These days, if you are going to make movies and profit, you must now view your independent movie business in ways akin to how any business owner handles their business. You must source and grow your own audience list.

In the following video Kevin Smith shares his perspective on modern movie distribution and how the brave new world is impacting indie filmmakers.

Please feel free to comment.

Posted under INTERVIEWS

As a filmmaker, getting your movies produced sometimes seems impossible. And if you haven’t yet made your first feature, it is often very easy to get caught up in all the reasons why it can’t be done.

My screenwriter friend Jurgen Wolff forwarded this great filmmaking video with John M Chu. In it, he shares some of the innovative approaches he took to filmmaking, including starting small on YouTube, making the process interactive, finding ways to leverage input, and how modern moviemaking has changed the game.

While I don’t yet know John personally, I think his approach to filmmaking is smart and worth listening to.

If you like this sort of filmmaking stuff, why don’t you sign up for the Filmmaking Newsletter?

Posted under FILMMAKING, INTERVIEWS

Nathan Wrann is a talented, experienced and enthusiastic filmmaker. While his movies are still considered underground, his filmmaking philosophy is universal.

This is a man who goes against the odds, makes the movies he can make – without asking permission. Nathan Wrann’s drive and ambition has enabled him to get some features under his belt.

I interviewed Nathan because he serves as a good example for any filmmaker who ever wanted to make movies without making excuses. In our talk, we cover down and dirty tips for no-money productions, promotion, marketing and distribution. This is a man who doesn’t care about reviews. This is a filmmaker who wants to do meaningful work that is unique.

Originally, I thought I would break this interview in two parts – but I ended up posting it in it’s entirety.

Download The Interview Here   >>

After listening to this podcast – If you like Nathan,

1. Read his blog:   nwrann.wordpress.com
2. Watch His Second Feature: www.burning-inside.net
3. Watch His First Feature: www.huntingseason-themovie.com

Posted under FILMMAKING, INTERVIEWS

As we get closer to an independent filmmaking business driven by video on demand distribution, I am on the hunt for various case studies that can help filmmakers navigate the changing world.

I caught wind of an indie production company based in Australia called Rapidfire Productions. This is a production company that operates as a self sustaining modern moviemaking business. They develop, produce and distribute their genre specific titles through their own distribution arm. David W. Allen is one of the producers. Earlier this week he stopped by Filmmaking Stuff to share some ideas on how to make, market and sell movies through new forms of internet distribution.

Jason Brubaker
What is your name?

David W. Allen
David W. Allen

Jason Brubaker
How did you get started making movies?

David W. Allen
I have always been into making movies with my long time best friend and director of our most recent feature, “The Gates of Hell,” Kelly Dolen. As kids in our early teens we would always be running around with a video camera making home movies and writing our own horror and action screenplays.

Jason Brubaker
And then when you felt ready, you made the shift to features?

David W. Allen
Yes. Our first feature length film was a low low budget vampire flick called ‘Reign in Darkness’ which we both wrote and directed. We only had $49k to make this with and considering the budget it came out okay.

Jason Brubaker
Sounds like an exciting first feature.

David W. Allen
We jumped on a plane to LA wide eyed and innocent to sell our film and make it big in Hollywood.

Jason Brubaker
I felt the same way after our first feature. It’s like you work so hard to make the impossible, possible. Hollywood sure seems like the logical next step.

David W. Allen
Ahhhh how naive we were all those years ago. [Laughter]

Jason Brubaker
So what happened? Were you able to sell the movie for an amazing cash advance and get a 3 picture deal?

David W. Allen
We ended up getting a distribution deal with a sales agent who we were introduced to by an entertainment lawyer.

Jason Brubaker
Was it a good deal?

David W. Allen
No. We got ripped off and didn’t see a great deal of money for the film. That was 10 years ago. Today the title is still selling out there, online. The movie is making money for other people but not us.

Jason Brubaker
How did that change your perspective about traditional distribution?

David W. Allen
I learned a very valuable lesson with ‘Reign’ and vowed if we ever made another feature film we would distribute ourselves.

Jason Brubaker
I agree with you. Especially when it comes to video on demand distribution.

David W. Allen
I could see where the Internet was heading and knew it was going to be the way to reach our future audiences with our Independent films.

Jason Brubaker
What is Rapidfire Productions?

David W. Allen
Rapidifire Productions was established by Kelly Dolen and myself in 1999 with the sole purposed to produce a diverse, wide range of Independent high concept genre films, ranging from action, drama, horror and sci-fi.

Jason Brubaker
So you are staying very genre specific?

David W. Allen
Our long-term goal was to make commercially successful projects that satisfy a marketplace craving for intelligent genre films and build a distribution arm for low budget Indy films.

Jason Brubaker
And it sounds like your title called “The Gates Of Hell” fits your model. Tell us about the project.

David W. Allen
The Gates of Hell is a dark psychological thriller and horror flick which is inspired by a combination of “old school” films like The Exorcist and The Thing and the adrenalin of cutting edge video games like Gears of War and Manhunt.

Jason Brubaker
Could you tell our readers where to find out more about your movie?

David W. Allen
Here is the website: www.TheGatesOfHellMovie.com

Jason Brubaker
How did you come up with the idea?

David W. Allen
It was back when Kelly and I were sharing a place together and we were talking about what we can make next for a low cost and high commercial value. We were talking about a filmmaking seminar we attended in Melbourne, Australia conducted by Dov Simmens, a Hollywood indy filmmaking guru.

Jason Brubaker
I am familiar with Dov and his work. What was the most inspiring advice he gave you?

David W. Allen
He said the best thing to do with your first film is to get a bunch of young people and take them to a single location and chop them up.

Jason Brubaker
Ha! I think that is sound filmmaking business advice.

David W. Allen
That was the thought process that ignited the idea for The Gates of Hell.

Jason Brubaker
So once you had your idea, what came next?

David W. Allen
Kelly and I started brainstorming ideas and we come up with an old condemned orphanage that used to house discarded deformed children that upper class people didn’t want.

Jason Brubaker
That sounds like a true horror movie.

David W. Allen
We researched this online to see if in fact a place like this did exist and they did back in the early 1940’s. And then we added some Hollywood to the idea and the first treatment was written.

Jason Brubaker
So once you had the treatment, what came next in your process?

David W. Allen
From there Kelly ran with the idea and developed it into a screenplay which was constantly developed over some years to get it to a stage where it was ready to make. We had a local artist drawing characters for the film and story boards you name it was all happening.

Jason Brubaker
What was your role during this time?

David W. Allen
I focused on the producing and marketing. I was responsible for developing an internet marketing strategy, building the website and creating the entire online distribution business model. I planned an online release from the very beginning.

Jason Brubaker
Building your movie business plan based on an internet marketing strategy is a very new concept. Was there any pushback from other producers or investors?

David W. Allen
The Investors had no intention of going down this path. They wanted the big blue sky and Hollywood. But I knew in the end they would end up going with my plan to self-distribute.

Jason Brubaker
What was Kelly’s role?

David W. Allen
Kelly went out and raised the large majority of the money from investors of our previous film and the new investors came from people he knew from his years selling home audio equipment at the large retailer JB HI-FI. The main investors were customers of Kelly’s from this store and over the years they come to value him as a friend more than just a shop assistant.

Jason Brubaker
So would you say that filmmakers must first understand the value of relationships?

David W. Allen
There is such a valuable lesson to be learned here especially with the social networking explosion on the Internet… Success is all about the relationships both online and offline.

Jason Brubaker
That makes me remember a quote I learned while selling overpriced hot tubs in college. “People buy from people they trust and like.”

David W. Allen
In my opinion this is the key to being successful in offline and online business and film distribution. Over time your followers will come to trust you and believe you, so when you have something to sell they will be far more likely to buy because they feel like they know and trust you.

Jason Brubaker
So let’s talk more about your movie sales strategy. How did you handle the sales, marketing and distribution?

David W. Allen
After the film was completed we took the film to a number of film festivals such as Screamfest, Amberg, Sacramento, and NYC. We also attended some film markets such as AFM and Cannes.

Jason Brubaker
Were you able to gain any traction?

David W. Allen
The film had great reviews but with all the positive hype around the the film the distribution deals were not very favorable and we didn’t want to go down the same path as we did with our first film ‘Reign in Darkness’ where were got a raw distribution deal.

Jason Brubaker
That is a tough choice. Many first time feature filmmakers will consider deals that do not pay a dime, just for the validation that comes from someone else saying “Great work! You’re a REAL filmmaker!”

David W. Allen
Yeah. But being passionate about everything Internet, I was pushing the proposal of just self-distributing online. But it was a hard sell to our investors who wanted to see the film in cinemas and up in lights.

Jason Brubaker
That is interesting. I guess some of those folks need traditional validation too?

David W. Allen
Well, all I wanted was to see a positive net return for sales of the film and focus on introducing the film to its market online and letting its popularity spread over time.

Jason Brubaker
Sounds like a pragmatic approach to your modern movie business. Were you able to get your way?

David W. Allen
I managed to get my way in the end with a little compromise. The investors wanted to see the movie in the cinemas so we did a distribution deal with an Australian distributor for Australian and New Zealand rights.

Jason Brubaker
Sounds like a hybrid deal. You retain some rights, while licensing other rights through other channels. Was this a profitable strategy for your movie?

David W. Allen
As I am writing this, the distributor is still yet to do anything with ‘The Gates of Hell’, which is no surprise to me, but a big lesson for the investors who wanted a quick return and blue sky.

Jason Brubaker
At least you can move forward with your own internet movie marketing strategy. Can you tell us a little more about your marketing plan?

David W. Allen
My marketing plan is simple. With very little money, I am taking the advice of a brilliant marketer Seth Godin and build a tribe and sell the movie to that tribe who over time will spread the word.

Jason Brubaker
What are the mechanics involved in building a tribe?

David W. Allen
I will be collecting emails from prospective customers so we can sell them backend products that they actually want.

Jason Brubaker
What about marketplaces? Where will you actually sell your movie?

David W. Allen
My distribution plan is to start off with selling the DVD then when I get some traction in the market I will approach a VOD distributor and then an iTunes aggregator and Amazon. I will also look at Netflix but I will wait until it gets more popularity so to get a better upfront fee.

Jason Brubaker
You mentioned DVD. Who is going to handle your DVD fulfillment?

David W. Allen
For the DVD distribution I use a company called Disk.com. They were highly recommended to me by some of my Internet marketing peers who use them to create and distribute their information products. They are based in the USA and is a great place for the shipping of the DVDs within the US and throughout Europe and the UK. There are some great companies here in Australia but the shipping costs would be way too high given our main market is in the USA and UK.

Jason Brubaker
Outside of distribution and your website, how are you spreading word of mouth?

David W. Allen
Facebook Pages and Twitter play a bit part in my strategy. I use these platforms to build what is called Market Leadership. I also hit the forums and get involved in the top ones and this is a great way to get people to check out the film.

Jason Brubaker
What about getting prominent website owners to review the movie?

David W. Allen
I am sending out copies to influences in the market place, people who already have a large following in the horror market and if they like the film they will tell their tribe about it.

Jason Brubaker
When I first saw your movie website, I was impressed. I think it has all the components necessary to create a movie sales funnel. But you also have something called an opt-in box to build your mailing list. How important is a mailing list for modern moviemakers?

David W. Allen
Very important! It is such a valuable asset for filmmaker if they don’t abuse it. It takes so long to build traffic to your website so you want to be capturing as many leads as possible so you can stay in touch with them, send them cool free stuff and then sell them backend products related to their film.

Jason Brubaker
Yes. I think filmmakers need to take charge of sourcing their own core audience. But what about in-between projects? How do you leverage your list?

David W. Allen
Between projects, the other thing filmmakers can do is introduce other people’s related products to their list for a fee or on an affiliate basis. Over time your mailing list will become very valuable. The bigger and more responsive the list, the more other industry players will want to pay filmmakers money to get related products or films in front of their subscribers.

Jason Brubaker
What suggestions do you have for other filmmakers who want to create their own movie business?

David W. Allen
Look at the market you’re making the film for first. This is a business and if you are going to spend money on making a film you better be sure there is a big enough and hungry enough market out there to buy your film and other backend products.

Jason Brubaker
You keep mentioning marketing related products. Could you explain this a little more?

David W. Allen
I look at the film itself as a lead generation product for the purpose of building a big list. I am not all that concerned about making the money back on the DVD itself but on other monetizing avenues over time including advertising.

Jason Brubaker
That is an interesting concept. Most filmmakers do not think like marketers. Yet if we want to make money making movies, it makes sense that we would need to diversify our product offerings.

David W. Allen
The modern filmmaker needs to think beyond the film itself as the only means of generating income. The money online is where the eyeballs are. Think about it.

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To find out more about Rapidfire Productions and their titles, GO HERE

Posted under DISTRIBUTION, INTERVIEWS

Traditional independent filmmaking is changing. In years past, the independent movie business was defined by a filmmaker’s ability to find a script, locate movie investors, raise the necessary money, make the movie and (hopefully) land an awesome distribution deal – and then live happily ever after.

At least that was the dream.

But these days, the entire model of indie filmmaking has gone Topsy-Turvy. Nobody knows this better than Jon Reiss and Sheri Candler. Both are on the cutting edge of independent movie marketing and distribution.

Earlier this week, Sheri Candler and Jon Reiss stopped by Filmmaking Stuff to share some ideas on how filmmakers can think outside the box office. You can listen to the Podcast here:

Download This Filmmaking Stuff Podcast: <<Download Podcast>>

About Jon Reiss:

Jon Reiss has produced and directed three features films and has been named one of “10 Digital Directors to Watch” by Daily Variety. Based on his experience, Jon Reiss wrote “Think Outside the Box Office: The Ultimate Guide to Film Distribution in the Digital Era.” This book has gained international acclaim. Check out:  The Official Think Outside The Box Office website.

About Sheri Candler:

Sheri Candler is an inbound marketing strategist who helps independent filmmakers build identities for themselves and their films. Through the use of online tools such as social networking, podcasts, blogs, online media publications and radio, she assists filmmakers in building an engaged and robust online community for their work that can be used to monetize effectively. To find out more about Sheri Candler’s independent movie marketing services, visit her website here: Sheri Candler Movie Marketing website.

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Posted under DISTRIBUTION, INTERVIEWS

As a filmmaker, you probably know the entire world of filmmaking is going through a massive paradigm shift. Much of these changes are a direct result of distribution.

Changes in the ways in which movies are seen and sold continue to raise questions within the independent film community. The most common filmmaking questions are: How will filmmakers raise enough money to pay cast and crew? And without traditional deals, how will filmmakers make that money back?

Peter Broderick is President of Paradigm Consulting which helps filmmakers and media companies develop strategies to maximize distribution, audience and revenues. Earlier this week, Peter stopped by Filmmaking Stuff to talk about the the new world of distribution and how filmmakers can navigate the ever changing landscape of independent filmmaking.

To download the podcast <<click here>>

You can also play the interview directly within this filmmaking article.

To check out Peter Broderick’s website and learn more about Distribution U, CLICK HERE.

If you like this filmmaking article, please tell your filmmaking friends by clicking one of the social media icons below.

Posted under DISTRIBUTION, INTERVIEWS