Filmmaking Stuff Filmmaking Stuff provides resources for independent filmmakers. The website includes articles on how to take a story idea from script to screen, including articles on scriptwriting, producing, finance, shooting, editing, directing, marketing, distribution and how to build an audience. Filmmaking Stuff also has articles detailing how to make money making movies – including interviews with Hollywood Producers, Directors, writers and other filmmaking professionals.

Distribber Screenshot Image via CrunchBase

If you are looking for film distribution, there are a lot of ways to enter the marketplace. If you have been reading Filmmaking Stuff for any length of time, you know that my my film distribution strategy emphasizes three factors:

1. Video on demand distribution is the future.
2. Internet marketing is now essential.
3. You do not need a Middle-Man.

If you are looking for an easy way to access the marketplaces, check out my friends at Distribber. My affiliate link is www.MovieSalesTool.com (Yes, I get paid to promote. And I like the company.)

For a one time, up-front investment, Distribber will help you to get your movie into iTunes. As part of the iTunes deal, Distribber will also handle your Amazon VOD submission for free.

Check out the Distribber FAQs – There is a lot of useful information on how modern VOD film distribution works.

Distribber also holds a weekly Q&A conference call. I am usually (but not always) on the call. And if you’re interested, it is held on Wednesdays at noon Pacific time.

The conference call is hosted by the Distribber CEO Adam Chapnick. Adam will be happy to answer any questions you may have. You may find some of the questions asked by the other filmmakers useful as well.

Here is the film distribution conference call info:

Distribber dedicated dial-in number
1 (605) 475-4333

Access code
785208

After you get your movie into the marketplace, you will also want information on how to market and sell your movie. For that, I reccomend checking out the indie producer’s guide to Film Distribution. In it, you will get a no-fluff strategy on how to get your movie seen and selling.

Posted under DISTRIBUTION

When I put on talks about internet movie distribution, I am often asked if filmmakers should still consider finding a traditional theatrical or DVD distribution deal. My answer to that question is simple: If you have an offer and you’re happy, it’s a deal.

The problem is, most traditional movie distribution offers suck.

And the bigger problem is, most filmmakers don’t find this out until long after the festivals are over, the money has been spent and the movie is in the can, collecting dust. This is usually the time when people call me for a consultation.

During the call we discuss various movie marketing strategies, both online and offline. Our firm is interested in finding movies that have a definable hook and an established target audience. A good client is someone who has crunched numbers and has realistic expectations on how much money the movie can potentially recoup and how long this will take…

Many first time feature filmmakers believe (rightly so) that they have the most amazing movie on earth – and they cannot understand why nobody has “bought it.” While I cannot speak for prospective acquisitions executives, I can tell you two things that I see a lot with independent movies:

1. The movie has niche audience potential, but does not clearly communicate to the appropriate audience.
2. The movie does not have a clearly definable niche audience, which means the movie targets everybody.

Out of both of these scenarios, the easier one is the niche. Depending on how you pronounce the word, niche rhymes with rich. And I firmly believe that niches will make you riches. But most filmmakers fail to think this way. But targeting everybody is the same as targeting nobody (think about it) and YOU don’t have enough money to target everybody.

The other point is this, many filmmakers believe that marketing is magic. It is not… I mean, when marketing strategies work out, it’s time to open the champagne and brag about how awesome you are. But if marketing was a sure thing, movies would never flop.

My company bills $600 per hour for movie marketing consulting. Depending where you are with your own marketing and sales strategy, you may wanna forgo consulting and just grab a copy of my movie distribution guide. To add extra value to the package, I have now added a half-hour phone call BONUS.

You can find out more about the movie distribution guide here: www.HowToSellYourMovie.com

Posted under DISTRIBUTION

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If you find yourself with a movie and no idea how to sell it, get back to the basics. Unless you get an awesome distribution deal, then you are responsible for the success of your movie. The good news is, most of your sales will come from the internet. And you can get started today.

Set up your movie website at movie site host then create a way to capture targeted traffic and grow your audience list . Once you have the foundation, your next step is to drive targeted traffic to your website.

One simple way to drive traffic to your movie website is through the use of frequent press release submission.

Unlike the old days, releasing your press through the internet means you are no longer limited to traditional journalists. Instead, you can rest assured that your press will be syndicated through RSS feeds. RSS is short for real simple syndication – and many websites aggregate information from RSS feeds and re-post the “news,” complete with backlinks to your movie site.

There are quite a few paid press release submission services out there… But for $5 dollars, you can check out www.Fiverr.com and usually find someone willing to release your press for you.

Anyway, if you like this tip, you’ll love the official Movie Maker Action Pack. Grab a copy today.

Posted under DISTRIBUTION

If you like Filmmaking Stuff, you’ll love Jason Brubaker’s Filmmaking Stuff Podcast.

In these audio podcasts, you’ll get valuable information on how to source your audience, audio interviews with industry heavy weights, how to maximize box office revenues, ideas on filmmaking business models and business plans and movie distribution…

To access this FREE filmmaking podcast, click on Jason Brubaker’s picture.

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Do you know of any film festivals seeking someone to put on a film festival workshop? If so, please send them a link to this page.

Over the next year, I am hitting the road. I’m going from city to city to spread the word about modern movie distribution tactics and how YOU can benefit. I am doing this because the independent movie market is saturated with competition. And as a result, finding a traditional distribution deal for your movie (that actually pays money) is increasingly challenging.

After failing to garner a traditional distribution deal for my first feature film, I had to figure out how to market and sell my movie through modern internet marketing strategies. The good news is, five years later our movie is still selling!

As a result of this experience, I have developed an easy to follow, step-by-step modern movie distribution presentation. In it, I show independent filmmakers how to maximize movie profits without the middle-man!

If you are interested in seeing me live, forward this article to every film festival director you know. And if you can’t wait to see me, watch the video below:

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“Exceptionally sharp, focused and insightful, Jason Brubaker knows how to squeeze profits out of a film release. When I have to deal with marketing – whether it’s getting a film released or setting up a panel discussion – Jason is on my team. He knows how to do the job and he knows how to explain the process.”

-Norman Berns; Emmy-Award Winning Producer

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“Jason delivered a terrific presentation at The Business of Entertainment IV networking event. His topic was “How to Sell Your Movie Without a Middleman” and featured insights and tips on how students and independent producers can leverage Internet distribution for a profit. Jason was informative and entertaining; and he received excellent reviews from the participants. We will definitely engage Jason again and look forward to more of the same professional and personable observations and advice!”

- Von Johnson

Thank YOU for helping me spread the modern moviemaking movement.

Posted under DISTRIBUTION

I often promote the movie distribution solution called distribber. For those of you who are not familiar with distribber, it’s a company that allows you to access the popular video on demand marketplaces, like iTunes and Amazon without the middle-man.

And if you have submitted your movie to the company, odds are good you got a phone call from me. And the question you may have asked during the call is, why does distribber charge money up front?

The reason for this charge is because the folks at distribber have to go through all sorts of technical stuff to get your movie into the various marketplaces. Additionally, unlike other companies, distribber does not lock you into an exclusive distribution deal. And with the exception of an inexpensive yearly maintenance fee, distribber does not take ownership on the back end.

The thing to keep in mind is, in the world of modern VOD distribution, YOU must become your own distributor. And this means YOU will be in charge of sourcing the audience. But if you think about it, even with a traditional dvd distributor – when those folks lock you into a traditional deal, and then take your rights for VOD, you need to be careful.

A traditional DVD distributor may not do anything to help you source an audience. So you need to ask yourself, what is the value in the deal? I mean if you can get into iTunes yourself, why give your rights to someone else?

Distribber is owned by IndieGoGo.com – If the upfront distribber fee is an obstacle for your, I highly recommend creating a crowd funding campaign on Indie GoGo and raising your distribution money there. Then take the money and get your movie into distribber.

Come on. The world is waiting!

Also, most people ask me how to market and sell movies. I recommend checking out the independent producer’s guide to digital distribution.

Posted under DISTRIBUTION

With an independent movie market saturated with competition, producing a movie and finding a traditional distribution deal is increasingly challenging. After failing to garner a traditional distribution deal for my first feature, like a lot of filmmakers, I had to establish my own marketing company.  And through the process, I figured out how to market and sell my movie online.

Now, nearly six years later, I’m still cashing checks. In the following video, I provide my 7 step sell your movie system and I also reveal the five most important questions any independent filmmaker should answer before making their movie.

I hope you enjoy the video. Also, if you would like more information on how to sell your movie without the middleman, check out www.HowToSellYourMovie.com

Posted under DISTRIBUTION

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A few weeks back I gave a talk and was surprised that many filmmakers in attendance had never heard of crowdfunding.

If you are one of those filmmakers, crowdfunding provides you with the ability to reach out to your social networks and solicit your contacts for financial sponsorship.

In this “many to one” funding model, in exchange for donations, you provide various incentives. $5 dollars might get your sponsor a DVD. $500 dollars might get your sponsor an all expenses paid trip to the premier.

The other reason why I like crowdfunding is, it allows you to test a concept and source an audience from day one. In this regard, if your movie has a really sharp hook, you have the possibility of building buzz before you make your movie.

I have provided the following resources to help speed up your crowdfunding research:

Popular Crowdfunding Sites

www.indiegogo.com – Indie GoGo allows filmmakers to raise money and take whatever they get. Indie GoGo also owns a movie distribution arm called distribber.

www.kickstarter.com – This an all or nothing deal. Filmmakers either hit their goal, or they get nothing.

Distribution Tools

Assuming you are successful in your funding campaign, you will want to start thinking about your distribution strategy. To help with this, check out the following, popular distribution solutions:

www.distribber.com (my affiliate) – Owned by Indie GoGo, with a one-time upfront fee, this company allows filmmakers to access the popular VOD marketplaces, in a non-exclusive deal. In other-words, with this company you can avoid locking yourself into some sort of crappy distribution deal. And since the company is owned by Indie GoGo, many filmmakers utilize crowdfunding to cover their distribber distribution costs. Pretty smart, right?

www.DynamoPlayer.com – in ways akin to YouTube, this company allows filmmakers to upload their movies and then embed anywhere on the net. The video is then linked to PayPal or Amazon payments, which enables filmmakers to easily receive payment. The challenge with Dynamo is sourcing an audience. Unless you have significant web traffic, making money can be a challenge.

Also, read this article from the Wall Street Journal – The SEC is considering lifting regulations on private offerings. In the very near future, filmmakers may be able to sell shares of ownership through crowdfunding. It’s still a long way away, but worth thinking about.

Hope these filmmaking resources help. While you’re here, sign up for my newsletter >>

Posted under FILM FINANCING

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As a filmmaker, you probably know that most prospective investors are business savvy and inevitability, one of their pressing questions will be: “How do you plan to sell this movie and return my investment?”

In the old model of filmmaking, traditional distribution was a lottery. So to answer that question, most filmmakers, especially first time filmmakers said something like this: “Filmmaking is risky. If we are lucky, we will get into Sundance and get a distribution deal.”

Investor: “What? That’s not a business – that’s gambling!”

THE NEW MODEL FILMMAKING (EXAMPLE)

Disclaimer: What I’m about to share is total FICTION and should NOT be used in any business plans you create because I am neither a lawyer or an accountant. And I express my right to free speech as I share this imaginary scenario. 

Filmmaker: Well, in our business, we hold the rights to an outstanding screenplay that taps into a well targeted, genre specific audience. We have budgeted the movie for $100,000 dollars. And given the genre, we do not need star talent. We are keeping the budget low – most folks have agreed to work for a salary, and all have agreed to residual compensation in the back end.

At present, our crowdfunding campaign has allowed us to test the concept. And with sixty days left in the campaign, we have already sourced several hundred donations, giving us $8,000 dollars to pay for our website, marketing and PR.

Upon completion of our movie, the title will available in all the popular marketplaces, including Amazon and iTunes. And as we speak, in addition to crowfunding, we have already contacted our audience list of 20,000 people (from our last movie in a similar genre) who have expressed interest in this upcoming title. Combine this with several partner filmmakers which will roughly expand our audience footprint to well over 250,000 targeted viewers.

So at the time of release, if we project sales at 2% of 250,000 people. This means that 5000 people will download the movie at 9.99… which will be close to 50K minus a 40%  marketplace fee and a 10% commission to our partners – and we should be able to immediately return $25,000.

Each subsequent quarter, we would like to continually re-invest 10% of the revenue into further list building efforts. And we would like to keep 30% for the producer and crew compensation. Which should leave you with a 60% cash dividend, to be paid quarterly. Assuming we can bring in $30,000 per year, in 7 years we will have more than $200,000 in revenue for this title. At that time, $20,000 would have been paid to marketing, $60,000 would have been paid to cast and producers and $120,000 would have been paid to investors.

As soon as we pay back the initial investment, we would like to split our revenue 60/40. In other words, the producers and crew would get 60% and you would continue to get 40%.

Prospective Investor: I see…

Filmmaker: Of course, there is always the small chance that we could get lucky – if we got a 5% return on our initial campaign, and 12,500 people immediately downloaded the movie at $9.99, our revenue will be close to $125,000 – minus expenses. But I need to remind you that this is not likely. And we would still have to pay a commission.

Prospective Investor: Oh. This makes sense.

Fimmaker: Great. Would you like to invest?
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While I have provided a FICTIONAL example of how some filmmakers may decide to navigate this new movie business, my whole point here is this:

It is important to realize that success of a movie is no longer based solely on handing off the movie to some 3rd party distribution company. If you want to make it in this new world of filmmaking, you need to stop waiting for someone else to manage the business aspects of your movie and your career. Instead you now need to take a vested interest in the success of your project.

If you’re helming your movie project, nobody cares about it more than you. But if you aren’t afraid to provide everybody on your team with a bit of ownership too – you’ll soon be surprised to learn that word of mouth spreads a lot quicker when your entire cast and crew has a vested financial interest in the project.

In this regard, when you win, everybody wins!

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Three resources you can grab right now:

1. Fat-free Movie Making ideas for those of you who hate asking permission:
www.FreeFilmmakingBook.com

2. Follow me on Twitter to get cool micro-ideas on how to make your movie now:
www.twitter.com/filmmakingstuff

3. Connect with me on FaceBook so you can tap into my 2000+ Movie Maker connections:
http://www.facebook.com/pages/Filmmaking-Stuff

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DISCLAIMER (again) – I’m a filmmaker – not a lawyer or accountant. I’m expressing my freedom of speech for your entertainment. If you’re still reading this, I want to make it very clear that I made most of those figures up as a fictional EXAMPLE. You’ll have to figure out your own numbers and crunch your own data and make your own relationships with prospective investors. And always speak with a qualified professional before you do anything.

Posted under FILM FINANCING

In his book, “Think Outside The Box Office,” Jon Reiss coined a new filmmaking job called Producer of Marketing and Distribution (PMD). This idea was born of the fact that modern independent moviemakers must now create their own marketing and forge their eventual distribution strategy from day one.

Having had extensive experience in producing, marketing and selling my own movies, I agree that moviemakers must now take a much more comprehensive approach to the business side of independent film. With lower production costs predicated on the dramatic shift in distribution, Filmmaking is now a Small Business… And as a result, I am also of the opinion that the role of PMD as well as some other roles are now necessary.

What I am about to propose is a bit radical. So if you would like to bury your head in the sand, that’s understandable. You can stop reading now.

But for the rest of us filmmakers, eager to face this brave new world of indie filmmaking head-on, in addition to hiring a PMD, I propose that the entire production team must now take a vested interest in the success of each movie. To explain and explore my point a bit further, let’s examine the realities of moviemaking.

Traditionally, when making a movie, filmmakers break down a script, create a schedule, figure out who they need to hire, create a budget, raise the money, hire freelances, pay the freelances, make the movie and then sell the movie – In this old model, before non-discriminatory VOD distribution, the idea of making a movie was like the lottery. Very few filmmakers ever gave thought to the marketing and eventual sales of the movie. They just made the movie, traveled the festivals and film markets and hoped for the best.

In the event a good distribution deal transpired, investors got lucky. If it didn’t happen, investors would once again learn the age-old lesson that filmaking is risky. In the meantime, after WRAPPING, the hired freelancers working in this space would simply collect their final check and move onto their next project. And they could really care less about distribution…

But this has to change.

Why?

There was a time when making a feature was more expensive. The market had less competition. Physical video outlets were more abundant. Festivals were emerging in mass… And distributors were less picky.

But now, anybody with a HDSLR camera can make a good looking movie. That doesn’t mean everybody can make a good movie – but it does mean that more product in the marketplace, combined with decreased distribution outlets creates excessive supply. This added competition floods the marketplace and subsequently decreases the potential for return – which makes it really darn tough to get your independent movie seen and sold!

What we are experiencing is the film industry equivalent of sweat shop labor flooding the market with cheaply produced product. And as a result of these diminished margins, filmmakers must now think in terms of volume. So instead of putting 100% focus on simply making one movie, the model must now involve planning for, and creating a library for a minimal budget. In other words, we need to think about our movie business like a mini-studio, or a small factory. And instead of hiring freelancers – I suggest creating salaried positions whereby everybody on the production team shares a percentage of ownership and profits.

While this may at first seem outlandish, I’m simply shoving filmmaking into a traditional upstart model, complete with stock options. And like most upstarts, each employee will share a vested interest in making the company profitable.

Am I off my rocker? Click here to comment >>

Posted under FILMMAKING