How To Network In Hollywood (Or anywhere, really)

The other night, I was at some party. I didn’t know a lot of people, but this is nothing new.

Learning how to network in Hollywood, or anywhere really is one of  the most important skills you can refine. Besides, meeting new people is fun. It leads to new ideas and new opportunties.

But every so often, you will meet a jerk or two .

That is exactly what happened when I walked into a conversation where this guy was bragging about his shoes. Something about Italian leather or some crap.

Anyway, as the conversation shifted from shoes to the movie industry, I started to chime in about video on demand distribution.

And do you know what?

This guy…

He totally looked down at my shoes. He noticed my low top Converse and literally cut me off mid-sentence.


(I promise this is not a segue into a fashion blog…)

But here’s the fun part. Later in the evening, I guess somebody tells this guy that I’m connected… That I know people. That maybe I can introduce him to people who could help him in his career.

So this filmmaker comes up to me and actually starts talking about a movie idea.

Pretty silly. No thanks.

I don’t think him and I will ever do business together.


Frankly, because I don’t like him. He made a poor judgement on how to treat me.

This is an example of BAD NETWORKING

Here is a video on how I thought about Hollywood before I got into the game.

A lot of filmmakers visit LA, wondering how to network in Hollywood. Before I get too far into some awesome networking tips, let me clarify something.

You don’t have to be in Hollywood to make movies!

But if your goal is to make movies, you are going to need a way to raise money. And unless you have a rich uncle or an awesome hookup, you’re going to have to do what most unknown filmmakers do… They get out there and they hustle!

Which begs the question:

“How do filmmakers meet and network with rich people?”

Good question.

You will meet rich people through your ever expanding network of awesomeness. In other words, you’re going to make lots of cold calls, take lots of lunches and network!

The following principals will reveal how to network in everyday life. But importantly, they will show you how to network in Hollywood.

Here is the reason you need to learn how to network in Hollywood:

Odds are good that if you make movies, sooner or later you’re going to end up in Hollywood.

Makes sense right?

how to network in Hollywood with Jason Brubaker

How To Network In Hollywood

As you can probably guess, the guy in our previous example needs to learn how to network in Hollywood. (Or anywhere, for that matter.)

And maybe you’ve experienced this type of crap too.

It happens all the time. I mostly see it at film festivals. Somebody approaches you and immediately asks what you do.

As soon as you tell the other person, there is a beat – A moment or two when the person decides if you are worth his time.

If not, then the other person will feign a polite interest in you, look over your shoulder for someone more important to talk to and leave the scene, tossing you a business card on his way out.

Whenever someone mentions the word “networking” the mental picture that comes into focus, often involves an overly energetic schmoozer who hands out business cards like candy.

These people typically have their own agenda in mind and could care less about you – unless they could potentially USE you.

While this strategy may be utilized by many up-and-coming filmmakers, it won’t be ours.

Avoid becoming a walking business card dispensary”

In order to avoid becoming a walking business card dispensary,  every time you think about networking, I want you to focus on one thing – and one thing only.

Focus on the other person!

If you like the other person and think they are a nice human being, I want you to always focus on finding ways to help. By helping other people reach their goals, all the lessons we spoke about (rapport, reputation and building relationships) will work in your favor.

Here is what I learned. Help enough people, and enough people will help you.

Simple, right?

Action Steps

  1. Build a network of like minded individuals.
  2. If you live in a small town like I did, try to find a local art scene and other local filmmakers.If your area is limited, then contact people through social networking websites.
  3. Consider taking weekend trips to film festivals and screenings within your proximity. Strike up conversations.
  4. Consider helping as PA for movies in your area.
  5. Once you make friends. Go to their screenings. Get business cards. Follow up. Always ask yourself: “What can I do to help this person succeed?”

Get Movie MoneyOne of the best parts about working in the movie industry is meeting other like-minded, creative people. If you go out of your way to help other people as much as you can (without allowing other people to take advantage of you), then you’ll be in very good shape when it comes time to create your own projects.

If you’re still trying to find out how to network in Hollywood, or if you are looking for strategies on how to meet and mingle with prospective investors or Hollywood Heavyweights – I recommend you check out my guide focused on: “How To Meet Rich People So You Can Fund Your Movie.”

How To Navigate The Toronto Film Festival

A few years ago I served as the director of operations at a popular video on demand aggregator called Distribber. At the time, Distribber was owned by Indiegogo. But a few months ago, the company was acquired by new owners.

Since the transition, I have seen a dramatic improvement in both the filmmaker friendly offering and the service. This is why I continually promote the company.

So when the new owners and I discussed the Toronto Film Festival, it just made sense to attend.

. . . And that brings me back to here.

I just arrived in in Canada and I’m in the airport taxi line, waiting for a car back to my hotel. I strike up a conversation with the guy in front of me.

Wearing a trucker hat, this is Elliot Kotek, the current Editor-in-Chief of both Beyond Cinema magazine and, as well as an Entertainment Correspondent for ABC Radio. He recently produced a film called Queen Mimi – A documentary detailing how Zach Galifianakis saved a woman from homelessness.

We start chatting. We realize we know people in common. So we decide to share a cab. During our ride, Elliot gives me some tips on how to navigate the Toronto Film Festival.

Being my first time in Toronto, I’m grateful for any advice. I have no idea where I am, or where to go. All the buildings look familiar, like a city. But nothing makes sense until the cab whips past King Street.

King Street is the hub of the festival. You know you’ve arrived because the entrance is marked by a giant, inflatable tunnel with the words TIFF written at the entrance.

Outside the window of my cab, I see scantly clad women in designer dresses, arm in arm with men wearing sports jackets. It’s the hyper idealized version of Hollywood. Or somewhere awesome.

Back at my Hotel, I quickly exchange texts with my buddy Peter Gerard. You might know Peter from his days at Dystrify. Now he’s the Director of Audience Development and Content Operations at Vimeo. Vimeo is a HUGE sponsor of the Toronto Film Festival.

Anyway, he’s at the opening night party at the TIFF Bell Lightbox Festival Tower. The Bell Tower is the primary Hub of the Toronto Film Festival. And by the time I walk over, King street is jammed with the people I described earlier. I am filled with with a vibrant energy similar to Times Square.

I notice onlookers with cameras, trying to spot somebody. A local drunk yells: “If I don’t see Bill Murray tonight, I’m going to go home!”

It’s that kind of festival…

Toronoto Film Festival | King Street by Doug Taylor

Toronto Film Festival | King Street by Doug Taylor

By this time, it’s late. And the office that presently holds my festival credentials is closed. As a result, I am met at the velvet ropes of the Bell Tower by several TIFF volunteers, marked by hunter orange t-shirts, incredulously questioning my legitimacy.

Them: You don’t have a pass.

Me: I just got here. Where do I get my pass?

Them: The office is closed. You’ll have to come back tomorrow.

My lesson? Arrive early. If you arrive late, you can’t get your pass. And if you don’t get your pass, you can’t pass.

It’s around this time I meet up with Peter. He’s with this guy Paul Sturtz. Paul runs the True/False Film Festival which takes place every year in Columbia, Missouri. Paul’s festival focuses on documentaries.

We sit down at a local pub. And for the next hour or so, the three of us talk festivals, filmmaking and distribution. By this time, it’s pretty late. So we shake hands, say our goodbyes and I take the quiet side streets of Toronto back to my Hotel.

At this point, I’m hungry. The only place open is this Chinese restaurant. So I order something with veggies, and end up with this.


Eating Late at the Toronto Film Festival

DAY 2 – The Toronto Film Festival

The next day, I wake up early and make my way back to the festival. The sky is overcast, which is a welcomed relief to the Los Angeles drought I’ve tolerated for years.

Today the volunteers at the Bell Tower are much more friendly. A quick conversation, and I’m finally pointed towards my pass. All industry passes are at the Hyatt.

When you attend the Toronto Film Festival, you immediately realize the festival is huge. Movies are shown all around town. As a result, I suggest you plan your screening schedule in advance – Or grab an industry pass.

Having an industry pass will garner you access to the large Scotiabank Theatre cinemas. Once there, you’ll go up a ginormous escalator, where you’ll be able to conveniently screen most films without leaving the multiplex.

Toronto Film Festival

Scotiabank Theatre | Toronto Film Festival

The Scotiabank Theatre is also a great place to network and meet people like me. The upstairs is  swarming with distributors and industry types. I take a seat in the food court and spend the rest of the day chatting with filmmakers and other industry professionals.

Talking makes my day fly by. As I exit the theater, my pockets are full of business cards. And I immediately focus on nightlife.

Toronto Film Festival Nightlife

It is no secret that the top film festivals also have the best parties. And in my experience, most business is conducted at night. The challenge is – I am new to TIFF and I don’t really know where the parties are.

Luckily many people post this info online. A quick visit to both Twitter and this website provides most everything I need to keep busy. So I quickly RSVP to a secret email address and hop in a cab.

Fifteen minutes later, I’m in the lobby of some random hotel. I notice two dudes in sports jackets (with industry passes) entering the elevator. So I follow.

Off the elevator, there is a whole row of party workers with computers, asking questions. I approach the most friendly looking of the bunch.

Him: “What’s your name?”

Me: “Jason Brubaker.”

 There is a long pause as the guy types my name.

Him: “What company are you with?”

Me: “I’m with Distribber.”

Another long pause. He types a few more things. And suddenly I’m feeling like that scene in Return of the Jedi when Luke thinks he’s compromised the mission. Then this guy is like:

“No worries. You’re on the list.”

Inside the party is packed. And the acoustics echo so loud you have to yell to be heard – which just adds to the noise. Among the many people wearing sports jackets, I notice quite a few trucker hats.

Toronto Film Festival

OMDC Party | Toronto Film Festival

About this time, a woman shakes my hand. I move in close to hear her. She hands me a postcard, promoting her documentary. She’s produced a few movies. She is looking for distribution.

After her, I bounce from person to person. Chatting. Talking film. Exchanging business cards. There is lots of questions about the current state of film distribution.

For example, you might say something like this: “I’m seeking distribution.”

But what does that does that even mean? Does it mean you’re looking for someone else to put your movie on iTunes? Or are you willing to do it yourself?

As I leave the party, a guy approaches and introduces himself. He’s a subscriber of my filmmaking newsletter. We chat for a bit.

Indie film is a small world.

Outside, the rain is torrential. People stand around asking each other where to go next. Some sports jacket guy in the lobby is talking loud enough so we all hear. He’s too-cool-for-school, bragging about something movie related. I feel annoyed.

One guy introduces himself and offers to help me crash the next party. But I opt instead for a cab ride back to King street.

It’s still pouring. So I run into a pub. This time, I’m seated next to Bill Proctor. He’s the publicity manager for the San Francisco Film Society. And he is in town, helping out with publicity for the Toronto Film Festival.

We chat movies, the festival and people we know in common.

I head back to my hotel, invigorated for tomorrow.

DAY 3 – The Toronto Film Festival

I forgot to eat. That’s the thought running through my mind as I put on my sports jacket.

This is my last day in town, and I want to make sure I meet as many filmmakers as possible.

I decide to start my morning at the Hyatt. For the past two days, I’ve been handing out Distribber schwag as well as my business cards to friendly looking people. Turns out our Distribber “ear bud wraps” are a success.

I can hardly keep up with the demand.


Distribber Ear Bud Wrap | Toronto Film Festival

While offering schwag is one tactic, in my opinion the Hyatt is not the most inviting place to meet people. The upstairs is full of tables and booths. And most people look preoccupied with their new TIFF gift bags.

Explaining this to volunteer, it’s suggested that my best bet is to hang around the filmmaker lounge.

In addition to screening movies, the Toronto Film Festival offers educational filmmaking workshops throughout the week. These take place at the Glenn Gould Studio at CBC.

So that’s where I go.

I spend the next six hours talking to most every person who walks through the lounge. I meet filmmakers, writers, producers and other distributors. Some are newbies. Most are seasoned professionals.

Grabbing a drink of water, I run into the guy who produced the Jackie Robinson biopic, 42. He shares a quick story about Jackie’s stolen home base.

After that, some film finance guy asks me what I do. I tell him I’m a distributor.

“Not with those shoes.”

He’s presently pointing to my Converse.

Him: “Sports jacket and Converse. You’re a director.”

Me: “I specialize in video on demand and internet distribution.”

Him: “Oh. That case, I guess you’re dressed okay for VOD.”

A filmmaker breaks up this conversation. He’s raving about the Oculus Rift demo in the next room. Originally designed for gaming, Oculus Rift is virtual reality technology. And as I quickly learn, the system is far beyond anything I have imagined.

I put on the headset, and for five minutes, I am transported to another world.

Toronto Film Festival

Oculus Rift | Toronto Film Festival

While my experience with Oculus Rift is not directly related to the Toronto Film Festival – Mark my words: Virtual reality will change every aspect of the world as we know it.

As I take off the headset, dozens of TIFF volunteers and caterers set up drinks for a happy hour. And over the next hour, I am shoulder to shoulder, jammed with people.

Once again, I bump into Peter from Vimeo and then I meet this dude Jason from Imax. Then later, a Filmmaking Stuff subscriber shakes my hand. Then an actor, and then a writer, and then a director join us.

Here is our group picture:

Toronto Film Festival

After the happy hour, I join Peter for an evening screening of “Don’t Breathe (La Faille),” directed by Nino Kirtadze.

It’s nice to watch a film. And what makes “Don’t Breathe” interesting is the fact I can’t tell if it’s a documentary or a narrative. I later learn, it’s both.

After the screening, I spend the rest of the evening bouncing from restaurants, to nightclubs to private parties. Each venue is packed with people wearing trucker hats or sports jackets.

By this point, it’s midnight. And I’m once again walking back to my hotel in preparation for my early AM flight. The truth is, I should have stayed longer.

You should stay longer.

The Toronto Film Festival is more than an event. You can’t possibly take it all in, in two days.

– –

If you’re a filmmaker and you’d like information on how to build an audience, so you can get your movie seen and selling: Join me for my next “sell your movie” webinar. And if you’d like distribution for your movie, check out Distribber.



How To Finance Movies With VOD Sales Projections

Do you know the most popular question filmmakers ask me?

I’ll give you a hint. It has to do with video on demand.

Ready. . .

Without too much variation, the most popular question is: “Can you provide some VOD sales projections?”

I understand the motive behind this question.

Believe me, I do.

You’re a filmmaker. You either made an awesome movie and you’re trying to use VOD sales projections to convince your partners that VOD is the way to go. Or you are in the process of making a movie and you need to convince your investors that VOD is awesome. In both scenarios, you’re trying to find proof that movies make money in VOD.

I get that. . . But. . .

Let’s make one thing clear. Asking for VOD sales projections is asking the wrong question!

If you dig around, examples of VOD Sales successes are out there. Check out what The Polish Brothers did. And if that’s not enough, Google the case study around Indie Game the movie.

But the truth is, one filmmaker’s past success does not guarantee that your movie will be successful.

Read that statement over and over again. And if you need a little more clarity, take a look at what the cat is saying here:

VOD Sales Projections

Realizing that VOD sales projections are BS is essential for your success. And I am going to explain how you can use your new found understanding for good, very soon…

But before I go there, let’s talk about why people invest in independent film.

Why Investors Invest In Indie Film

Independent movie investors invest because (aside from having an appetite for risk and an interest in the film business) most of these people want a return on their money. If you are doing things by the book, you probably created a marketing strategy as part of your business plan. This plan provides prospective investors an overview of how investment dollars will be budgeted, spent and hopefully recouped.

In the past, trying to convince investors movies were a good investment involved projecting returns based on speculative data. To guess how much money a movie may make, filmmakers would compare their project to other successful movies.

Creating indie movie comparables is complete BS.

The reason for this is simple.

Just because you make a low budget horror movie does not guarantee your movie will have the same success as Paranormal Activity.

In fact, Paranormal Activity is an outlier. It is not a fair comparison. And using breakout hits as examples, while ignoring the thousands of unsuccessful horror movies made each year, is short-sited at best and I dare say a little unethical.

Video On Demand Sales Projections

Given the birth of VOD distribution, as a filmmaker you now have the ability to access and enter into a non-discriminatory marketplace as soon as your movie is ready. And because many of these marketplaces exist online, much of your sales will come from internet traffic.

This is actually awesome news.

It means that you can boost your sales by using a very common marketing concept called…

[Seriously… Are you ready? You are about to receive the secret sauce of modern, indie movie marketing.]

More important than VOD Sales Projections is:

Conversion Rates

What is a conversion rate?

Conversion Rate Defined, According to Wikipedia:

Your conversion rate is the proportion of visits to a website who take action to go beyond a casual content view or website visit, as a result of subtle or direct requests from marketers, advertisers, and content creators.


In other words, if you send one-hundred people to your movie website and two people buy your movie, your conversion rate is two percent. This is profound. This is life changing for indie filmmakers!

Question: Why should filmmakers be enthusiastic about the internet marketing, nerd concept of conversion rates?

Answer: If you know your conversion rates, you can model and potentially project more accurate movie sales projections from day one.

But before you start noodling around to find your conversion rates, it helps to answer the following questions:

Modern MovieMaking Model

  1. Who Is Your Target Audience?
  2. How Large Is Your Target Audience?
  3. How Will You Reach Your Audience?
  4. What Is Your Marketing Strategy?
  5. How Many VOD Sales To Break Even?

While I won’t get into the actual mechanics of marketing and selling your movie here (My Action Guide How To Sell Your Movie provides you with an actual step-by-step plan for getting your movie seen and sold), I will simply note that a marketing plan must now be included with your business plan.

The Secret VOD Sales Projection Formula

When you create (or refine) your marketing plan, you must now include some marketing math.

Truth be told, math is a weak subject for me and I dare say, most of the filmmakers I know. But luckily there are many spreadsheet templates that allow you to test several conversion rate scenarios. You can use these scenarios as a guideline to ballpark the potential ROI for your movie.

Here is a basic website conversion rate calculator you can utilize:

Before you get overly excited (like I am) calculating your movie website conversion rate is only one metric to determine your movie’s potential for profitability. You still need to figure out how to price your movie. And at the same time, you will need to determine how much targeted internet traffic will cost you.

Generating Internet traffic is the result of executing four strategies. You can either get free traffic online, free traffic offline, paid traffic offline or paid traffic online.

For the sake of this example, I am going to incorporate pay per visit advertising. With pay per visit advertising, you simply pay for someone to visit your movie website.

One example of Pay Per Visit traffic is StumbleUpon. It’s a social bookmarking site that also allows you to pay for semi-targeted traffic. This works well if you have a movie with a dose of controversy and a strong hook.

And again, if you’d like more info on specific traffic generating strategies, check out my indie guide to distribution.

Ok. Here is our first example…

Let’s assume only 1% of the targeted folks who actually visit your website, buy. Then how many visits will you need to sell 100 units?

100 units = Our goal for this ad campaign.
$.05 = Amount you may pay advertiser per visit.
X = Number of Visitors Needed to buy 100 units if only 1% buy.

(X).01 = 100 units
EQUATES TO: X= 10,000
THEN 10,000($.05) = $500 paid for targeted traffic.

So in other words, if you were lucky enough to get a 1% return, you just paid $500 dollars in pay per visit advertising to sell 100 units of your movie. But let’s go one step further. Let’s assume you’re like me – and you hate order fulfillment and shipping. So you decide to let a company like Amazon’s Create Space or iTunes (or some other popular marketplace) handle your order.

Video On Demand For Rent (Electronic Sell Through)
100 units ($3) = $300 – 50% paid to marketplace = $150
minus $500 paid for advertising = -$350 NEGATIVE

In this VOD rental scenario, the Pay Per Visit Ad numbers don’t work, unless you like losing money.

Video On Demand For Download (Electronic Sell Through)
100 units ($10) = $1000 – 50% paid to marketplace = $500
minus $500 paid for advertising = BREAK EVEN

In this VOD download to own scenario, the numbers work a little bit better. Assuming you’re lucky enough to get 1% of your money returned, at least the advertising pays for itself. But unless you can increase your conversion rates, pay per visit advertising is going to be very difficult method for returning money to your investors.

Physical DVD Sales
100 units ($20) = $2000 – 50% paid to marketplace = $1000
minus $500 paid for advertising = $500 in profit.

Ah ha! If you’re fortunate enough to get 1% return on your pay per visit advertising, you can see how physical DVD’s (or units) sold at $20 dollars may offer a slight profit margin. In other words, in this scenario, for every $.50 cents you spend, you get $1 dollar back.

So let’s tackle the bigger problem. Let’s try to get a return on our 1Million dollar movie, selling physical DVD sales and using pay per visit advertising alone:

Movie Budget = 1 Million dollars
Physical DVD Sales using Pay Per Visit Advertising

$1,000,000 divided by $20 per unit = 50,000 Units

Since we will give 50% to the marketplace for all sales, we will need to project for double our budget.

100,000 units = Our goal for this ad campaign.
$.05 = Amount you may pay advertiser per visit.
X = Number of Visitors Needed to buy 100,000 units if only 1% buy.

(X).01 = 100,000 units
EQUATES TO: X= 10,000,000 (Yes, TEN MILLION people.)
THEN 10,000,000($.05) = $500,000 paid for targeted traffic.

100,000 units ($20) = $2,000,000 – 50% paid to marketplace = $1,000,000
minus $500,000 paid for advertising = $500,000 in profit.

So to break even, you would need to sell 100,000 units and make $2,000,000.

Some Sales Conclusions

Based on this scenario, as a filmmaker you will (obviously) need to expand your promotion beyond pay-per-visit advertising!

But importantly and most AWESOMELY, you can treat your movie business like any other small business. With VOD Sales projections, you can find the marketing formula that works for your movie and crunch your numbers until you find a scenario that brings you profits.

Create a plan that included your marketing costs in your budget.

While there are no guarantees in any business, having a plan for marketing, sales and distribution sure beats the old days when your only plan for ROI involved crossing your fingers in the hopes someone will offer you a profitable, traditional deal.

While these may not be the VOD Sales Projections you were looking for, hopefully you now realize the power of knowing your conversion rates.

Treating your movie business like any small business simply means you don’t have to ask permission. You can make your movie NOW! And your prospective investors might take notice…

Also, can you do me a favor? If you liked this filmmaking article, could you kindly retweet or share this article with your friends?

Back From Sundance

I’m back from Sundance. This was one of those trips that you don’t plan. But when you get a call from someone in Utah asking if you would like to participate in a panel on crowd funding and modern movie distribution (at Sundance) you have to go!

So picture this. My bags are packed, I’m loading my car – and then I get a call from the airline. My flight has been canceled! UGH. Thanks United Airlines…

Never one to let obstacles get in my way, I pretended I didn’t know my flight was canceled and I drove the airport. I parked my car in one of the many airport parking lots, boarded the shuttle and proceeded to the United terminal.

Turns out whenever you have fog in San Francisco, (and San Francisco is your connecting flight to Utah) it becomes very difficult for airplanes to land. It also turns out that whenever San Francisco is shut down, you will have an airport with more than fifty displaced passengers presently looking for alternate flights.

At this point, you realize there is nothing special about you. And even though you may think of a gazillion reasons why you should get more of a privilege over the forty-nine other passengers in line (like wanting to attend some cool Sundance parties), you also realize that nobody cares. It is at this point when you fantasize about things you can say to get some leverage. For example, I thought about telling the ticket agent I was friends with the CEO of United Airlines – I didn’t actually tell her this. But you get my point…

While waiting for your chance to chat with ticket judge, the only real asset you have is kindness and the unyielding hope that the ticketing agent is in a good mood. When I got to the agent, she seemed to be OK with me… But she also told me that all alternate United flights were booked. So she suggested that I stay in LA for the night and come back the following day.

Had I agreed, I would have missed the Filmmaking panel at Sundance. Heck, I would have missed Sundance.

If this happens to you, I suggest you act as though you don’t hear the word no. Because sometimes persistence pays off and the universe really does provide. Ask the following question: “Are you sure you can’t do anything?” Then SHUT UP! Don’t say another word. Let the pressure of the silence build tension… Until…

“Well, we could try to get you on another Airline. What if we put you on a Delta flight to Salt Lake City?”

Bingo! Thank you United for the rare customer service!

After a two minute flight from LA to San Diego (not kidding. It really was like two minutes) and a short lay over and two White Russians – I hopped on my final flight and arrived in Utah – instantly blasted with a cold air I haven’t felt since my days living in New York City.

I’m pretty sure the airport was filled with a gazillion other filmmaker types wandering around. Maybe it was my imagination. But in some strange way, I felt at home. This feeling was further amplified when an attractive young woman smiled at me and asked if my name was Jason. I thought she was hitting on me. Turns out…

“Yes. Do I know you?”
“No. But I read your newsletter.”

And as I would soon learn, she wasn’t the only one at Sundance who reads these words. Which is surreal. I mean who are you people? Really?

Anyway, I really wish I could have stayed at Sundance for like all week. But the short notice prevented me from really planning a proper trip. So let’s focus on making a successful Sundance plan for next year.  And in this regard, in your next filmmaking article, I’m going to share the top 10 tips you need to know about a successful trip to Sundance film Festival.

In the meantime, if you feel like introducing yourself – please feel free to drop a comment below…

New Hampshire Film Festival

Over the past decade everything in the world of filmmaking has changed. Technology has improved. Distribution has evolved. And filmmakers have taken on the task of distributing their own movies.

If you’ve been reading filmmaking stuff for any length of time, you know how much I obsess over distribution. Why? Because it is essential to your movie business. Without distribution, it is difficult to get financing. So as you plan your next project, if you do not create a marketing, sales and distribution plan, you do not have a filmmaking business – You have a hobby.

On Saturday, October 15th you can find me at the New Hampshire Film Festival. I will be sharing the stage with a group of industry executives and distribution gurus – talking about the current state of movie marketing and distribution and what YOU need to do to get your movie seen and selling.

Film Distribution Topics Covered

  • Distribution Tools for filmmakers
  • How to get your movie into the popular marketplaces
  • SEO for filmmakers
  • How to optimize your movie website for maximum sales
  • Email marketing for filmmakers
  • Leveraging social networks (Twitter and FaceBook) to promote movies
  • And more…

In the event you cannot attend the New Hampshire Film festival, I suggest you grab a copy of the Indie Producer’s Guide to Digital Self-Distribution. The step-by-step system contains nearly a decade of movie marketing and distribution tactics so YOU can get your movie seen and selling ASAP.

The Indie Producer’s Guide To Distribution

This guide provides a step-by-step resource for getting your finished feature seen and sold. This site contains resources on how to leverage the ever changing world of digital distribution and internet marketing.

Happy Filmmaking!