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.
As a result of lower priced production equipment, coupled with non-discriminatory distribution, YOU can make, market and sell your movie this year and you don’t need to ask permission.
We’ve all heard many horror stories from filmmakers who were thrilled to find a distributor for their film only to find the film was mishandled, shelved or the company went under with no recourse for the filmmaker to claim their rights back. There are also distributors so coveted for their professionalism and skill at finding the right audiences for their titles that everyone wants to work with them.
Some of my independent filmmaker friends consider independent film to be sacred and they avoid the studios like the devil. Other friends think studio movies are the ONLY movies that count. And they discount indies as a passing fad or a calling card to simply get noticed by the studios. But for me, I don’t […]
After exploring all the wonderful filmmaking information here at Filmmaking Stuff, you may benefit from putting some other blogs on your reading list. So to that end, I’d like to point out a few of my filmmaking favorites:
“If you want to make a living making movies, you need to realize that your library and the subsequent audience you source (over your career) are your major assets. And, as a result, your most important filmmaking focus (aside from doing good work) is to acquire and keep a customer,” he emphasizes.
Do you remember when the idea of making movies seemed like a far away dream? Do you remember when you first got the idea for your movie? Do you remember Your first day of production? Do you remember your first screening and how well everyone loved your work?