I have a fairly large collection of “pitching sessions from hell” stories, but there was one that stands out because I blew it—afterward. This was early in my career, and actually the pitching session itself went great. The executive loved the idea and commissioned a script for a TV movie. How to apply “show, don’t tell” in screenplays…
One way I mitigate this “all eggs in one basket” approach to filmmaking (and business) is to always have projects in various stages of development. This allows you to check one rejection off the list and put your focus into the next. And just because one prospective investor rejects one opportunity, there is nothing stopping you from shopping around…
While it’s safe to provide projections – any investor with any business experience will understand that each project carries it’s own risk to reward ratio. Your goal as a filmmaker is to help mitigate these risks as best you can.
Could you go to “networking events” and try to find folks to help introduce you to the appropriate contact? Yes. But just as easily you could pick up the phone, call your prospective contact’s place of business and try to get him or her on the phone to make your pitch.
Serious indie filmmakers stop at noting until the movie is actually in the can – or these days – in your hard drive. Still if you’ve been working to make movies for any length of time, you know there are days when you hit obstacles, sometimes so seemingly insurmountable that you just want to give up on your project. Don’t do it!
Since publishing the modern moviemaking manifesto, some of you have written, requesting an online community where you can share ideas with other filmmakers involved in our movement. So I have taken the initial steps to creating the modern moviemaking community. If you want to be among the first to know about it (because it’s exclusive), make sure you get on the list.
While nobody wants to make movies for pocket change, many filmmakers still believe we can somehow continually produce unprofitable (movie) products and expect the money and the subsequent jobs to keep rolling in. And unlike years past, filmmakers can no longer approach investors with the cliche pitch: “Filmmaking is a risky investment – if we are lucky, we might win Sundance and get a deal.” Now, with transparent distribution options availabe to all filmmakers, that line of give-me-money reasoning is reckless, no longer applicable, and in my opinion, unethical.
If you’re filmmaker seeking practical filmmaking tips you can use TODAY, I’d like so share some thoughts with you. The world of filmmaking is changing. Producing content is getting cheaper. And distribution outlets are becoming increasingly accessible. While these changes have not fully hit mainstream Hollywood, you can rest assured that it’s only a matter of time until the ripple effect has a leveling impact.