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.

Prior to producing my own movies, I worked for a producer in NYC. And I want to take a moment and apologize for never responding to your query letters. I have no excuse for it, other than I was busy paying my dues.

At that time, most of my 12 to 14 hour days were spent fetching coffee, running errands and writing coverage on the priority material that came from agents. So given the fast paced grind of the development office, your query letter probably got put on my stack. And that stack probably ended up in a filing cabinet. And? Well…

Listen. If you’re an ambitious writer, I’m going to tell you a secret. There is no better feeling in the world than the day you stop sending query letters and instead, you start producing your own work. For years and years, you have dreamed about seeing your work on the big screen. You know you’re good. So why ask for permission?

Now I know this can be a scary transition. So I want to provide you with five tips to make your journey from Screenwriter to super-hyphenate a little easier.

1. Have a well defined logline. Seriously. Most first time writer director types settle for a simple character driven story. But the story is always confusing. So here is the test, if you can’t explain your story with a log line, something is off. Fix the log line now. You’ll need it for your marketing later.
2. Everything in your screenplay costs money. So if your passion project is too expensive, write something based on locations in your neighborhood. Your true genius will come from your ability to tell a compelling story, not by how many expensive Special FX you can pack into your movie.
3. Ice, Snow, Rain, Sun, dogs, lighting bolts and children have always been a challenge to predict. If you include any of these elements in your story, I guarantee that setups that should only take minutes will take days. Avoid these elements if possible.
4. As soon as you decide to produce and possibly direct your movie, hire a seasoned Production Manager to work with you. They will read your script. They will tell you that your movie is going to cost way more than you think and they will help you alter the story to meet your budget constraints. Managing the budget is their job. Respect it. Then ask your PM if they know a great 1st AD. (They will!)
5. Hire a GREAT First Assistant Director. Not some film school kid either. Pay the money. Build a relationship. The First AD will be the general of your production. They will build off the Production Manager’s budget and schedule the movie. The 1st AD keeps the production on time.

These steps will provide you with a good starting point. Once you have your script, PM and your 1st AD, you will find that your project will start to gain momentum. Finish your feature and people will start sending you query letters. I guarantee it.

For more information on writing movie scripts that YOU produce, check out: www.WriteYourMovieNow.com

Posted under SCREENWRITING

If you are wondering how to become a filmmaker, you’re not alone. Living in Hollywood, I am surrounded by people constantly trying to answer the same question. The problem is, many would-be filmmakers do not realize there is more than one way to become a filmmaker. Here are 3 ways how to become a filmmaker.

Employee Filmmaker (indie producer works at a production company): An employee filmmaker is someone who gets a job at a production company. The employee filmmaker shows up each day, on time. The employee filmmaker usually “starts at the bottom” and then works their way up. Many spend years working on on other people’s projects (OPP) and one day, if they are really lucky, they get permission to helm a movie.

Freelance Filmmaker (indie producers hired on a per-project basis): As a freelancer, you get hired on a per-project basis. Then when the production wraps, you go back to your network, seeking your next job. Eventually, you find ways to move up and take on other jobs. Like an employee filmmaker, as a freelancer, you spend years working on other people’s projects (OPP). If you’re really lucky, you get your shot.

Entrepreneurial Filmmaker (indie producer creates his or her own projects and hires other people): In this scenario, your goal is to find a good screenplay, raise money and make your movie now! You don’t wait for anybody to give you permission. But unlike an employee or freelance filmmaker, if your project doesn’t get made, you don’t get paid!

To succeed, you will need cold calling courage and the ability to face rejection every day. Additionally, you will have to face ridicule. Many people stuck in the employee and freelance ruts will hate you, say mean things about you – Ironically, these same people will call you for a job.

But the upside is great. Unlike the other paths, you can grab a camera and start putting together a production this year! While those other folks are still carrying cables, you’ll be making movies.

If you are a long term reader of filmmaking stuff, then chances are good that you radiate towards entrepreneurial filmmaking. Good for you. Half of Hollywood doesn’t get it yet. But as a modern moviemaker, you no longer have to ask permission to make your movie. And thanks to non-discriminatory distribution, you can now reach a global audience through VOD distribution.

To become a filmmaker, grab your free filmmaking book by going here.

And if you are still waiting for someone to give you permission to make your movie, STOP IT.

Related articles

• How Do Filmmakers Compete? (filmmakingstuff.com)
• The New Model of Filmmaking (filmmakingstuff.com)
• Modern Filmmaking Business Plan (filmmakingstuff.com)

Posted under FILMMAKING

If you’re already a seasoned feature filmmaker, take a moment and think back: 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?

That happened to me with my first feature. Like you, I thought our movie would get into Sundance, play well, build buzz and if we were really lucky, we had hoped the movie would garner us a 3 picture deal. But that didn’t happen.

Sure, we got some offers, but they were not “deals.” (A deal actually pays money!)

So instead of exchanging our movie for an empty promise, we decided to try selling our movie on the internet. Little did I know, this one decision has changed the course of my movie making life. That was five years ago…

And since that time, the internet as evolved. If you’re a filmmaker with a movie, you need to get it selling in all the popular internet marketplaces, including Amazon and iTunes.

You don’t need a middle-man to make this profitable. I am going to show you my internet marketing secrets…

You can check out my “How To Sell Your Movie” system by visiting the website here.

Posted under DISTRIBUTION

As a filmmaker, you are expected to make a product (your movie). The money invested to create your product should be less than the eventual sales of your product. If you can not figure out how to achieve this goal, you do not have a business. You instead have an expensive hobby and probably a good demo reel.

There are a lot of filmmakers who attempt to raise money without first considering how their movie will recoup the initial investment. These filmmakers say things like “I have a vision” or “I’m going to make this for the love of filmmaking. Then I’ll get into festivals, get noticed and garner a great distribution deal!” And while it is true that passion, tenacity and blind optimism play an important role in getting your movie produced and seen and hopefully sold, this alone is not enough to drive the masses to your screenings.

This happens in Hollywood all the time. A filmmaker creates a typical business plan that focuses on film festivals as the most viable distribution strategy. And played out, the filmmaker gets the money, hires a crew, makes a movie and then enters the festivals. But months after wrap, well into the festival circuit, these filmmakers realize that the market has changed. The days of awesome DVD acquisitions deals and huge upfront advances are over. And when the last frame flickers off the silver screen, these filmmakers take their dashed-dreams back to their day job.

The veterans of the industry tell us that all this distribution deal disappointment is a result of improved technology. They optimistically tell us that our lost DVD revenues will be recouped by Video On Demand. Some refer to this as simply a market correction, implying that someday, somewhere, someone will figure out how to once again pay the big bucks for movies. But this is a pipe-dream.

Here is the flaw. Most filmmakers depend on DVD distribution for a return on investment. And with deteriorating DVD sales channels, filmmakers are currently left with iTunes, NetFlix and Amazon as the most prominent VOD sales options. My question is this. Who on earth is going to pay a major advance to get your movie into a marketplace that YOU can easily access without the middle man?

This approach to the marketplace changes everything. Your business is no longer dependent on production and capital gains. Nope. These days, the focus for the filmmaker lies in creating multiple streams of movie income over the long term. And if you want to make a living making movies, you need to realize that your libary and the subsequent auidence 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.

Like it or lump it, filmmaking has become a small business. The same rules now apply.

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Jason Brubaker is a Los Angles based independent filmmaker and an expert in Video On Demand distribution. If you are one of the many filmmakers seeking movie distribution, you might want to check out The Independent Producer’s Guide To Distribution.

Posted under FILM FINANCING

Have you ever known a filmmaker who sent their demo reel into the Hollywood abyss? Maybe they sent it to an agency or a production company in hopes someone would discover their talent and hire them. Similarly, many screenwriters and aspiring actors have been known to employ this strategy too.

Why?

Can you think of any other industry where culture dictates you must first garner permission before you “start your own business?” What are you waiting for?

Here is a simple solution for all you actors, screenwriters and filmmakers.

STOP asking permission!

Instead get together and start your own production company. Write a screenplay that you can produce this year and grab a camera. In this scenario, the writers write. The actors act. And the filmmakers stop talking and start doing.

This is a far better use of your time than waiting for someone to open your mail, read your query letter or watch your short film… If you’re a Modern MovieMaker, you already know what I’m saying. If this is new for you, and you like it, welcome to the filmmaking world of Jason Brubaker. Get on my mailing list here.

Posted under SCREENWRITING

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

Like many first time filmmakers, our first feature was met with empty distribution promises and crappy deals. So by necessity, we started selling our title on the internet as both a physical DVD and a video on demand download. At first, none of the producers liked that idea.

I mean, even if a traditional deal sucks, at least there is still validation in seeing your title on the shelves at the local video store. But then we made our first sale. We thought it was an anomaly. How could we possibly make money with our movie? We had no movie stars, our production value left a lot to be desired and most people on earth had never heard of our title (including you.) But then we made another sale… And the a third. And then a dozen…

That was 2006 and since that time, my enthusiasm for video on demand distribution has only increased. These days filmmakers have a gazillion options for reaching their audience, creating community and building buzz. As your own VOD distributor you can finally get your title seen and selling without waiting for some middle-man to give you permission. And assuming you have all the necessary legal documents, releases and (possibly) E&O insurance for your movie, the following seven secret steps will help you get started today!

Step 1 of 7 – Sharpen Your Hook

One of the first questions people ask is, what is your movie about? While this seems like a pretty easy question, if you find yourself rambling on about a complicated, character driven story, full of people reflecting on life’s moments of love and loss, STOP! A long description is confusing. And a confused mind doesn’t buy your movie. So in order to sell your title, you must communicate your movie in a distinct and memorable way.

To do this, ask some trusted friends to watch your movie and describe it to you in one concise log-line. For example, let’s say your movie is described as “A boxer fights for the title.” Obviously this is succinct, but lacking detail. So your next job is to incorporate some flavorful elements into your log-line. Here is the same example with added detail: “An impoverished boxer is given a once in a lifetime chance to fight for the world heavyweight title.” (Sound familiar?)

With this example you can see how the extra detail adds sizzle to the description. This will help you in two arenas. Firstly, with this description, your prospective audience will immediately understand how your movie differs from all the other boxer movies. And from a marketing perspective, the words “boxer,” “fights,” and “heavyweight title” will help you to target your core audience and later, these targeted keywords will help you jump-start your internet search engine optimization campaign.

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In my next article, I will show you how to target your target audience.

Posted under DISTRIBUTION

When we compare modern moviemaking to widget production, it oftentimes seems as though we are saying that the end product of our work carries with it so much more human, emotional weight and experience than the mere production of a widget. And while I understand that watching a feature film has so much more value to ME, and as most of us would argue, humanity – Our friends at the widget factory might disagree.

If we think about it, widgets run our moviemaking; Think about our cameras and our equipment and the computer (or mobile device) the enables us to read these words. Now think of the companies and factories that produce these widgets, and the widgets that create the cars that drive the widget production team to work. And when these widget craftsmen and craftswomen go to work, (to take the analogy further), some of them will spend the next twelve hours dreaming up the next award-winning widget, with one goal in life: They want to make your experience on earth more valuable.

Sound familiar?

Like making a movie, creating the perfect widget takes tremendous time, effort, planning, research and development, financing, prototype creation, craft, manufacturing, marketing, distribution and sales. These business components, like modern moviemaking are all essential to the success of a mere widget. And none of it would have happened without the creativity or tenacity of some entrepreneur (or movie producer) with an imagination and the desire to create and share something that might just make your life better.

As a modern moviemaker, I have no problem with this analogy. Most folks know I’m a little bit too obsessed with Video On Demand distribution and how it finally enables us to effortlessly share our finished films (our widgets) with the world. But what this means to me is, moviemakers finally have a business that no longer requires the outsourcing of marketing, distribution and sales. We can finally operate as a stand-alone business, albeit a small business! And unlike widget production, our product does not have to be delivered in physical form. This means we can NOW reach our customers (our audience) without the headaches, time consumption, fulfillment and shipping costs previously associated with our industry – which are still cumbersome elements most always associated with other industries.

If nothing else, I believe this analogy should serve to help all modern moviemakers quickly communicate OUR business to prospective investors – with a reception we have never known! Because like it or lump it, most prospective, private investors make their living dreaming up and manufacturing the perfect widget in some other industry. And because we finally have a middle-man-less, non-discriminatory sales channel (VOD), prospective investors might finally understand that OUR business, like their widget business, makes sense.

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Note: This posting was initially published as my response to a posting on Ted Hope’s blog, Truly Free Film. Because I went on for quite a few paragraphs, I decided to post it here too.

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Posted under FILM FINANCING

Last week I published a new filmmaking podcast called the Modern Moviemaking Manifesto. I published these ideas in response to all my veteran independent filmmaking friends who are currently having difficulty raising movie financing, and later, getting a return on that money.

Since posting, I have gotten a lot of feedback. Most of it has been positive. But there have been some questions. The most glaring involves how to create a production team for the long term. And the other feedback has something to do with my pragmatic approach to the movie business. I’m told that the modern movie making model, relying heavily on VOD distribution, is not as sexy as what most filmmakers expect (because I don’t talk about Hollywood fame and fortune and going to cool parties, et al.) One woman screamed at me, telling me that she doesn’t care about business and just wants to make movies. Other folks have simply told me my modern moviemaker ideas suck. And others have quit our filmmaking community.

This was to be expected. Not everybody is willing to explore or embrace new filmmaking ideas. And when I listen to my own recording, I can see how my enthusiasm for the modern moviemaking model could potentially sound pompous. This was not my intention. So I promise to get back to Toastmasters and refine my speech. But all of this aside, I believe the demise of traditional movie distribution creates a serious problem as filmmakers – and also a great opportunity. As a result, we have two options as filmmakers. We can choose to ignore this, or we can choose to be part of the modern moviemaking solution.

If you read Ted Hope’s blog – Truly Free Film, you may have seen my conversational responses to Sheri Candler’s well written guest post: How To Make Money With The New Independent Film Distributors’ Business Model. If not, it’s worth a read. And I have added one of my responses, on how to make Independent Filmmaking a viable business, here.

Just like you, I’m looking for a way that us fillmmakers can actually make a living making movies in this brave new world of VOD distribution. So in terms of empirical data, so far in my own business, I can tell you that at least one of our titles generates a nice stream of passive income without the middle-man, and without much marketing. As a result, many of the acquisition folks who formerally rejected our title have circled back with offers. While the new deals are OK (cash advances for foreign territories, complete with performance bumps), after crunching some numbers, the headache of locking up rights prompted us to respond in way familiar to most gate keepers: “Unfortunately we have to pass at this time.”

In this new era of filmmaking, our growing ability to make our movies, find our audience and make money without the middle-man has forever changed my life. And as a result, I firmly believe this process can be repeated for all subsequent titles. I mean, sure, we can still entertain traditional theatrical and retail DVD distribution both in North America and abroad (while these channels still exist, and if we are so fortunate) – but from now on, it is my intention to base my business plans on projected returns from our direct DVD rights as well as our VOD rights – because these are the two sales channels that filmmakers can access and control without asking some middle-man for permission.

For those of you who are adding your own thoughts to the Modern Moviemaking Manifesto, what I’m proposing is easier said than done. It is easy for me to talk about the success of our first feature. It is much more difficult to admit that our second feature bombed miserably. With that project, we did the complete opposite of everything that made our first title successful. The movie was a character driven drama, without any name talent. And while the production value was great, and the acting was good, we had no definable hook. Nothing about the movie separated it from the sea of other, similar character driven movies. Had it been 1995, we may have had a chance.

So my team and I learned some valuable lessons. Most modern moviemakers agree that it behooves us independents to create movies with a strong marketing hook, peppered with a bit of controversy, aimed at a very specific target audience. But when you crunch the numbers, to make this work, our niche audience must have mass enough to justify our movie budget.

While I have spent considerable effort to jam-pack these ideas into the Modern Moviemaking Manifesto, anybody who has studied Rodger Corman and read his book, “How I Made A Hundred Movies In Hollywood And Never Lost A Dime” will quickly realize that the Modern Moviemaking Manifesto is not so “modern.” Corman has been utilizing it for years. Known for his type of down and dirty movie making, complete with fans who got to know him and know his work, Corman created a model where movies were made fast, cheaply, and each movie had a controversial hook.  The result of which allowed Roger Corman to create multiple streams of movie income.

But the one thing Roger did not have was a non-discriminatory sales channel. And thanks to VOD and companies like Adam Chapnick’s distribber, we really have nothing holding us back from creating a similar empire. This is why I’m so full of enthusiasm for modern moviemaking. Nothing is holding us back from raising money, making movies and reaching our audience. And instead of simply blowing investor money on up-front compensation, we just have to adjust the model ever-so-slightly.

The Modern Moviemaking Manifesto is about creating movies fast, cheap and repeating the process, while at the same time creating awesome profit sharing deals on the back end. Over time, you will add more and more titles to your library. And this will create diversification, with the thought that dividends from dozens of titles can really add up.

Posted under DISTRIBUTION

If you’ve been following Filmmaking Stuff for some time, you probably know that this site really pushes non-permission based filmmaking. This concept means that if you’re a filmmaker with ambition and a dream, you should not hesitate… You should not wait for Hollywood to give you permission – but rather, you should pick up a camera and Make Your Movie Now!

For some of you, this is easier said than done. Part of why this seems challenging and impossible is because many of us start our career with the belief that filmmakers need a gazillion dollars, tons of experience and an address in Hollywood to make a living as a “real” filmmaker. While this was once true, the new model of movie making allows you to create and sell movies from anywhere in the world.

For many, this filmmaking evolution is exciting. But the classic elements of filmmaking remain. You still need a great story, the passion and persistence to bring your movie to life, and the guts to share your work with the world. To give you a rough plan of how to get your indie movie business up and running, I’ve provided a few steps. (Where I thought it would help, I also included links to some sponsored filmmaking tools and services.) Ready:

1. Create relationships with at least 5-10 collaborators who complement your skill set. At the very least, you’ll want to find a writer who understands budgets, a physical producer experienced in low budget movie making, a tech guru who understands cameras and modern production gadgets, a sales and marketing professional who can promote the heck out of your movies, an editor with Final Cut Pro, an internet guru who can help you promote and sell your movies online. And you’ll also need a lawyer who can provide you with the necessary legal advice, contracts and advice on setting up a business.
2. Come together as a team and design a movie that can be explained in one high-concept log-line. It has been my experience that original, genre specific movies with a bit of controversy, geared towards a clearly defined target audience will later help you when it comes time to market and sell your movie. And above all, your movie idea should be totally fun and captivating. (Otherwise, why make the movie?)
3. Design a YouTube channel for your “production company.”
4. Once you have a title for your movie, reserve domain name and get a website. I use this company www.MovieSiteHost.com
5. Break down your sceenplay. Out of this, complete your schedule and your budget. Then analyze your budget. Ask yourself: If we do not garner a traditional distribution deal, how many $4.99 VOD downloads will we need to sell to get a return? At this point you can decide to decrease your budget, or not. But once you decide on your budget and the amount of sales you’ll need to make to get a return, you can then begin planning your marketing strategy. If you have money, hire a great Production Manger. If you don’t have money, you’ll have to do your own breakdown. CLICK HERE for a great script breakdown resource.
6. Once you have a concrete filmmaking strategy, you can go after your money. Investors like to see three things in your business plan, who is running the company, how you’ll spend the money and how you’ll make a profit. Unlike years past, iTunes, Amazon and Netflix provides you a somewhat easily accessible distribution pipeline. This will assist you in getting the necessary movie money. If you don’t know how to find prospective investors, see: www.GetMovieMoney.com
7. After you lock down your money, you can go into pre-production full force. Hire a great 1st AD.
8. Make your movie! Edit your movie. Refine your edit. Then…
9. Two things have to happen. You have to spread the word of your movie. This can be done by entering film festivals. Additionally, you have to start building a big audience list, so you can tell them about screenings and ask them to BUY your movie. Get your movie onto iTunes, Netflix and Amazon. Try www.MovieSalesTool.com
10. Once you get your movie out there and selling, focus on fueling your marketing with ads, PR and partnerships with other filmmakers.

And after you do this once, the way to become successful is to create more and more movies. Remember, your goal is to create at least 20 movies in your life time, so that you can get at least 20 checks in the mail each month!

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If you like this filmmaking stuff, you’re welcome to join the revolution by grabbing over $100 dollars in FREE filmmaking stuff here: www.FreeFilmmakingBook.com

Posted under FILM FINANCING