I hope we never run out of things that we get to do for the first time. Even more, I hope each of them is as exciting as this next one will be for me. I have never given a bookstore reading before, but I am going to do one very soon.
That’s why I write now: to invite you to the first bookstore reading of my first book. It will be on Wednesday, August 27th at 730 PM at Books, Inc. in San Francisco at 2275 Market Street.
I must confess: I am a tad nervous.
By Steven C. Beer
In the marketing and distribution of independent films, the most critical and frequently overlooked key to success is the building of an audience. Whether you pursue traditional or alternate distribution platforms, or a combination thereof, your ability to identify, aggregate and mobilize an audience base directly impacts the prospect of your project’s success. Timing your audience building campaign is crucial. According to Jason Ward of Candy Factory Productions, you must begin to target and recruit your supporters the minute you decide to produce a film. Audience building is a slow and steady process that can take many months, if not years, so a multi-step game plan that evolves over time can serve as an audience building blueprint. Here are some tips I learned while moderating the Audience Building Panel at the New York Lounge at Sundance 2014:
By Sheri Candler
Originally published on www.thefilmcollaborative.org
There is a lot of talk in independent film circles about the need to “eventize” the cinematic experience. The thought is that audiences are increasingly satisfied with viewing films and other video material on their private devices whenever their schedule permits and the need to leave the house to go to a separate place to watch is becoming an outdated notion, especially for younger audiences. But making your work an event that can only be experienced in a live setting is something few creators are exploring at the moment. Sure, some filmmakers and distributors are adding live Q&As with the director or cast, sometimes in person and sometimes via Skype; discussion panels with local organizations are often included with documentary screenings; and sometimes live musical performances are included featuring the musicians on the film’s soundtrack, but what about work that can ONLY be enjoyed as a live experience? Work that will never appear on DVD or digital outlets? Not only is there an artistic reason for creating such work, but there can be a business reason as well.
In reading a New York Times piece entitled “The one filmmaker who doesn’t want a distribution deal” about the Sundance premiere of Sam Green’s live documentary The Measure of All Things, I was curious to find out why a filmmaker would say he never plans for this work to show on streaming outlets like Netflix, only as a live event piece. I contacted Sam Green and he was kind enough to share his thoughts about why he likes creating for and participating with the audience of his work and why the economics of this form could be much more lucrative for documentary filmmakers.
Part 3 of How to Make Money in the Age of Abundance
By Jon Reiss
Theatrical is Dead Long Live Theatrical. The holy grail of a theatrical release still rings as a delusion for many. Fighting words still for untold thousands of filmmakers. Who doesn’t want their name in lights – long lines around the block – a packed theater of adoring fans. I believe this live engagement with fans is crucial for artists. But traditional theatrical is probably not the way you are going to do it.
In the first post in this series, I indicated that filmmakers need to create scarce resources in order to compete with the abundance of digital. Today’s post will focus on events – or what I have termed Live Event/Theatrical. The essence of this renaming is for filmmakers to reformulate and to reclaim what the industry calls theatrical – for more on that see Think Outside the Box Office. (PS – I first said this was a two part series – then I said three parts – well I lied again and now it will be four parts – with Part 4 tomorrow).
When films were only available in a movie theater – that was a scarce resource that could be charged for – it was the only way to see films.
