INDIE FILM DISTRIBUTION LESSONS WE LEARNED THE HARD WAY (AND LIVED TO TELL ABOUT IT) - PART TWO

A sample of content originally written as guest content for Smarthouse Creative.

(see the original three part series here)

AGENTS ARE YOUR FAIRY GODMOTHER

It's a well-known fact that actors of a certain caliber have agents. Writers have agents. Directors, and even producers often have agents. But a movie? That's just weird, right? Wrong. We knew so very little when we went to our first AFM in 2013. We were barely out of post-production and had just screened at our first festival. We decided that rather than spend thousands of dollars on the gamble that festivals can be, we'd skip that step and move directly past go to collect our $200. Boy, were we in for a hard lesson.

We went down to the largest North American Film Market around with no badges, no experience and no idea what we were doing. We were very lucky and still managed to snag several meetings with distributors, including After Dark Films. They all listened to our pitches and every last one of them took the one-sheet and DVD copy we had of the film. Some of the people we met with were actually sales agents, though they often heralded under a company name that sounded a lot like a distribution entity. The major difference here is the role each plays.

An agent is the liaison between the filmmaker and the distribution company. The distribution company is the team that actually puts your film in front of viewers either as a DVD, VOD or theatrical release. We did not meet our agent that we would soon sign with at AFM. We met some great ones, but they were all looking for something very specific. On the tail end of the success of Gravity, the thing we were asked most often was, "Do you have any sci-fi?" They didn't even know what sci-fi was, they just knew that it made a lot of money and was about to win a few Oscars. Suffice to say, we weren't quite what they needed.

Rather than get discouraged, we came back to Seattle and hit the drawing board. We started looking at other films that had been released, even in small form on VOD platforms. We compared them to our film to see if we would be a good match and then our director cold-called all of them. Some considered us, some never returned the call. In the end, Ultimately Ruthless Pictures (our agent) picked us up.

It took our agent two years to get the distribution agency to really consider our film, leading to the principal reason as to why your agent is your fairy godmother: they will do anything for you as long as your contract is valid. Your agent doesn't get paid until you do, so much like an actor's agent, they need to sell you. If your film doesn't suit the distributors' needs, they shelve it or dump it because they don't have the time or the money to stick with you. Our agent stuck by us through all of this and found new ways to pitch the same movie to thesame distributor. Every pitch was different until he found the one that finally worked.

TRAILERS ARE A FILM'S BEST FRIEND

Have you ever gone to see a movie based entirely on the trailer? Me too! Pretty much everyone I know has. It was our trailer and poster that got our agent's attention. He saw something in what we created originally. He saw that we had done our homework and that we had a project he could work with. Other indie filmmakers who saw it at festivals got pumped to see the film. You know who didn't? Distributors. They yawned and passed.

We had spent a lot of time on our trailer and spent $500 on a poster design from a specialist who crafts hand painted posters specific to vintage '80s horror. It broke our hearts when the agent said he was going to cut a new trailer and make a new poster. The first poster we had was awesome. The second one he gave us was meh. The new one, well... I know if I was searching on iTunes for a horror movie for Halloween, it would stand out and at least make me watch the trailer.

Think about that for a moment. How do you choose a film, especially one you've never heard of before? Your first impression is the poster. Then you base your judgement on the trailer.

Our original trailer with music from our composer was radically different from the one our agent cut (seen below), which featured music from one of the 17 bands we signed for our soundtrack. The major difference between the two is the energy. The trailer our agent put together simply moves. It moves like a horror trailer - it moves like a movie trailer. It hits every beat that you expect a trailer to hit and it makes you want to see the movie. Which is the entire purpose behind the trailer and poster magic combo: get people to watch your product, I mean, film.

The Power of a Poster... And a Trailer... And a...

Alrighty.

I've been at this filmmaker thing a while now. So I think its fair to say I know a thing or two.  But as my industry is ever evolving, my education is in need of constant refueling. Thus was the case with our most recent bout of Press Kits, One Sheets and Treatments for our feature film, The Anniversary.

In November I talked about the circus that is the American Film Market. We went as armed to the teeth as we could with our one page treatment, our one sheet that looked like a poster and a list of potential connections we wanted to flesh out. We built our pitch based on the "tips" from the AFM itself and from fellow filmmakers who had previously navigated the gauntlet.

It was pretty successful. We got three face to face meetings, several more email inquiries and some really excellent feedback. Lost of potential, but not much came from it... except new knowledge, the means to a sales agent and the experience to guide us forward to our next pitch.

Well, we now have our film available online, both on IndieFlix (streaming) and on Vimeo on Demand (Rent or Own). And IndieFlix likes our film enough to help us polish the package for pitching to the next market. So here are some tips I've learned from them.

1. Pitch Perfect

You would think that this would be obvious, it's not. Your pitch is your films first voice. It's critical to be aware of how words fall on ears that do NOT belong to your intimate friends or family. You have no more than 3 or 4 sentences to captures your entire film before they get bored. It might even help if you can narrow it down to the length of a Tweet, especially for your log line. Pretend your pitching an unfinished film to a studio executive- it will help you hone your message. Also, be consistent. If your website says one thing and the Press Kit another, it may not be clear they are the same film. Copy-Paste is ok here. When you're in person, go ahead and razzle-dazzle each individual pitch. In the written form be specific, concise and consistent.

2.  Unique Snowflake

Do you have any idea how many independent films were made last year alone? Me neither. But that's sort of the point isn't it? We have a vibrant community that supports itself largely off itself. But for every professional that's spent years perfecting their craft there is a dude with an iPhone convinced he'll be the next Terrence Malick. Maybe he will. The point is this, there is a LOT of noise to break through, and a lot of other filmmakers who have had the exact same idea as you. So figure out what makes your film different. We made a horror film. Every filmmaker makes one at some point. It's just a matter of when. Strike one. We have a cast of unknown actors. Strike two. We have five hot female leads that are real, not plastic. Ok I'm listening. We set it in the 1980's. You have my attention. We have 20 bands signed on for the sound track. Money. Let's do this! While it was something we were proud of during post-production, it didn't occur to us how unique that was until a distributor at AFM said so. Mind, blown.

3. It's in the Network

We've been fortunate enough to garner a fair amount of reviews, interviews and general chatter about our film. One of the best reviews we've received was from Cinema on the Rocks. Quotes from outside sources, even if they are small outlets, say the film has been seen by eyes that are not your mom (love you mom) and they have a firm opinion of your film. It's also nice to see that your film has a greater reach than just your family. In fact, if you haven't spent time building an audience for your film on platforms like Twitter or Facebook make sure you have it in some other form and make sure you can prove it. Buyers want to know they are both the "first" to "discover" your little gem, they also want to make sure it's a sellable product.











4. Product not Art.
I just want to make movies for the art of it. Good for you. But at some point my guess is you have to pay rent. And the landlord doesn't accept "art" as form of payment. Here's the thing, filmmaking IS art. Every part of it. The issue is your buyer doesn't care how many hours you spent building it from the ground up, they want to know they can get an ROI. Buyer want to know if they can re-sell your product to a larger audience.  And truthfully, don't you want that to? You want to know that someone cares about your art. Which means they have to buy it. Recently I've been exposed to this dirty little secret: distributors wont even watch your movie. They bade their purchase off your pitch, poster and or trailer. That's it. So when talking to potential distributors or formulating your pitch remember your also asking them to buy your product, however artistic it may be.

5.  Survival of the Fittest
There is something to be said for perseverance and adaptability... while maintaining that unique voice we talked about earlier.  We had one agent ask us to change the title of our film. After our initial knee-jerk temper-tantrum of "No, no, no!" We asked what his suggestions were. We realized that if it was just our title holding us up and we dug in our heels, it wasn't worth it. A fellow filmmakers title changed 3 times to my count before it was settled on by distributors. When we heard his suggestions, we realized exactly what they were, SEO search words.  Titles that if randomly typed into Google would yield results. We ultimately agreed that none of them suited the film, but we started working on a new poster. Something Eye-catching. Ahem, *cough* ->


Suffice it to saw we've done a lot of work on this film, and we've learned a LOT about marketing it. Sometimes we get advice that while well intended is not helpful, other times... like when IndieFlix coached us on our Press Kit, it changes your whole perspective on how your film might be received. Which means keep learning, keep evolving and never give up.

American Film Circus, er Market

For every independent filmmaker, the dream and ultimate goal is to secure world wide distribution. But any TRUE independent…and I’m sorry, George Clooney I love you, you are not an independent filmmaker… but those of us who have to get creative to find funding in the first place will tell you that it’s an uphill battle from concept to completion.

This year, for the first time, we found ourselves in the right time and the right place with a feature film in the can and package ready for potential buyers. We had just experienced a very successful month on IndieFlix, a killer review from Cinema on the Rocks and two highly receptive screenings. American Film market was just days in front of us and we had done our homework. We had our one sheets, our synopsis, DVD copies and copies of our 18 band soundtrack in hand. But this was our first AFM, hell this was our first film market period. To say we were a bit doe-eyed would be an understatement. Because being ready and being prepared are not the same thing.

Luckily, the AFM is very helpful. They have a full page dedicated to who’s going to be there, what they are shopping and how to get into contact with them. They also have a full page dedicated to a first-timers “How to” guide.  So early October we made our game plan and our hot sheet of companies we wanted to meet with and how to get a hold of them. We were told by a colleague that we didn’t need to purchase badges ($245 for one day or close to $1000 for the week) because all of the handshaking and deals happened on the main lobby that was free access to all. So we did not purchase a pass and just worked on making appointments.

We sent our meeting requests to 17 companies with two contacts each. We had responses from 5 companies and 12 people, and met with three.

Our first meeting was with After Dark Films. This is a company that specializes in genre film and has a high success rate for those films. We had chatted with them a bit before our meeting and then again that morning to confirm. They had only watched 1/2 of the film when we met, but they were excited about it which was reassuring. They were super excited about the 18 band angle, but we don’t have any A-list talent so they have to sift through the rest of the market and see what’s being pitched before any decisions can be made.  At least a month, so we shake hands and move on to our next meeting.

Next up was Spotlight Pictures. Spotlight is not a distributor. They are a sales agent, the middle man that takes the film to the next market and launch the sales.They explained how this works, and talked to us about their process as a company. They currently have four James Franco films in their roster, so this is the sort of company you want representing you. Especially because they do what you can not: take your film all over the world and negotiate a sale. Another successful meeting but again, no deals are struck and it’s at least a month before they’ll know if they want to represent the film or not.

There was an un-official meeting with a documentarian and Home Video distribution from Germany. She took all of our information, noted our story and shared a coffee with us. She was very nice, but I’m still not sure what her angle was.

The next day was World Wide Entertainment. They are the company that picked up fellow NW Film “Divination” and took it to Red Box. This to us meant we were interested in their company because they’ve taken care of a filmmaker we know personally. That may seem like a silly reason to trust a company, but for us, personal relationships matter. Knowing that there’s a filmmaker in our home town that trusted them enough to take their film gives them a leg up on our trust scale.

The rest of the week was full of other meetings, orientation for our editor at IATSE and then a day of rest before we hit the road for our 19 hour drive home. The best thing about the insanity is that AFM is not unlike the networking events hosted by Seattle Film + Music. It’s not unlike the privately hosted screenings we’ve held for our films, or that other filmmakers have hosted for their own. AFM is one large social networking and hustling event. It’s intimidating, but manageable. And once you overcome the fear that you’re just an independent filmmaker you remember, so are they. Everyone is just trying their best to make movies and get them in front of an audience. And that is very reassuring.