Over the past few weeks I’ve been writing about and how we used to market movies, vs what works in marketing them now. So to expand on that, here are the most important things in marketing your movie in todays day and age.
A lot of filmmakers I’ve worked with don’t know enough about distribution to really make a career making creative content. This shouldn’t be a surprise, as it’s a something film schools tend not to teach. That being said, there’a a part of the equation most people just don’t talk about, and WHY it takes so long for filmmakers to get paid. This blog addresses that.
I try to stay active in at least a few facebook and LinkedIn groups, and one question that comes up more often than I thought it would was why distributors need to know your social media numbers. The argument that generally follows is something like “just because people follow us doesn’t mean they’re going to buy our movie.” For the most part, we get that you probably have a lot of filmmaker friends, and your filmmaker friends are often surprisingly difficult to get to buy your movie. That’s not the only, (or even the primary) reason why we need to know about your social media. Here are 6 reasons why
Last week I examined the rise and fall of physical media for the film industry. As promised, this week I’ll outline WHY that matters, and the practical aspects of the current independent film industry. Well, the answer to that (and so many things in both this industry and in life) is that it’s all in how you do it. What follows is an examination, looking to lend guidance to that question. Here are the ways you can still make money with independent film.
If you thought that I missed a few genres in my blog last week, it might be that they’re more classically sub-genres. The biggest difference between a genre and a sub-genre is that a genre is generally a tone or a feel of a film (and sometimes some elements related to those tones) and a sub genre is more related to Themes, Settings, Style or niche audiences that targeted largely by those themes settings, or style. Some sub-genres pair better with certain genres than others, and it’s common to have more than one in a film. More as we go through them.
So most filmmakers are at least passingly aware of the importance of genre in independent film distribution. (If you’re not, read this.) But even while most filmmakers have a cursory understanding of what defines a genre, the lines are often less bendable than many filmmakers think they are. So with that in mind, here’s what distributors mean when they say a certain genre.
 Part of what I do through the consulting arm of Guerrilla Rep Media is review peoples Decks and business plans. One thing that I keeps coming up in these documents is that entirely too many filmmakers list their distribution strategy as sole their festival run. There’s a lot of issues with this line of thinking, so as I do with any question that keeps coming up I thought I would write a blog about it. So without further adieu, here’s why you probably won’t get distribution from your festival run.
Opinions expressed in this piece are not in any way endorsed by Netflix, Its parent company, or any subsidiaries. Opinions expressed within are solely those of Guerrilla Rep Media and its founder, Ben Yennie.
Many filmmaker and even more film consumers just want to know when work will be on Netflix. In recent years, this has become more difficult than it was previously. IT used to be that it was a relatively easy sale to get on Netflix, although the money wasn’t very good. More recently, the bar has been raised substantially, and the money you get for it hasn’t increased as much as we may have liked it to. What follows is an outline of how to get your film on Netflix, both as an original and as an acquisition.
Last week I shared a few different types of printed materials to use at film festivals. This week, I thought I’d follow up with a post on the essential components of Indiefilm Electronic Press Kit. I will say that this is one thing where reasonable people can disagree, so if you think there’s something I missed, comment it below and I might change the post to include it.
Seeing as how a majority of my business still comes from representing filmmakers to sales agents and distributors, it’s unsurprising that a question I get at my events and in my inbox quite often is when is the best time to approach a producer’s rep, sales agent or distributor. Well, as with many things I tend to blog about, there’a a short, true, and mostly unhelpful answer to that question. There’s also a longer, more nuanced, and more correct answer. This blog attempts to answer both in under 800 words.
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AuthorMy name is Ben, I'm an Entrepreneur, Producer's Rep, and Author. I'm the founder of Guerrilla Rep Media, Co-Founder/CMO of ProductionNext, and founder of Producer Foundry. Together, the organizations seek to help make filmmaking a more economically sustainable endeavor. I am dysic, I have capitalization issues, and the blogs are often unedited. opinions all my own. 
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