Last week we talked about the 4 major types of Media Entrepreneurship, so this week I thought I’d expand on the most common production company that my readers seem to run. That’s the small production company that they hope to scale into something bigger. Here’s why your production company is a small business, and how to treat it like one so you can see it grow.
They say don’t judge a book by its cover, so you’d think it should follow that you shouldn’t judge a film by its title. You would think wrong. Title is a hugely important part of your film marketing, and it should be something you think about from the very beginning, not simply as an after thought. So here’s how to go about creating a title that will stick.
If you want to understand how best to market something, you need to first understand the steps that a customer would take in buying it. This isn’t just true for film, it’s true for everything any entrepreneur might want to sell. It’s called the purchase process or purchase cycle. Here’s what it looks like for film.
As with nearly anything in life, there are dos and don’ts when you;’re dealing with your independent film distributor.. Also as with most things in life, there is (at least) one thing you can do that will irreparably harm your relationship with that distributor, and might even result in legal action taken against you. What is it? Read on to find out.
The Distributor’s job is largely to make your film available for sale, and set it up in such a way that people are likely to buy it. Some will work to market your film, but most won’t. Even when they do market your film, you helping market your work will make the marketing your distributor does much more effective. However, there are some basic rules that you should follow to make sure everything goes as well.
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.
Its no secret that may think film distribution is broken. While there are many reasons for it, part of it is due to the rapid change in the amount of money flowing to distributors, and what constituted effective marketing. What works for marketing films now isn't what worked in the past, and the systems distributors built themselves around have fallen apart. Here's an elaboration.
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
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.
Traditional marketing wisdom states that you should offer something of value to your potential customer prior to trying to sell to them. However, this value proposition is different when you’re talking about making a film versus selling a software application. It has to be something of value to your customers, and since most of your customers are not going to be other filmmakers you’re going to need to think outside the box and offer something that people who only consume content are going to be interested in. Here’s a list of some ideas to get you started.
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.
Most filmmakers only think about festivals when they’re getting ready to market their film. There are lots of reasons that this line of thinking is flawed, however it would take far more than a 600-800 word blog to even begin to touch on them. However, if you’re going to have ANY level of success from your festival run, you’re going to need some bomb printed materials. This blog outlines a couple of examples I’ve used personally and had success with.
Most filmmakers want to make movies. However, few think about establishing themselves a brand as a filmmaker. In the immortal words of Alex Ferrari of Indie Film Hustle: “If you don’t think you need a brand as a filmmaker, you’re wrong.” As wonderful as I personally find that quote, I think it needs a little elaboration. What follows are 5 reasons you NEED a brand as a filmmaker.
Most filmmakers hate the idea of crowdfunding. While nobody likes constantly having their hands out and asking their friends for money for a whole month straight, it’s something that most filmmakers are going to have to do early in their careers. It’s very possible that most filmmakers will have to do it more than once. But the reason you crowdfund isn’t just about the money. There are lots of other reasons crowdfunding can be a boon for a filmmaker’s career. Here are 4 of them.
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.
In this installment of my 7 part blog series on business planning, we’re going to take a look at the marketing section of the plan. This section is likely to be the longest section, as it encompasses an overview of the industry, as well as both marketing and distribution planning. Generally, this section will encompass 3-5 pages of the plan, all single spaced. This is among the most important sections of the plan, as it is a real breakdown of how money will come back to the film
In a follow-up to last week’s blog on self distribution platforms, I thought we would step back for a minute and try to understand what filmmakers should consider before they decide whether or not to self distribute their movie. This blog is a list of potential parameters you might want to go by. It’s not the only things you should take into account, but they are some factors you’ll need to consider
My 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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