Studio
Internet Etiquette For Actors
7/7/2009 at 1:57 PM by Amy Allen
Casting Director Paul Russell's two recent advice articles on backstage pertain to the the way actors present themselves online, both on social networking sites and in email. Since Massify has a social networking component, it makes sense to expand on the topic.
First, email, since it's easier. Russell says, "For any professional, electronic correspondence an actor's email address should include the performer's name or part of it. Such as: NormaDesmond@whatever.com, N.Desmond@whatever.com
Norma_D@whatever.com, etc."
He's right, of course, and I would encourage actors to take this a step further. Acting is a business and you are selling yourself, the product. Nobody today would have a business without a website, so you should use the email address that comes with your domain name, if possible (norma@normadesmond.com, to continue using Russell's example).
Nobody Will Tweet For You
6/24/2009 at 1:38 PM by Amy Allen
...Unless you're a celebrity, of course. But for those of you unsure about how all these social media tools work, check out Clay Shirky's talk via Ted. It has Twitter in the title, but more broadly it aims to help people understand how online communication works today. Shirky points out that as everything from newspapers to movies move to the the internet, "Every medium is right next door to every other medium." And as a content creator, it's up to you to engage your audience using new tools to drive them to your content. This is a good primer.
Discussing Distribution
6/23/2009 at 3:09 PM by Amy Allen
At the 2009 FIND Film Financing Conference, keynote speaker James H. Stern told the crowd of producers that “We are lucky enough to be at the right place at the right time for great opportunities,” speaking specifically about digital funding and distribution options. Indiewire has a useful summary of the lessons gained from the panel that followed those opening remarks. If you have the time, here's the full podcast.
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Expanding the Specialty Film Market
6/8/2009 at 1:47 PM by Amy Allen
A Variety article from Friday talks about two recent specialty films - Summer Hours and The Girlfriend Experience - that had simultaneous video on demand and theatrical releases. The positive response is giving hope to those who advocate for more innovative distribution models.
"The guy in Lincoln, Nebraska who reads about a movie in the New York Times is now getting immediate access to it," says Magnolia president Eamonn Bowles.
Filmmakers & Marketers
6/5/2009 at 2:03 PM by Amy Allen
Scott Kirsner's interview on B-Side, which draws a lot of material from Scott's new book, is about how filmmakers now must also be marketers. It's worth a read, especially when he breaks down a few simple steps filmmakers can take to market their work:
"Your question about juggling lots of different sites and social networks is really good, because I think filmmakers can be overwhelmed by everything that’s out there. What I suggest is:
- Start with something simple and non-intimidating… like a Facebook fan page for your film, or a blog with a really simple, free service like Posterous.
- Pay attention to new places online where people are spending time. It may be worth your while, for instance, to join something like Twitter and give it a whirl when you hear everyone is talking about it. When your audience gravitates toward something new, it’s a good idea for you to be there.
- But while experimentation is important, if you don’t feel like you’re connecting with a significant audience through any of these channels — whether it’s your blog, a Facebook page, Twitter, or something new — drop it and spend your time on something that you think will have a better pay-off."
Required Reading
6/1/2009 at 2:43 PM by Amy Allen
While the title - "This is The Right Time to Make Movies" - is a bit misleading, this article by Noah Harlan is a great breakdown of studio vs. indie releases, and why we should rethink the way we market movies. Also posted last Sunday in Filmmaker. Check it out!
The Big Media Picture
5/29/2009 at 2:32 PM by Amy Allen
Henry Jenkins on Transmedia - November 2009 from niko on Vimeo.
Sometimes it helps to think about the big picture, and this video, by MIT professor Henry Jenkins (by way of Scott Kirsner's blog) will force you to do just that. It perfectly encapsulates the flux that our media culture is in right now, and it's inspiring to anybody who is trying to get their message out there. The question remains, though, as to which messages will rise about the noise: will it be those that are most compelling, or those messages pushed by people who are most adept at getting their voices heard?
52 Reasons Why American Indie Film Will Flourish
5/26/2009 at 1:02 PM by Amy Allen
Ted Hope, always a master of the fact-packed list, just posted 52 Reasons Why American Indie Film Will Flourish. Since he asks others to add onto the (extremely comprehensive) list, I would add:
53. For those starting out, there are more networking opportunities outside of film school. While a formal program has never been a prerequisite for quality work, it's still important as a place to network. While important, film school is also expensive, and if you're only plucking those who can pay from the talent pool, the quality almost certainly diminishes. Tutorials and film theory distributed to the masses online can help everybody develop their skills. The best training is to go out and make something anyhow, which has never been easier.
54. Unions like SAG are embracing the importance of independent film. SAG Indie has an intuitive website and offers affordable contracts to movies with lower budgets, allowing everybody access to experienced talent.
55. Building on #42, while a lot of attention has been placed the falling prices of digital production equipment, projectors are just as important. As more studios pay for digital projectors to be installed in major theaters, those theaters will be better equipped to screen independent fare and indie filmmakers won't have to budget for that expensive 35mm print, allowing both small films and theatrical distribution to survive.
Ted's List is a must read. Check it out.
What's Next For Film Festivals?
5/12/2009 at 1:10 PM by Sasha Nelson
IndieWIRE's Peter Knegt highlights several fascinating quotes from a panel on the future of film festivals, held during last week's Hot Docs in Toronto. Moderated by Sean Farnel, the panel included the following festival bigwigs: Geoff Gilmore (Tribeca Enterprises), Cameron Bailey (Toronto International Film Festival), Janet Pierson (SXSW Film Conference and Festival) and Sky Sitney (SILVERDOCS). Find out what the group has to say about the relationship between festivals and markets, alternative distribution models for filmmakers, today's generation of filmgoers, and much more.
Where Does Film Criticism Fit In?
5/4/2009 at 2:01 PM by Amy Allen
In his answer to Reid Gershbein's Two Week Film Collective project, professor Chuck Tyron brings up some excellent talking points in his post, Film Criticism in the Internet Age. Among them:
"To be sure, there is quite a bit of disagreement over what counts as “self-distribution” and whether it is viable or not. If anything, the range of positions articulated during Alejandro’s roundtable illustrate that it is a “concept” marked by competing definitions and desires, and quite often it is easy to romanticize the independent artist operating outside the studio system.”
Advice for Web Series Creators
5/4/2009 at 1:48 PM by Amy Allen
NewTeeVee gives some good advice to those who helm their own web series in this article, posted on Saturday. The marketing tips are also useful for those who are trying to use a web site to create buzz around a movie, since it all boils down to giving the audience everything they might want, including character bios and a way to contact their favorite talent. Being accessible online is huge, NewTeeVee points out, because that's how a fan base grows organically.
The Future of Online Distribution?
4/29/2009 at 10:53 AM by Amy Allen
A nice compliment to any conversation about indie distribution, this article by Mark Lipsky of Gigantic Digital on indieWIRE is a case study on what happens when you combine theatrical and online release. The key strategy here is exclusivity; a movie is released in theaters in some locations while being released on Gigantic digitally in other markets. Either way, viewers pay to watch ($2.99 for the ability to stream a film for 3 days). Gigantic Digital is one arm of the artist-friendly Gigantic.
Notes on Building a Fan Base
4/28/2009 at 11:53 AM by Amy Allen
Scott Kirsner recently participated in a panel about building an audience for your work, along with Brian Chirls, Sean Flynn, and Chris Holland. The complete audio is available for streaming and downloading on his blog, CinemaTech. If you don't have time to listen to the entire clip, here are the main points, as they apply to independent filmmakers.
-Since it's easier than ever to make and distribute your work, more filmmakers are doing so, which means there is a tremendous amount of noise you must break through.
-To do this, think about the marketing aspects of your film before you even begin production. As soon as you have a name, put up a website and start from there. Own that presence. Marketing today is dependent on being found if somebody wants to find you. So name your film something that is able to be googled, like a memorable phrase that you don't hear all the time. Own that phrase and start building awareness around it.
Raise your hand if you like free movies
7/18/2008 at 2:37 PM by Amy Allen
SnagFilms just launched their beta site, which contains over 270 free documentaries.
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