Jon Reiss’ TOTBO Tip of the Day 6 – Identifying and Engaging Your Audience
Here is the Jon Reiss TOTBO three step approach to audience development and engagement:
1. Know WHO your audience is. This is not 18-25 year old boys/men. Or 35 – 55 year old women. As an independent filmmaker, if you cross over into a mass audience great – but you need to be much more specific. Tomorrow’s tip will discuss niche vs core audiences.
2. Know WHERE your audience derives information/congregates. In other words how you can contact them, engage them, communicate with them.
3. Know HOW your audience engages media, or HOW they will support you.
PS I was going to address budgeting this week, but I have shifted that topic to next week.
Jon Reiss’ TOTBO Tip of the Day 7 – Differentiating Core and Niche Audiences
The terms Core and Niche are often used interchangeably and this is a mistake. The niche audience for your film is that slice of the population that has a particular interest in your film or an aspect of your film. The core audience for your film is those people within each niche that are your most ardent supporters. Those people who will spread the word about your film to not only their networks, but to the rest of that niche. You can have multiple niches’ that are interested in your film, and within each niche there is a core who combined adds up to the core of your film.
Jon Reiss’ TOTBO Tip of the Day 8 – Engage Organizations to Promote Your Film
Step 2 of Audience Engagement is: Know WHERE your audience derives information/congregates.
Many niche’s have organizations that support those specific topics and interests. Engage those organizations early in your filmmaking process (as early as conception and prep). It is important to have the proper attitude toward your audience and these organizations. You need to think, “What can I give them?” instead of “What can they do for me?” If you think of the former, the latter will flow. People are very busy. You need to give them an incentive to be involved with you. The film is not enough. How will the film service their organization, their lives and the lives of their members? In turn, they will help you promote your film to your direct audience. This has been used by great effect by documentary filmmakers. Narrative filmmakers need to follow their lead.
I want to know what you think! Comment here or on my blog, or @Jon_Reiss on twitter, or on the TOTBO Facebook page. Check out the book here. I look forward to hearing from you.
Hello readers. This is the first installment of a multi-part series from our friend Jon Reiss, filmmaker, entrepreneur and author of “Think Outside the Box (Office),” a must-read marketing handbook for all filmmakers. Stay tuned as we post new tips from Reiss every day during the series.
Day 1 – The Next Chapter
Many of you might know me from the book that I have written recently, Think Outside the Box Office (TOTBO for short). The primary reason that I wrote it was to share what I had learned while distributing my film Bomb Itwith other filmmakers so they could learn from my successes and mistakes. In the continuation of that mission I am launching two more initiatives – both in support of how people want to interact with this information. The first is a series of workshops around the world. It seems that the live experience is as important as the written word in imparting this information for many people. We are starting with London on May 8/9, Amsterdam on the 12/13, New York on June 5, Vancouver on June 12/13, San Francisco July 31/Aug1 with more being lined up.
The second initiative is the launching of a TOTBO Tip of the Day. This will soon be joined by Resource of the Day. In these tips, I will give not only a sense of what’s in the book and workshop, but they will be a forum to convey new tips to you as I learn them.
I want to know what you think! Comment here or on my blog, or @Jon_Reiss on twitter, or on the TOTBO Facebook page. Check out the book here. I look forward to hearing from you.
Jon Reiss’ TOTBO Tip of the Day 2 – Every Film is Different
Each film is unique and requires its own individual distribution and marketing strategy. A comedy about stoners will not have the same audience as a documentary about Aids orphans in Tanzania. Similarly each filmmaker has a different set of goals, needs, and resources. While the studio one size fits all model worked well for some independent films over the last 20 years – it was a disaster for others. With the new hybrid model of distribution you can craft a distribution and marketing strategy that makes the most sense for your film. You have a unique vision. Use that vision to engage your audience in a unique manner. This will help separate you from the media noise that surrounds us every day.
What do you think?
Jon Reiss’ TOTBO Tip of the Day 3 – Know Your Goals
I cannot stress this enough. I cannot repeat this enough. There are multiple goals that you can strive for in the release of your film. You must prioritize what is most important to you. I categorize the goals for the distribution and marketing of your film into the following five (with a sub goal number 6):
Money
Career launch, help for your next project, fame.
Audience/eyeballs to see the film
To have an impact on the world
A long term sustainable connection with a fan base.
A green release.
Choices that you make in service of one goal will often sacrifice another goal. For instance releasing your film for free on the internet might get you the most eyeballs, but it won’t help you monetize the film.
You must make sure that everyone on your team is on the same page and don’t have conflicting goals. At the Slamdance Filmmaker Summit, I gave homework to two sets of filmmakers with whom I did a live speed consult*. While Hunter Weeks, a very savvy filmmaker, had known for some time his goal for his current film Ride the Divide was to help him get another film made, what he didn’t know until that night was his goal was different from his producer Mike Dion which was to make money to return the investment for his investors. These goals are two that are traditionally in direct conflict (career launch normally associated with some form of traditional theatrical which in turn is usually a money drain).
What do you think?
* I had so much fun doing these speed consults that they have become an integral part of nearly all of the workshops I conduct. The first day of the workshops is a presentation of the principles of the new techniques of distribution and marketing from a very practical perspective. The second day is primarily limited to 20 films/projects and I do 20-30 minutes speed consult on each – with all the other teams present so that they can learn from each other.
Jon Reiss’ TOTBO Tip of the Day 4 – Setting Marketing Strategy
Two helpful ways to think about marketing:
1) Reaching the audience that already exists for your film, and
2) thinking creatively of what audiences might be interested in your film.
I recommend that you consider and conceive of a marketing strategy for your film early in the production process, even at inception. Who is its audience? How are you best going to reach them? Are there particular blogs, organizations, print media that they subscribe to? Who will you bring on to help you outreach to your audience? How does this audience consume media? Answering these questions will help to fashion your release strategy.
Jon Reiss’ TOTBO Tip of the Day 5 – Budget for Distribution and Marketing
In order to successfully execute a marketing plan for your film, a budget must be developed in tandem with your production budget. This is not an optional expense to be decided at the end of post production. A marketing and distribution budget is a tool that balances what needs to be spent against what can be afforded, and helps make choices about which methods will be priorities and which ones cannot be implemented due to cost. A well analyzed, affordable budget will help to focus achievable marketing efforts without wasting time and money. Doing this will also make it seem that you have a sense of how you are going to make your investors money back (and that you care).
Next weeks tips will give expand on this topic – to help you navigate this process.
[Note: In part one of this series I talked about the six basic motivators that filmmakers can uses to get people excited about their films. The next few parts will look at each motivator in depth.]
Part 2: Make Them Laugh
We filmmakers need to get people excited about our films. Rather than hoping to stumble across a successful marketing approach for a film, it’s better to plan one from the very start–ideally before you commit to making the film–and tweak it based on what really gets people to pay to watch movies. “6 Ways” is about those things that motivate someone to say, “I’ve got to see that!”
So how do movies like Napoleon Dynamite or The Hangover rocket from obscurity to national reknown in the blink of an eye. Is it the big stars? The special effects? The action scenes? Actually, it turns out these movies are really, really funny.
Here at IndieFlix we make it our mission to help filmmakers find their audiences. Oftentimes it’s easier said then done – maneuvering through the waters of online social networking and specialty groups can be daunting with mixed results. Even if you find that niche, the payoff of all your hard work may only be evident over time – and usually time is a film’s worse enemy. No one wants their film to die somewhere on a shelf but chasing a fleeting online audience takes time.
A recent New York Times article about indie film marketing focuses on this very issue – offering tips on everything from using Facebook and Twitter to making friends with the hotel concierge who could maybe say the right thing to the right person during a film festival.
“Anvil! The Story of Anvil” director Steve Ludlow took out a second mortgage on his house to pay for the documentary. But his online marketing techniques landed endorsement from Radiohead frontman Thom Yorke, a VH1 deal and over 150 screenings nationwide.
It seems that the key to great film marketing is to identify your audience, use creative ways to find them online, be willing to explore unfamiliar groups or companies and take a chance with people you may never meet in person. On top of it all, filmmakers need a large dose of confidence to pull it all off.
It makes me admire people like Ryan Gielen, director of The Graduates. He spent his own money traveling across America promoting his film on college campuses with special screenings and promotions. That word-of-mouth paid off and his film has done well on IndieFlix, iTunes and Amazon VOD.
There are no road maps to follow in this new marketing world, no step-by-step instructions on how to make your indie film a success. But as ambiguous and daunting as it all can seem, the only fool-proof advice is to market the hell out of your movie and work on it for as long and as hard as you possibly can.
The more effort you make, the more people know about your film, which is sometimes all you can ask for.
As marketing director at IndieFlix, I go through these motions daily – cold-calling special interest groups and browsing relevant websites to connect with people who will genuinely enjoy the film I’m promoting.
While it requires a lot of work and patience, it does pay off and for every 10 e-mails I send, that one I get back might be exactly what the film needs to survive.
What filmmakers can do to help me market their films is stay in contact – to research different ideas on their own and help me brainstorm ways to connect with their audiences. That way, I can work on their behalf with a clear idea of what they want and where they see their film going.
For me, the New York Times article legitimizes the work we’re doing at IndieFlix and that grassroots advertising can be effective if it’s done well, as long as you keep trying and experimenting.
This is already an amazing event. Here are the reasons why:
1. Leading innovators and newsmakers all in one room for 2 days sharing openly and listening. 2. There is no product, festival or company agenda at play. 3. The price is less than 1/5 of what a conference would cost. 4. Up close and personal access for both speakers and guests to share ideas.
to register: http://www.theconversationspot.com/registration.html
"We only endorse people and gatherings we truly believe in…
The Conversation is just such an event! I hope you will attend. We all
look forward to
meeting you.
Scilla Andreen, filmmaker, ceo & co-founder IndieFlix
The Future of Cinema, Games & Online Video: New Tools/ New Distribution / New Rules
This October, pioneers at the forefront of change in cinema, video,
games, media and technology are coming together to share ideas,
insights, and innovations. Our focus is on new tools, new distribution
channels, and new rules.
The
format of the gathering will be experimental: rather than a traditional
conference, short talks and demos, "fireside chats," and roundtables
will spark a dynamic series of overlapping conversations.
All this will happen at UC Berkeley’s renowned Pacific Film Archive theater
over two days this October. It’s a conversation that will bring
together media-makers and technologists to share experiences, discuss,
debate, and map out the future together.
Some of the topics we’ll touch on, and the people who’ll lead the conversation, are listed here. But we also want to invite you to suggest other topics … ones that you want to see added or address yourself.
Just added to the site: A list of some of the people who’ll be part of The Conversation.
The Goal Our hunch is that we’re at an important moment in the history of
technology and visual storytelling — a broad term that encompasses
filmmaking, TV, online video, and narrative-driven games.
New
software is making incredible things possible in visual effects and
animation, and also democratizing those fields. Web sites offer to help
finance film projects, or share ad revenue with video-makers. Marketing
and release strategies are shifting by the minute. High-end high-def
cameras are plummeting in price. The connection with the audience is
changing. Established ways of doing things just don’t seem to be
working anymore, while new opportunities are emerging.
Our goal is for The Conversation to delve into all those issues — and
more, with your ideas, help, and participation. The Conversation will
focus exclusively on the new business and creative opportunities that
are arising in 2008.
We expect every participant to bring his or her concerns, questions, or
examples of what they’ve been doing and how well it’s working, to share
during the sessions or during the designated schmooze-time. (There will
also be an opportunity to present during a Saturday workshop session.)
The overall goal is for The Conversation to be a real exchange of ideas
— a gathering of people working on the edge and thinking about the
future.