Last Tuesday, “In the Darkness” was the first narrative feature to be released on Hulu, a water-shed event in online film distribution.
In its opening weekend over 50,000 viewers logged in to watch the film. Some moviegoers loved it, while others hated it. Regardless of the variety of opinion, viewers enthusiastically posted their comments on the film. Join this love/hate relationship debate!
When I talk to IndieFlix filmmakers about marketing, I find a common sense of frustration and almost helplessness in our conversations. Sometimes they tell me about how a former distributor did them wrong or how promises fell short and important deadlines were missed.
The traditional life of an indie movie used to depended on a narrow release window with theatrical screenings, premiers and press releases. If that format didn’t lead to a huge distribution deal or fame and fortune, then what’s the next step?
At IndieFlix, we try to encourage filmmakers to think beyond these traditional formats and really delve into social media marketing, to utilize the support networks of the online community and find their niche audiences in online blogs and forums.
Finally, a book I can refer them to.
Filmmaker Jon Reiss’ new book “Think Outside the Box (Office)” answers these questions realistically and turns marketing into a positive, empowering experience for filmmakers. The book follows the trajectory from day one of pre-production all the way to worldwide distribution with smart, practical DIY tools at every step. (And IndieFlix gets a shout-out in the distribution chapter!)
Reiss bases all of his advice on his personal experiences with his film “Bomb It,” a documentary about graffiti culture. He critically analyzes his own mistakes and successes of that film launch and offers tips he received along the way.
One of the biggest themes throughout Reiss’ book is the importance of planning. Even a simple brainstorm timeline is necessary for every step of the way, from preproduction to press kit. Marketing should not only be included in every brainstorm, but every venture should have a marketing endpoint.
The four basic elements that Reiss insists you think about, beginning in pre-production, are:
Each one of these should a part of your film production story and you should ask yourself the following questions:
What does success mean to you? Do you want your film to become a mainstream hit or build a conscious community around your message? What qualities of your film make it stand out and different from others? Why do people have to see your film? Who is that audience? How old are they? What are they interested in and where do they live? What web sites do they visit and what publications do they read? Realistically, what resources do you have to make this launch a success? Who is on your team and will help you promote it? What is your budget?
Filmmakers should be able to utilize these questions to create a strong marketing campaign for their work. Reiss suggests creating a goal and working backwards. Marketing, he insists, is not a dirty word. These strategies are going to be what helps you successfully reach your audience.
Not only does the book focus on the broader picture, but Reiss really gets into the nuts and bolts of the process, from creating the web site to becoming a relevant blogger and hosting a successful screening. A combination of on- and off-line exposure is necessary for visibility.
This book is an excellent resource for any filmmaker, regardless of their level of experience, budget or connections. Throughout, Reiss imparts his wisdom like a funny older brother or friend. He even suggests only reading parts of his book as you find them useful and breaks up the chapters so it reads like a workbook. I’m recommending this book to all of you, even if you’re only dreaming of a filmmaking career right now.
Check out the book’s web site at http://www.thinkoutsidetheboxoffice.com/
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One of the most exciting things about the evolution in content distribution that’s happening now – scratch that: the revolution – is that content providers (otherwise known as “artists”) no longer have to limit their output to the kind of work that a megacorp feels is unchallenging enough to safely market to the masses.
But masses don’t consume art; people do. You do and I do. Each work of art is an individual opportunity for one person – the artist – to have an exchange of ideas with another person – the viewer or audience member. You or me. The megacorps that have, until the upheaval caused by the webbing of the planet, claimed for themselves all the control, and therefore all the access and the product, of these interchanges are scrambling to maintain a foothold on the increasingly shaky ground. Meanwhile, the control they’re losing their grip on is fragmenting and falling down around their feet, and being reclaimed by its rightful owners: the individual artists.
Case in point? David Lynch, who’s always been a maverick as a filmmaker and artist, has nonetheless always had to rely on the entrenched machinery of the established distribution system to get his art out there, so that you and I can interact with it. His work had to be big enough, in other words, to be worth the time and effort it took for a major studio to market it. If there’s no potential for profit, there’s no incentive to sell it. Because of course selling it has always been the only option.
So let’s raise a glass to the continuing dissolution of the old distribution model while we enjoy one of the many, many fruits of the process: these odd and beautiful little interviews with real people at David Lynch’s youtube channel.
Start with my favorite, the man whose life was changed by a visitation from the spirit of Stevie Nicks, and work your way through the rest of them. You’ll be glad you’ll did. You’ll be puzzled, and maybe a little disturbed, but glad.
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