Recently I exchanged emails with Chris when he approached me about doing a review of his film KNOCK ‘EM DEAD, KID.  Instead, I asked him to write an article about how he made his movie. This way other filmmakers will have the opportunity to learn about someone else’s experience.  I’d like to publish more articles like this, so if you’d like to share the story of how your film got made, please send it to me at info@filmmakersnotebook.com.  Now, I hope you enjoy the first Filmmaker’s Diary from Chris Golon.

It was the mid 1990’s when I tried coming up with a ‘teenage’ story concept.  Nothing was worked until one night the opening image of three guys sitting in a car waiting to do something hit me.  From there, the idea for KNOCK ‘EM DEAD, KID was born. I always knew that I didn’t want someone else to make it, so at the time I put it aside and wrote a spec script hoping for a big sale.  In 2001 I had a screenplay optioned by a producer in Los Angeles.  It was a free option, however, and although the experience was invaluable, the deal eventually fell through. I realized then that I needed to try and make my own movie.

Over time, I dealt with managers and entertainment attorneys and generated some interest in my scripts, but again, nothing solid ever came to be and KNOCK ‘EM DEAD, KID cried out for me to make it.  From 2001-2007, I tweaked the script.  After making an experimental feature in 2006, I attended the New York Film Academy in L.A. in the fall of 2007.  I entered the program to get a feel for the technical side of filmmaking.  What I learned was that I didn’t need a huge budget to pull off my idea – just ingenuity.

The film is 75% real and 25% fiction and it came from me wanting to tell some of the stories that happened to me as a teenager.  It’s about a 19-year-old from Connecticut, who wants to go away to school, but gets involved in a revenge style assault and is caught cheating on his girlfriend. The thematic elements are a mix of real life and reel life. I knew that I should write what I know and I knew these characters and these situations.

I took a long look at the script, which was then 212 pages and decided figure out a way and make this.   I scaled the script down to 80 pages. The main location an ice cream parlor, which I couldn’t secure without a budget, was removed.  Then I consolidated characters (the original script had 35+ speaking parts) and made the locations more simplistic.

I decided to shoot in LA due to the large talent pool and used a Mini DV, since it was cheaper than film, and a Panasonic DVX 100-A (24p), which I learned about at NYFA.  In June 2008, I returned to L.A.  I had placed ads on Craigslist and LA Casting seeking talent and a DP.  The budget was a very low $800-1500.  Yes, that low.  I found the DP the day after I arrived back in LA and I auditioned actors for 2 weeks.  All twenty of them ended up working on the project for free, which made me  forever grateful.

The shoot was supposed to last two weeks, but it went to three. We shot as actors’ schedules allowed utilizing every available location we could legally.  I had two friends from NYFA help me out in spots.  One of them had a bit part in the movie and the other allowed me to use his apartment for a location, which resulted in his visiting sister playing a news reporter!

A lot of the shoot didn’t go smoothly.  In fact, I’d say less than 50% went according to plan.  Some of the unforeseen circumstances: not having the proper permits and getting kicked out of where we were shooting; an actress inexplicably leaving at the start of the second week resulting in recasting & reshooting her scenes; actors’ schedules; and finding free locations. The worst things about shooting a low budget are time and money.

My DP was great and the actors did their best under the circumstances. Dirk Julian, in his first lead role, had a tremendous weight on his shoulders and did great considering he was in almost every scene.  Michael Resendez, Torey Marks, and Chad Post performed their roles as the people Dirk’s character hung out with very well.  One of the actors, Al Burke, had previously been in the film “The Wedding Singer”, as the guy who defends Billy Idol.  He played an abusive cop in the movie and helped out quite a bit with the young actors.   He even supplied me with a real cop outfit, which he owned.  During a break in shooting, he was actually approached by a woman asking for police assistance (she needed directions)!  We had to explain we were making a movie and that he wasn’t a real cop.

Late that summer, I headed back east to edit the film and, of course, more problems arose.  Due to computer issues, the entire project was edited on a 2 inch video camera screen. The feed from the computer was rerouted out of the computer and the monitor being used was the VCD screen on a consumer Mini DV camera.  Because of this, it took over 5 months to edit it, since synching the image and the sound was problematic.  One of the actors, Michael Hollinger, contributed the musical score and we found songs by placing an ad on Craigslist.  I ended up using some great up and coming artists in the movie.

In February of 2009, I brought the finished movie back to LA and screened it for local cast members and mailed it to everyone else. I tried finding a Direct-to-DVD distributor and while I was looking, KNOCK won Honorable Mention at the Twin Rivers Media Fest.

In order to generate publicity for the movie, I sent screeners to DVD review sites and it was received quite well.  I took a risk doing this considering if the movie had been panned, keeping interest afloat would have been tough, but the good reviews led to interviews about the movie.

It isn’t dead yet and I’m still actively seeking Direct-to-DVD distribution. Meanwhile, it is available on Amazon.com for sale and rental.  Making KNOCK taught me that if you aren’t passionate about your movie, then you shouldn’t be making it.  It’s time consuming and needs everything you’ve got and then some in order to succeed, but if you take a stab at making it – finish it.  See it through to the end, no matter what.  If an actor leaves, recast.  If you have trouble editing, figure out the problem.  If I made my movie, then you can make yours.  In the end, you are the only one who needs to believe in the project – as long as you do, you will get it done.

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This month two Film Financing Conferences are being held in Los Angeles.  First there is the 2^nd Annual Film Finance Forum beginning on the 2nd and running through the 4^th at the Hyatt Regency Century Plaza, then on the 8^th and 9^th the 2010 International Film & TV Summit is being held at the Luxe Hotel.  While most independent filmmakers may be focusing on the newer business models, such as crowdfunding, which are aimed at no and low budget productions, becoming familiar with how traditional financial funding is structured and functions is beneficial, especially if you might one day be producing larger projects. 

Both of these conferences share some similarities, such as speakers and participating companies.  The Film Finance Forum sponsored by Winston Baker, Variety and Thomson Reuters describes itself as the official forum for finance and entertainment professionals seeking new investment opportunities and growth strategies within the film business.  Stressing the impact of the lagging economy, the conference focuses on emerging trends in deal structuring, capital raising challenges and solutions.  This year’s featured keynote speaker is Ashok Amritraj, CEO of Hyde Park Entertainment Group, while other notable panelists include Ronald Hohauser, CFO at Summit Entertainment, SVP of Finance and Operations at Fox Searchlight, Jill Gwen and Mark Burton, President of IndieVest.  I attended The Film Finance Forum’s debut in 2009 and gained a lot of insight into the mechanics of how this part of the industry works.  It was before I began my involvement in film, however, during my research phase, so I didn’t have this blog then, nor had I started working on “Accused” or any marketing projects.  

At the time what I found valuable was the film industry overview from the financing perspective and the opportunity to network and find out first hand what industry insiders really think.  Last year most of the panels concentrated on the lack of money available from hedge funds, banks and other sources, the shrinking number of productions being financed and the emergence of alternative resources, such as the IndieVest model.   Reoccurring themes that resonated were the need for producers to understand the components of financing and the acknowledgment that while there will always be a film business, it is redefining itself and is in a state of flux.  The pros and cons of trying to finance slates, the need for great scripts that attract talent, the challenges to securing distribution and the development of new technologies like 3D were also key issues, which I’m sure will be hot topics discussed again this year. 

I haven’t attended the International Film & TV Summit before, but it is now in its 10^th year.  Sponsored by Atlas, this conference brings together the same type of speakers: film finance professionals, commercial and investment bankers, independent producers, state film commissioners and legal and accounting advisors.  Perhaps one of the most significant differences is the emphasis on educational rewards, since this program offers up to 12 CPE/CLE credits.  Benefits of attending being stressed this year include: the role of banks and specialized finance companies in providing financing for film production, how talent agencies can help package films for finance and distribution and understanding how to utilize new digital platforms for distributing media content into the home and onto hand held devices.

Whether you are interested in pursuing film financing through these traditional methods or are concentrating on the newer funding/distribution models being created and developed for independent filmmakers, one suggestion I’d make is to check out the brochures for these types of conferences.  Become familiar with the issues, subjects and information they are choosing to discuss and debate and make note of who their speakers are.  Many of these people appear at numerous events and are highly regarded individuals within the industry.  It’s good to know who they are, what they think and what they’re doing.  Knowledge is valuable and you never know when you may be able to utilize it, so recognizing these high profile industry insiders with pivotal positions in finance, development and distribution is a smart idea.  For those who want to know more or perhaps get on the mailing list for future events, more info is available at http://www.filmfinanceforum.com/ and http://www.atlas-sfi.com/Calendar2010/Film/index.htm

This Weeks Tweet Hearts:

openindie - We want open values for film distribution. We are OpenIndie.

zakforsman – an artist-entrepreneur, the filmmaker of HEART OF NOW, editor of WBP NEW BREED and ceo of CINEFIST. 

karenworden – Actor, producer, co-host of LA Talk Radio’s Film Courage, and the proud mother of four over-achieving cats.

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Although I think about signing up for film courses, I never seem to have the time or funds available.  However, because of the developing technologies and business models within the industry,  I have been taking various seminars and attending conferences for over two years.  One of the most informative online courses I’ve found is producer/director  David Basulto’s Film School On Demand FSOD 101 Make Your Movie Now, which in 10 Lessons covers the major aspects for making a first film.

 Since I’ve written three screenplays, started this blog and co-produced “Accused”, a great deal of Lesson 1, Getting Started and Lesson 2, The Script I was already familiar with, but there is keen insight offered related to finding screenplays, doing research and  figuring out your resources.  What hit home for me was the mantra Get Everything in Writing, a fact lots of first time filmmakers tend to overlook.  Protecting yourself legally is paramount and when you’re working on a tight budget, especially with people you know, it is easy to dismiss the importance of it.   However, the reality is that not having your paperwork in order can wreak havoc with your production and jeopardize your movie’s future.

In Lesson 3 David talks about Previsualization or Previs and explains how to storyboard your film and breakdown the script prior to shooting.   I can tell you from personal experience that I wish we had done more of this.  Basulto compares pre production to preparing for battle and considering the need for staying under budget and on schedule I couldn’t agree more.  David also talks about several software packages and their prices ranges including the free ones.

Financing is covered in Lessons 4 and 5, beginning with how to create a budget and figure out both hard and soft costs. In the latter section David delves into raising funds and explains different types of financing deals.  If you’ve attended other courses in film funding, some of this may be redundant, but for those who are starting out, it definitely acquaints you with the terminology and offers breakdowns of budget components and payment schedules.

Lesson 6, Pre-Production tells how  to find cast and crew and determine which people you may need to pay.  For example, having good sound in your production is a must, so you need to budget for this position.  From what I’ve seen, this is an area that is often ignored by new filmmakers, who are concentrating on visuals, and it can make or break your project.  Another crucial piece of advice: keep your cast and crew well fed.

Production is the focus of Lesson 7 and there is a great review of what steps need to be taken one week prior to and on the first day of the shoot.  Although it’s not a creative part of filmmaking, you have to keep your paperwork in order.  Every aspect of your production must be documented and you should have a system organizing your deal memos, permits, insurance, etc.  One thing that surprised me was how many pieces of paper there are at the end of a production.

From my perspective the two Lessons I valued most were 8 and 9, Post-Production and Distribution & Delivery.  “Accused” is currently in the last phase of editing and I can say without hesitation I have developed a healthy respect for the process.  David shares a number of places where can learn skills and speaks about different types of editing software.  Find qualified crew people in this area is essential, unless you’re planning to do it yourself.  You can’t afford to leave editing or sound to chance if you want to create a quality product.

By far, Lesson 9 was my favorite.  Although I already knew quite a bit about the different types of distribution deals, it was beneficial to see how a couple of real ones were broken down.  The best part, however, was hearing about deliverables.  Finding specifics about “the list” is often difficult and David let us in on many particulars.  For me, that alone was worth taking the course for.

Wrapping up, Basulto discussed Marketing in Lesson 10 and how it is the key to a movie’s success.  This is probably the aspect of the business I understand the most about, so while there were no big surprises for me, this section does offer a valuable overview for anyone in unfamiliar territory.  Whether you are seeking distribution or are planning to DIY, you have to develop an audience and make money and this involves marketing.  Nowadays, with all of the changes in the industry, it has become a necessary evil for all filmmakers.

Perhaps the most important lesson I learned in taking this course was recognizing my own strengths and weaknesses.  In order to develop and grow in any field, you need to take a long hard look at yourself and determine where you need to improve.  Some things come naturally, while others require developing skills or collaborating.  Being honest with yourself helps you figure out which parts of the process you enjoy and excel at and which ones you are better handing off to other people.  Investing in a program like Basulto’s helps you figure this out and move ahead.  For more  info go to the Film School On Demand website at http://filmschoolondemand.com/.

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Many aspiring and professional filmmakers, who don’t live in cities like Los Angeles and New York, often wish they could take advantage of the seminars and programs offered there.  Now, with a little help from technology, there are many opportunities you can enjoy right from home and here are the details about two of them.

HDSLR Filmmaking: Techniques and Workarounds from Early Adopters – Thursday, February 25^th from 1-2:30pm ET.  This 90 minute Webinar, sponsored by StudioDaily and featuring speakers Charles Papert and Andrew Disney, is packed with information about different aspects of using a DSLR camera.  Since the introduction of cameras like the Canon 5D Mark II  and Nikon D90, filmmakers have been experimenting with and delivering 1080p HD video projects shot with these DSLR still cameras mostly because of their affordability.  Unfortunately filmmakers have also faced a number of limitations, which this webinar’s panel will show you how to navigate on both short and long form video shoots.  Subjects covered include:  how to stretch your production budget with smaller and fewer lights, ways to minimize and correct rolling shutter, best practices for synchronizing audio, tips for working around the automatic default modes in most DLSR cameras and the latest firmware updates on manual aperture, ISO and shutter speed control.  This webinar will also be archived and available for sale after the original airdate.  If you have questions or would like to register contact coordinator Jessica Clegg at jclegg@accessintel.com or call her at 212-621-4626.  More information is also available at the StudioDaily website www.studiodaily.com.       

Everything You Need To Know – Thursday, March 4^th at 9:30pm ET and 6:30pm PT.  If you have an idea for an animation feature film, here’s a Teleseminar that can help you develop this project. During this 2-3 hour course, legendary animation film producer Max Howard will share his knowledge and help you produce your own animated film.  Max has worked with Steven Spielberg and Jeffrey Katzenberg and been part of award winning and financially successful projects, such as “The Lion King” and “Space Jam”.  He will be covering many different topics including : where to pitch your movie idea, opportunities available for producing your own animation film, which animation studios are best to work with and how to budget for star actors.  For more info or to register go to the website www.hitmakerseminar.com.

This Weeks Tweet Hearts:

OneOnOneFilm – For five years One on One has been training emerging directors, writers, producers, and cinematographers as they prepare to direct or produce.

FootstepsFilm – release news and site coming soon.

TiltTheMovie – A feature-length dramatic thriller about a father, a daughter, tragedy, and revenge. Tweets about our movie making adventure.

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This year I bought myself one Christmas present – a copy of Think Outside the Box Office written by filmmaker Jon Reiss.  Without a doubt it should be required reading for anyone interested in making movies from amateurs to seasoned professionals, especially since traditional distribution models have been broken and the current alternatives  are  being constantly evaluated and debated. 

During the past year I have read numerous articles, scoured blogs and attended conferences looking for hardcore, factual information in this area and it has been difficult to find and assimilate.  Several times I have wondered when the data out there would be consolidated in one place and now it finally is.  Think Outside the Box Office is the blueprint filmmakers have been waiting for, providing step by step instructions for marketing and distribution including how to build audiences, plan strategies and develop and manage websites, transmedia and digital rights. 

It is evident that this book was written by a filmmaker for filmmakers, as we are given the opportunity to learn from Jon’s mistakes and experiences and read in his own words how he has been promoting and selling his projects in this new world.  The book covers everything from getting started, to planning theatrical events, to handling marketing and publicity.  It won’t do the work for you, but it will give you the knowledge you need in order to get the job done.

Think Outside the Box Office details most, if not all, the options out there and summarizes the current confusing state of affairs plaguing the industry.  It is also apparent that Reiss is very aware of the transient nature of some of the information he is writing about.  Since delivery systems are in flux, this is more of a how to cope with the current situation and thrive type of book, rather than being the roadmap to a final destination.  What Jon has created  is a solid work in progress, answering many questions and offering specific resources that can help others succeed. 

One key fact to keep in mind, is that while filmmakers are being given this data, it is going to be up to them to determine the best way in which to utilize it.  The book emphasizes the need for developing a strategy from the moment a script is found and pre-production begins.  Because of this I found Chapter Six, Rethinking Marketing, to be of particular interest.  Jon mentions  having Marketing Producers or Consultants on the development team and suggests this may be an effective solution, since not all filmmakers have the skills or the inclination to take on these tasks.  From what I’ve observed it seems that many prefer limiting their focus to making films, so adding team members to handle these functions is a logical progression.   There is also a lot of discussion going on about the value of marketing and how it fits into the new distribution paradigms.  I think filmmakers are going to have to evaluate projects individually and then decide what is going to work best.  This book covers a multitude of options that can be used to develop unique strategies, which is another reason why I refer to it as a blueprint. 

There are several gifts Reiss has added into this material, including sample budgets showing cost breakdowns for both materials and expenses.  It is necessary for filmmakers to build these charges into their initial budgets, so that P & A is covered and not left to chance or else their projects will have even more limited distribution options.  Another plus is the Appendix, which offers advice from such notable filmmakers as Curt Ellis and Ben Niles.  If you are making films now or considering doing so in the future, Think Outside the Box Office is a tool you must have.  Just think of it as the shot list for your film’s marketing and distribution programs.

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On Saturday February 27^th and Sunday February 28^th Mitchell Block, executive producer and co-creator of the Emmy Award winning Carrier,  will once again be offering his two amazing seminars: Financing and Producing Documentary Programs and the Documentary Tune- Up.  Last April I made the trip to Santa Monica and signed up for day one with Mitchell and it was definitely worth it. Every hour was filled with valuable information and there was no fluff.  

Part one covers public sector funding and it’s a wonderful overview and how to guide for pursuing grant money from government agencies and working with local and national public television stations.  In the afternoon he moves on to Part two, which delves into private sector funding including business plans, offerings and private placements.  

Block shares knowledge he has come by from working on projects with PBS, Discovery, and A&E and spending seven years as an acquisitions consultant in the trenches with the president of HBO Original Pictures (Documentaries), Sheila Nevins.  He brings an insider’s insight to the table along with the point of view that making documentaries is a professional business in which filmmakers should be paid.  As he told us “You shouldn’t have to take a vow of poverty to make a movie.”

Some of the highlights I remember were his comments regarding fundamental mistakes made by many beginners in the field, such as submitting projects without proper marketing, having no distribution in place and not knowing how to access money.  He said filmmakers should ask themselves “How little money can I make my film for to get the money I need?” and recommended working on distribution before making a movie.  Another piece of advice was “Develop multiple projects and overlay them to stay employed.” 

Lots of discussion revolved around the idea of determining who the audience for a film is going to be and how that should be part of the process when deciding who is going to be willing to pay for it.  He also suggested finding out who your competitors are, especially where documentaries are concerned, so that you’re in a better position to protect your ideas, figure out how to find interesting stories and tie up the rights to your projects.  

During one part of the seminar he said, “Be unique and find a way to control the subject.  Get the rights.  How do I attract these people to my film?  Be ethical.  Don’t usually pay your subject or have them pay you.  Film becomes sponsored once you pay subjects.”  When dealing with the issue of rights he maintains “The question is access.  How do you get access and make it exclusive?  Be in a position to make your project different.  How is your show different?”

Several aspects of making documentaries were covered during the day including the process for securing grants from NEH and other organizations, developing a pipeline for projects, advantages to choosing whether or not to become a non-profit and how to select the best business entity for you.  There are many differences to be taken into account in terms of funding and distribution with regards to your profit or non-profit status, so you should examine all available options, as well as the types of projects you want to produce before making a choice.  

Other areas Block talks about include breakdowns of grant applications, budgets, crew selections and the necessity for business and marketing plans.  He also explains the pros and cons of approaching investors, sponsors and donors. 

In day two Mitchell, along with Eva Orner, is scheduled to analyze aspects of pitching your projects in order to receive funding.  The six topics in the program are the package, the proposal, the idea, the budget, the production team and how to determine whether or not you are pitching to the right people.  Since, I didn’t have the opportunity to attend the second day, I can’t offer any specific details, but with all of the changes happening in the industry, spending a weekend with someone who has Mitchell Block’s credentials is bound to be a worthwhile investment. 

For more info or to register please go to http://documentary-workshops.eventbrite.com/

This Weeks Tweet Hearts:

jeannevb – freelance writer, screenwriter, black belt, belly dancing, recovering insecureaholic & #scriptchat moderator Sundays 8pm EST @jeanneveillette #TwitterPIMPangel

dawnbierschwal - Screenwriter, Entrepreneur, and Producer-in-the-Making

yeah_write – Business owner (A&W and Jamie Livingston Designs), fiction/screenwriter, and President of ScriptScene.org

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If you are a filmmaker looking for valuable legal information online,  subscribe to Attorney Mark Litwak’s Entertainment Law Resources Newsletter.   Each issue features an article written by Mark focusing on a particular aspect of the law.  The latest piece entitled “Distributing Your Indie Film” offers tips for leveraging deals and improving terms when negotiating. 

The newsletter also gives details about Litwak’s one day seminar “Risky Business: Financing & Distributing Independent Films”, which is  being held on Saturday, February 20^th at UCLA.   The course will explore several subjects including organizing your company, raising financing via pre-sales, debt and limited partnerships, negotiating tactics, principal terms of the acquisition/distribution agreement, cross-collateralization and creative accounting.  In addition, filmmakers and producers will also learn how to protect their interests by watering down warranties, getting added to the E & O policy, using lab access letters to retain possession of the negative and utilizing termination and arbitration clauses. 

An extensive handout containing the following is also included:

A Self Defense Checklist

Organizing Your Company – Choice of Business Entity,  Sole Proprietor, General Partnership Limited Partnership, Corporation, Company Formation Checklist, Limited Liability Company, Comparison of Entities

Collaborations and Co-Productions – International Co-Productions and Co-Production Checklists

Raising Money – Loans, Pre-Sale Agreements, Contract: IFTA Schedule of Definitions, Entertainment Finance Companies, Equity Investors, Finders

Tactics & Strategies in Arranging Distribution – How Much is My Film Worth?, How Distributors Evaluate a Film, Sources of Revenue, Increasing Your Leverage, Film Festivals, Working the Festival Circuit,  Balancing Risks & Rewards, The Acquisition/Distribution Agreement, Tactics & Strategy, Markets & Festivals, Investigate the Distributor

Principal Terms of the Distribution Agreement – Territory, Media, Term, Distribution Fee, Distribution & Marketing Expenses, Advances & Guarantees, Consultation Rights, Warranties & Representations, Accounting, Arbitration, Insurance, Termination, Assignment, Allocation of Package Revenue, Security Interest, Governing Law, Territorial Minimums, Retain Your Masters, Return of Materials, Delivery, Contract: Lab Access Letter, Contract: IFTA Rider to International Distribution Agreement

When A Distributor Defaults – Selecting a Distributor, Creative Accounting, Conducting an Audit, How Revenue is Divided, Creative Accounting Pitfalls, Accounting Terms, Defensive Tactics

For more information or to register go to https://www.uclaextension.edu/r/Course.aspx?reg=V4464 or check out Mark’s website at http://www.marklitwak.com/.

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This time of year reflects the festive air of a holiday season for the creative community with the Academy Awards looming ahead on March 7^th.   A few lucky winners will be going home that night with special gifts of gold, but in the meantime the Writers Store is having a little pre-celebration of its own.     

Now in their 28^th year as Story Specialists, they are often asked just what makes a screenplay worthy of Oscar consideration and they have come to the conclusion that the best way to learn about writing a high caliber script is by reading some of the successful ones.  In order to help with this task, they have put several award nominated screenplays on sale including: “An Education”, “A Serious Man”, “Inglorious Bastards” and “The Hurt Locker” along with former winners and nominees, such as “Slumdog Millionaire”, “Little Miss Sunshine”, “Atonement” and “Good Night and Good Luck”.  The discounted prices will extend past Oscar’s big night and expire on the 13^th. 

In addition to the sale, the Writers Store is offering two free special events. The first is a Q & A with Oscar Nominee Mark Boal, Screenwriter of “The Hurt Locker” being held on February 16^th at 6:30pm and the other one is the annual Pre-Oscar Bash and Discussion with the Authors of Michael Wiese taking place on February 26^th at 6pm.  RSVP using their Facebook page http://www.facebook.com/writersstore.  If you’re not in the Los Angeles area for these gatherings, you may want to consider checking out The Dialogue Interview Series, which features discussions with Hollywood’s top writers sharing their personal success stories.  More info at the Writers Store website at http://www.writersstore.com/. 

This Weeks Tweet Hearts 

WesternXTheShow - A new webseries: A man struggles to find out the truth behind his identity while fighting an evil army. 

ScreenwritingU – Info on screenwriting and the business of screenwriting by Hal Croasmun. 

MMonFilm – Script Magazine contributor. TriggerStreet reviewer. Blogger. Famous, yet anonymous. Failed, yet accomplished. A mysterious, yet naked screenwriter.

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The film short I’m co-producing “Accused” is now in post production and during the editing process I’ve been putting together a marketing plan for promotion, audience building and defining our goals for the project.  One thing that has become apparent to me is the need for structuring a “things to do list” in such a way that the basics are locked down, while leaving room for contingencies.  In addition,  we  have been discussing the most effective way in which we can use this production “as a means of advertising”, the way that Thomas Mai suggested during my chat with him. 

As a result, I have so far researched over 400 film festivals, prepared a preliminary marketing campaign utilizing the web, listed various organizations which may be potential fits for affiliate marketing partnerships and have been thinking about ideas with the potential of being developed into webisodes or other transmedia content.  One uncertainty affecting all of this, however, has been time.  Until the editing process is complete, we are holding off on making some final decisions in case we chose to pursue a different course of action once we see the finished product.

We have narrowed down our list of film festivals to approximately 50 and are paying attention to details, such as submission deadlines.  We want to be sure our project is ready before committing and we also need to gauge which festivals will be best suited to us based on the finished film.  These choices in turn influence other parts of our marketing and distribution plans, so we’ve designed our strategy to incorporate flexibility.  This means that while we are moving ahead as originally intended, we can change elements at the last minute if need be.  While I’m a firm believer in having an established plan laid out and being as organized as possible,  I’ve discovered it’s equally important to have built in options to deal with the unexpected.

Based on what I’ve learned from this project, there are a few things I will do differently next time.  I’ll begin earlier and have social media outlets and a website set up and launched once the script is ready and we are in pre production.  During the making of “Accused’ this would have given us a jump start in finding and building our audience and generating buzz.  Integrating marketing plans and establishing checklists are critical to ensure that nothing is overlooked.  For example, originally I was supposed to be doing interviews and takng  photos on set, which were to be used for online promotion and media kits.  At the last minute, I wound up filling in as script supervisor and didn’t have the chance to develop as many press related materials as I would have liked.  Fortunately, our cast and crew will be reunited again at our upcoming wrap party and I’ll be able to fill in these gaps, but next time, I will have a back up plan in place during the shoot in case I’m sidetracked.  Also, I’d planned to collect biographies during our first weekend of filming and now I’ve had to work on this task via email instead, which has turned out to be a slower process involving more follow up.   That said, it is definitely worth the effort.  The background information we discovered about one actress led to an article being written about our production for an entertainment website. 

Taking all these things into account, I recommend preparing a work plan early on, but building contingencies into it that allow for refocusing, should you find yourself off schedule or needing to make changes.  With new marketing methods being constantly developed for indies, it’s challenging to determine which ones will work best for your film and it could involve a bit of trial and error.  Perhaps the best thing to do is follow the old boy scout motto and just try to always be prepared.

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Now that the hiatus of the holiday season is over and we’re full speed ahead into the new year, it’s time to spread the word about upcoming events again.  Below is a list of courses, workshops and conferences being held during the month of February, which should pique the interest of filmmakers. 

The Incentives Office Symposium – February 5, 2010   Landmark Theatre West Los Angeles – Registration 8:30am  Panels 9am – Noon   Two panels are being offered: the first will be taking a look at recent changes in some popular incentive programs and what to expect in the near future, while the other examines the best way to cash-flow tax credits, rebates and other sources of soft money.  Panelists include Michigan Film Commissioner Janet Lockwood and producer Michael Mendelson, who previously headed Bank Paribas’ Entertainment.  Admission is $50 including a continental breakfast.  For more information go to their website www.theincentivesoffice.com   

Internet Film Marketing Expert Marc Rosenbush is holding two Live Mastermind Weekends – Los Angeles February 6th – 7th and in NY on February 20^th – 21^st.  Designed to deliver 16 intensive hours during which filmmakers will learn everything they need in order to release their films online within 60 days.  Space is limited to 5-8 participants in each city. To reserve a spot go to: http://www.internetmarketingforfilmmakers.com/mastermind

Createasphere/EXPLORE Entertainment Technology Exposition -February 18, 2010, Universal Hilton, Universal City, CA. Hours 11am – 6pm.   A first look for the media and entertainment industry at what will be driving technology in 2010.  Among the highlights is “Avatar” Finishing the 3D Blockbuster featuring a panel made up of members of the film’s post production team.  For more information call (818) 842-6611, email registration@createasphere.com or visit their website at: http://www.createasphere.com/.

L.A. TV Pitch Summit - February 20th-21st, N. Hollywood, CA.  Mark and Jeanne Simon are teaming up with Marc and Elaine Zicree and their company SuperMentors to offer a two day workshop designed to teach how to become successful at pitching ideas for television shows to executives.  For more information go to their website www.tvpitchsummit.com.

Dov S.S. Siemens 2 Day Film School – February 20th – 21st in Los Angeles and February 27th – 28th in New York.   Dov’s well known program condenses four years of film school theory and education into one essential weekend.  Past students Quentin Tarentino, Guy Ritchie and Christopher Nolan have all attested that this class puts students on the fast track for a career in filmmaking.   For more information or to sign up call 1-800-272-8927 or go to www.writerstore.com.

This Weeks Tweet Hearts

kathicarey - I play a classy, elegant ‘desperate housewife’. A relentless drive to succeed but underneath beats the heart of a romantic. Award-winning Actress/Filmmaker.

FilmLadd - Filmmaker. Two movies, Flatland and Hive Mind. help #stopthehate or at least reduce it. Read my blog. @ message me if you want me to follow you back. 

TravisLegge – Comic book writer, indie filmmaker, single dad, sex machine.

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