Archive for November, 2009

Indie Film Makers: Bring your films to the attention of film distributors!

Wednesday, November 25th, 2009

At some stage in 2010 (hopefully sooner rather than later – depending on the number of high quality film productions that are put on the site) our plan is to provide access for film distributors to One Fat Cigar.com so that they can use us as a portal to find the best independent film projects which are currently in production.

One of the main intentions of the site is to allow you to promote your work from day 1 of script and provide your fans with daily updates as to your production progress, a behind the scenes look at your film making process as it happens, and an insight into your project.

With that in mind, our aim will be to provide regular updates to leading distributors on the highest quality productions on the website and felt that it was important to announce this early so that you can take it into consideration for your movies and production schedules. Here are some of the influencing factors that will be taken into consideration:

1. Production Quality – clearly this is the first on our list as we will need to look at each project to determine its quality, which will, of course, come across in terms of the behind-the-scenes footage production quality (although it doesn’t all have to be awesome quality, especially if it is a piece to camera) – this is a great chance to sell your film and showcase yourself to potential distributors.

2. Idea Quality – perhaps this could be number 1 on the list as fundamentally this determines whether a  film is good or not…does your film have something special about it which makes it stand out, and can you express this in your updates.

3. Star Names – although not the only exciting thing that gets distributors interested it goes without saying that the any decent names you have attached to the project the better, so make sure they are attached to your cast and crew, together with their filmography.

4. Fan Base – if you have a growing fan base and support then this will be important in terms of how distributors will view the possibilities to market your film. Although this factor will only be considered part of the overall possibilities for your movie it will definitely play a role in a distributor’s decision. A solid fan base will give an indication as to the marketing potential of your film.

5. The Pitch – what’s the opening description for your film… your pitch in a paragraph… we’ll attach this to anything available to distributors.

6. Buzz – How much buzz can you generate around your film… can you create interest and drive traffic to your One Fat Cigar page? Are you in the news? Create some traffic spikes on the site so we can understand why your film is generating so much attention. We’ll be monitoring it all. In your premium and pro welcome packs we’ll give you some ideas as to how to do this.

7. The Trailer – Create a killer trailer early in the post-production, ideally the first thing you do. The trailer is your visionary sell for the film. Excite us.

Our plan is to try to do as many things as possible to generate interest in your films. You’ll be able to help by making the content on the site as brilliant as we know it will be. It is difficult to market an average product. Give us something great and the speech is so much easier!

For more notes on Film Marketing check out Susie Tullett’s guide on our blog.


How Twilight New Moon generated so much interest – The Essential Independent Film Marketing Guide

Monday, November 23rd, 2009

The phenomenal film marketing of the Twilight Saga’s New Moon continues to generate huge publicity… in the weeks building up to its opening weekend it has gained massive amounts of attention and awareness. This is no surprise given the techniques they have adopted.

So how have they generated so much hype in their film marketing – and how can it be applied to an independent film?

The Producers and marketing team behind the saga have gone to great lengths to make the most of social media techniques, but have recognised the importance of offline PR techniques to provide interesting material to promote.

Here are a few of the online techniques used:

Twitter – Twilight allowed, via their twitter feed, the opportunity to ask the actors directly questions about the movie. Once again proving that access is crucial to the success of the film.

See: @Twilight – Twilight by Summit Entertainment

iPhone Apps – Twilight clearly felt the need to create an iPhone Application. The concept was to encourage interaction with the fans, and that they would pay a small charge for the privilege – Peter Facinelli and Billy Burke built an App that provided an insight into the characters – biographies and so forth which gave additional background and depth to the film.

Facebook – By giving exclusive opportunities to their fans before the film launched and by providing unique interviews with the core cast, the production team allowed fans who were unable to meet the cast and crew in person to have an opportunity to find out more and get close to them through becoming a fan on Facebook. They opened up discussion forums and provided images to give some behind-the-scenes opportunities.

Red Carpet Live Stream – An online live stream from the red carpet showed the arrival of the stars from the film – they used ‘UStream’ which worked particularly well for this and generated record number of traffic. There’s no reason why independent filmmakers can’t do the same, with a little amount of effort… that said there needs to be awareness, which can be generated by some of the other techniques demonstrated here.

You Tube – Lots of imitation on You Tube of many of the of the ‘Twihards’. This was clever as the imitations themselves promote the film. It might just be possible to get some of the crew to do an imitation of the film they are working on for you and post it up on You Tube.

Offline Promotion

Meeting people in person – creating massive offline PR

The entire cast – this includes the werewolves and the Volturi (the organized coven of “royal” vampires) – are making appearances everywhere you can possibly imagine! This means that by meeting people in person, they are creating connections. These connections will equate to ticket and merchandise sales. In addition they conducted press conferences in Japan, Brazil and Mexico, to give a bit of worldwide spread to their publicity.

Trailers

Of course there are many of the more traditional methods used to promote the movie. Trailers appeared prominently in cinemas and online months before the film was released and were made as soon as post-production started. Something definitely recommended by film marketers to bring the film to life and create interest.

Brand Involvement

All the usual ‘big brand’ accompaniments followed the launch of the film which naturally meant reaching all the big brand customers – AT&T ringtones for example are typical to generate hype and awareness.

Of course, this isn’t something that small independent film producers can do. But perhaps there might be local companies willing to support the production and promote it on the release – especially if they have a number of customers.

Competitions

Twilight adopted several competitions. For example, the possibility to win a trip to Italy is one of the big opportunities being offered to brand’s customers through sweepstakes, and a hide-and-seek style participation to find clues to win the trip. Volvo offered the opportunity to win the car the Edward drives. We can’t do that – but you could win some of the props?!

Even without a big brand onboard this is something than could be viral and a small budget allowance could provide a great opportunity for promotion.

Conclusion

So most of these techniques are entirely possible to adopt on very little budget:

1. Driving the audience to something that they will find interesting

2. Understand the target market – in this case teenagers, and offer something appealing to them in this case, fantasy and adventure, and ‘attractive’ cast

3. Create “Buzz” through both off-line and online PR by creating an interesting story, lots of detailed character background, and follow up promotions

4. Content is King – create something that excites and keep exciting… film is a fascinating business – fans like fantasies, to be removed from the day to day, so create a world beyond ‘normal’

5. Do it early – while you’re still in production or even before begin to promote your film.

6. Be open to ideas and opportunities

Use online tools such as Twitter, Facebook, You Tube, in addition to One Fat Cigar.com for your film marketing and drive traffic to one location – i.e. your website, or page on One Fat Cigar

For more on online promotion we recommend reading the following article which provides some detail on the techniques as to how to generate traffic offline for your movie check out Susie Tullett’s film marketing guide.


Casting Directors (Part 2): How the Film Casting Process Works

Thursday, November 19th, 2009

By Jane Deitch and Glenn Bexfield, Casting Directors (Bexfield Deitch Associates)

“How does the film casting process actually work? is a question that as professional casting directors we are often asked: whether by up-and-coming actors seeking jobs, or by new directors and producers. In this article, we hope to provide a solid insight into the process and give some guidance as to what casting directors, producers and directors should be aiming to achieve from the process.

The Casting Process

Let’s begin by saying that there is no definitive answer to the question.  Projects vary greatly, as do budgets, cast requirements and time-scales.  But there are fundamental elements worth noting which we think will be helpful to both directors and producers.

Briefing the Casting Director

Probably the single most important part of the process is the briefing of your casting director.  Any director worth his salt will already have a clear vision for his film. Hopefully this is the one shared with his producer.   That vision must be effectively   communicated   to the CD, who having read the script can be of inestimable help in identifying potential casting problems.   It is not uncommon for a   key character to feel underwritten and to disappear for a good portion of a script.  Not helpful if you are hoping for a ‘name’.  Sometimes a lack of sympathy or redemption can make a part unattractive;   a   potential casting ‘black hole. ‘ Listen to your casting director.  They can identify these problems.  If lead actors consistently turn down a script, there is a reason.

Key Questions to ask…

As a director/producer you may already have strong casting ideas.  Are these in line with your budget?  Are they realistic?   Don’t become too wedded to an idea. Is that actor actually available?  Is it something they would consider?  Your casting director is better placed to know or find out for you.

Meeting the talent!

When it comes to meeting actors, the director is responsible for setting the tone of the meeting.  It is important that he engages with the actor, is forthcoming and gives notes.  If an actor is asked to read again, then make it clear what it is you require from them.  Does the scene you have give the actor give sufficient opportunity to show light and shade. Develop an awareness of mood.  Actors shouldn’t have to jump through hoops.  If you are absent from a session and are viewing tapes ,  trust  your CD to elicit the best performance from the actor and don’t make rash judgements.

Producers are often guilty of arbitrary objections based on hair length or shirt colour.   Always remember the actor is giving a reading, not a performance.    If you don’t like a particular actor, fair enough but always have good reasons for your decisions.

Be confident in your decisions and your script!

It is a frequent misconception that everyone is desperate to work on your project and will keep themselves available indefinitely.  Sadly this is rarely the case.  Agents may well be juggling projects for their clients and there is always the possibility of something better just around the corner.   If an actor really loves a script then better the chance you have of getting him on board. It is a mistake to throw money at somebody in the hope that they will say yes.  Money becomes an issue in negotiation if deep down they are not really bothered if they do the job or not.  Be guided by your
CD.

The casting process can be as simple or as complicated as you wish to make it.  It is the job of the casting director to facilitate that process in a thorough and creative way.   But they must always be given clear thoughts, up –to- date information and trust , in order to achieve this. As a director/producer, sometimes it is hard to let go!

But with trust, whether it is finding the perfect lead, or discovering an exciting new talent the casting director can play a pivotal role in giving your movie balance – and as a result the film has a much greater chance of success!

Next time: How to do a great audition – and what casting directors are looking for!

http://www.bexfielddeitch.co.uk

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