Mailing list? What's to keep an independent or larger production company from rolling over it's mailing list? How are this number counted and kept legitimate from film to film?
Twitter followers or Facebook "likes"? Twitter is, for the time being, at least harder to game. But with Facebook, a company can purchase a massive, massive number of ads that would easily guarantee 5,000 "fans" over a truly indie film., Instead of uying short term fans we should cultivate a following by making compelling films that people want to see without being bombarded with ads to make them think they want to see them. Otherwise these fans will wise up fast and ignore future ads, unless the promise of a good film is kept.
Put out blogs, "making of", and behind the scenes videos to garner interest and attention. Check out the Workbook Project for ideas.
With video phones, everybody's a potential film maker, With the wiki, everybody's a potential writer, (Hello Jan!) I am very excited about the possibilities of social storytelling using tools like wikis and video hosting sites. A lot can be done there to create either something from scratch, or to build on top of a story that already exist (backstory, or side stories).
Check out Jon Reiss's ideas on the PMD crew position:
But even DIY filmmakers at some point go to venues like iTunes, Netflix, and other streaming services - and the deals could be more fairly balanced.
How the film is sold, how it is packaged, how it is released should all be heavily influenced by the film's most involved creators. Each film can and should be a unique approach from a long-list of options.
FToM will be released online for free (under a CC license), so the idea of turning the limited screenings into events is something I'm very interested in.
Is this an accurate statement?, For the most part I believe so, but what about films that release games, and toys, and clothes, and comics? Not all films can do this - so what other options do non-blockbuster film's have for branching out?
Distribution should be as creative and as unique and fitting to the film. There are all kinds of films. There should be all kinds of distribution models. e.g. Blair Witch or Four Eyed Monsters.
Tthis sounds like the movement toward docs, true stories and reality. All are based on real life things.
I couldn't agree more. It would great to see a list of 5 or 10 steps or practices storytellers could use to get us from A to B. Any ideas?, I don't think it can be defined. This is the art of making a compelling work. You'll know when you have the right idea. But, it may take a few tries.
These tools rely on an audience. It may be good to have them in place prior to putting out the film and trailers. Use branding so that if you have a successful campaign, people will return when they see your next project.
This is fast becoming a fallacy, with affordable technology and democratic internet distribution models
Personally, as someone who is quite active on Kickstarter (especially regarding film projects I enjoy) I would be open to the idea of something like this. But the "lifetime" part makes me uneasy - it might back a lot of filmmakers into a corner of having to continue to create, without any additional funds. I'm always more encouraged by a film by film structure.
That's an interesting point - I'd like to see some numbers based on indie film success. Is that "1%" example a product of too many filmmakers putting all their eggs into one basket (festivals like Cannes, SXSW)? Or are the majority of indie films released through new outlets still not meeting their debts?
By Hannah Johnson
This is a topic that I have some strong feelings on - especially regarding the internet and how stories are told currently using product placement and integration. Honestly, I strongly dislike it... at least in most cases., Example: Rosario Dawson was involved with an online series that was heavy on the ad integration - and it was just an awful experience. To attach a name like her's to a project, and then to turn around and release that level on content... was not helpful to the future of storytelling., Example: But, the work Spike Jones did with Absolute for "I am Here" was fantastic. It never felt like I was watching something influenced by ad teams or ROI needs. I can get behind that kind of partnering with products and brand-names., I think this example worked so well, because "I am Here" existed on a few levels: there was the short film itself (which felt untouched by Absolute), and then there was the online experience of watching the film, which had very simple ad integration into it, plus the social tools for sharing that online experience.
Link to projects who are setting new examples of how to change the way we approach and think about film.