1001 Positively True Stories of An Indie Filmmaker

Angelo Bell's Painfully Exhilarating Adventures in Independent Filmmaking

Posts Tagged ‘film distribution’

MISSION X: Self Distribution

Sunday, November 15th, 2009

http://www.jokeandbiagio.com/distribute-your-movie-yourself

Above is an interview with my UK friend David Baker. David is a fantastic independent filmmaker whose Mission X film is an exciting action docudrama. David has a very distinct position on filmmakers empowering themselves with their films.  New distribution model? He says, “It’s right in front of your eyes!I agree.

Here’s my response…

I think another important aspect to David’s distribution process is the aforethought given to the budget. I see filmmakers and web series creators starting off their projects by choosing insanely high budgets. First time indie filmmakers, with no experience and no money are budgeting their film projects at $100k and above! And web series creators are budgeting their projects at $30,000!! Do you think that Felicia Day of the “The Guild” started off thinking that she’d scrape up $30k to make her web series? No. But I see countless filmmakers with big budget dreams, incorrectly believing that if they increase the budget the audience will come. Not so.

David completely and thoroughly thought out his debt-to-profit ratio before shooting one frame. It is much easier to recoup your investment on an $8000 film than a $80,000 film. How did he manage his budget? Easy — he didn’t have the luxury of a fat bank account, so he relied on his resourcefulness and creativity.

People have remarked that my film, “Broken Hearts Club” looks as though it was shot for twice or 3x what I made it for. And you know what I say? I say I wish I’d shot it for half of what it cost me. And I could have done that with a little more time in pre-production.

Indie filmmakers must think about their budgets from a realistic standpoint. If you’re a no-name filmmaker and you manage to make a film for $150,000 of course you’re going to want some studio to buy it — because you’re desperate! But if you’ve made it for $15,000 and you have DVD, disc-on-demand, VOD, downloads etc available to you you’ll give the studios the finger because you don’t need them or their one-sided distribution contracts.

The Day Sucked, And Now It Doesn’t

Wednesday, June 24th, 2009

Today kinda sucked. I was awakened to bad news, which set my mood off into a grumpy destination. I felt like a timebomb ready to explode. Like the Guns of Navarrone, Superfly TNT — then the lovely Nicole Sessions stopped by to pay me a visit and pick up a copy of the film, “The Broken Hearts Club” for her reel. Her smile always warms me. The my wife called me from work and her voice soothed me. Then my daughter smiled at me and I nearly wept.

Then I got an email about a ground floor opportunity at a new African-American and Latino-themed network TV station launch; I pounded out six DVD to ship to HBO, Showtime Networks, Focus Features and a new producer’s rep…and then, I got contacted by yet another distribution entity.

The day doesn’t suck so much any more :-)

Film Marketing 101 Tips Are Useless

Wednesday, April 29th, 2009

Disenchantment with the amount of smart information regarding independent self-distribution is common. Too often when experts gather at roundtables, film panels or conferences, all we hear are the same old things.  ”Basic Marketing 101.”

Part of the problem is the panel themselves. It’s easy to discuss indie film distribution in these layman terms when you’ve hired  a team of people to actually implement the ideas. But what about the indie filmmaker who operates as writer, director, producer, PR guy, marketer, and distributor? For him/her uninspired Film Marketing 101 ideas do nothing. What seems to be missing from these events in the “how.”

  • How do I find the right audience for my film?
  • How do I leverage partnerships to get my film greater exposure?
  • How can I coordinate and profit from micro events?
  • How can I access a celebrity when I don’t have an agent or money?

Until film panels answer these questions with more relevant and timely examples, they are simply spitting regurgitated information into our faces.

The key for indies, IMHO, is to find an indie who is doing it for himself. Find someone who has leveraged himself/herself as an “expert,” someone who utilizes micro events, who repeatedly finds and connects with his audience, who has success without adding a celebrity to the mix, etc and LEARN his/her process.
Read more:http://thinkingalaud.posterous.com/movie-distribution-20#ixzz0E5R729b7&B

http://thinkingalaud.posterous.com/movie-distribution-20

DIY Distribution Companies

Thursday, April 9th, 2009

 WEBSITES TO HELP SELL YOUR FILM ONLINE.

This week I highlight a group of companies dedicated to assisting filmmakers in DIY film distribution. The following sites offer a wide range of services to help filmmakers reach audiences and simplify the process of selling their films.

IndieFlix

…IndieFlix is dedicated to providing a forum for filmmakers and their audience to interact, and to building a community that translates artistic vision into commercial success. IndieFlix promises to build a fair and open market to empower filmmakers to be the engine of their achievement and audiences to be a vital part of a movie’s success. IndieFlix is committed to encourage public opinion and power of choice while reinvesting in the independence of film, the people that craft them, and the organizations that support them. We believe that every movie has an audience, every filmmaker has a story to tell and each story has the right to be shared.

— INDIEFLIX | VISIT SITE

 

IndiePix

…IndiePix was founded in 2004 to bring film fans the very best of independent cinema. Today, IndiePix is proud to be home to the broadest online selection of indie films from around the world, including the latest award-winning titles from the festival circuit, popular indie classics, foreign, documentaries and more. Buy a DVD online or use our patented Download-to-Own technology for a professional quality DVD, without the wait.

— INDIEPIX | VISIT SITE

 

CreateSpace

…CreateSpace provides inventory-free, physical distribution of books, CD and DVDs on Demand, as well as video downloads through Amazon Video On Demand™. We manufacture physical products when customers order so no pre-built inventory is needed. Through our service, you can sell DVDs, CDs, and books, for a fraction of the cost of traditional manufacturing, while maintaining more control over your materials.

— CREATESPACE | VISIT SITE

 

Withoutabox

…Experiment with the cutting edge of new world distribution. We are seeking filmmakers, distributors, and exhibitors who are eager to find new paths to profit through technology and innovation.

Rightsholders, you don’t need to get permission from the big studios anymore. Withoutabox is opening channels to support direct distribution via Theatrical, Broadcast, DVD, VOD, Mobile, and more. Do It Yourself!

— WITHOUTABOX | VISIT SITE

 

B-Side

…B-Side Entertainment is an independent film distributor founded on the idea that there’s another side to film distribution. Our goal is to connect films and audiences. It might seem obvious, but if you’re here, you already know that it’s easier said than done. Today, 98% of independent films are never seen beyond festivals. The “lucky” ones get some sort of distribution deal, but if anyone sees any money, it’s not the filmmaker. At B-Side, we’re dedicated to changing that.

That’s why we created bside.com — the largest single network of film festival audiences — and a new online marketplace. bside.com is designed to help filmmakers sell their films to people who already love independent film. It’s that simple.

— B-SIDE | VISIT SITE

 

Breakthrough Distribution

…Over the past two years, we have built a network of partnerships and developed services, tools, and strategic frameworks to help filmmakers, publishers, and musicians maximize their revenue, retain ownership and control of their content, and build their careers. We offer a range of non-traditional and traditional distribution services in the self-, retail-, and hybrid-distribution spaces that allow content creators to simply and easily leverage new business models, technologies, and marketing platforms on a global basis.

— BREAKTHROUGH DISTRIBUTION | VISIT SITE

 

E-Junkie

…E-junkie provides shopping cart and buy now buttons to let you sell downloads and tangible goods on your website, eBay, MySpace, Google Base, CraigsList and other websites using PayPal, Google Checkout, Authorize.Net, TrialPay, 2CheckOut and ClickBank.

For merchants selling downloads, we automate and secure the digital delivery of files and codes. If you are selling tangible goods, we automate the shipping calculation and inventory management. Our shopping cart has a built in sales tax, VAT, packaging and shipping cost calculator.

— E-JUNKIE | VISIT SITE

 

Echospin

…It’s important to have your music and videos up on iTunes, no question about it. But when your fans come to your website or MySpace page to buy your content, there’s no need to send them away. Not when you can deal with them directly, right then and there. With the Echospin Delivery Wizard, it’s more than an utterly hassle-free experience. It’s actually much cooler, easier and faster than iTunes.

— ECHOSPIN | VISIT SITE

 

NeoFlix

Neoflix is an integrated solution for e-commerce, order fulfillment, and customer service created for filmmakers and distributors with multi-channel sales strategies. Whether a DVD is sold to a consumer, wholesaler, library, institutions, or any other outlet, Neoflix can handle the order processing and fulfillment. DIY filmmakers and distributors can set-up a self-branded shopping cart system and begin selling products without incurring a large upfront investment or protracted vendor search. Neoflix handles credit card processing, e-commerce security issues, customer service, and fulfillment for both domestic and international orders. NeoFlix not only gives your customers the confidence that orders will be quickly processed, but also that problems should they arise, will be quickly and professionally resolved. Neoflix also processes retail and purchase contract orders so clients can pursue simultaneously B2B and B2C sales strategies.

— NEOFLIX | VISIT SITE

 

Cruxy

…Cruxy provides powerful marketing, monetization and performance tools for digital creators, whether filmmakers, musicians or artists of any kind. Cruxy’s tools give artists the power to share their work on Cruxy or across the web using the Cruxy Social Player. Cruxy also gives creators the ability to sell their work as digital downloads. The artist chooses the retail price and the file format. Cruxy registers the work with search engines, generates thumbnails and previews and handles all aspects of the financial transaction. Cruxy also provides a robust set of analytical tools so that creators can track and improve their progress.

— CRUXY | VISIT SITE

“Broken Hearts Club” Actor Snapshots

Monday, April 6th, 2009

 

Michael Monks, Actor

Michael Monks, Actor

Michael Monks gave so much life to the Dr. Thaddeus Knowles character that I cannot imagine anyone else occupying that role. He was funny, insightful, natural and an efficient collaborator. Michael Monks has been around the block, so to speak. Recently he played opposite, Christian Bale in Harsh Times and alongside Keanu Reeves in Street Kings.  

 


Back in the day Michael went tote-to-toe with Angela Basset and Lawrence Fishburne in What’s Love Got To Do With It and was the airline pilot who sacrificed himself for Harrison Ford in the classic thriller, Air Force One. Michael now coaches actors in the Ivana Chubbuck Acting Technique.  Michael is also a champion of sorts for independent film. In 2007 he directed an independent film written and produced by two of his students. And if the project has merit, Michael probably won’t say no to appearing in your indie short film.

Maya D. Gilbert, Actress
Maya D. Gilbert, Actress

  Broken Hearts Club also stars Maya Gilbert. Maya plays the supportive but firm Carina Thiebold, wife of Dr. Thiebold (played by Tank Jones – more on Tank in an upcoming blog). You may have seen Maya recently on Zane’s Sex Chronicles airing on Cinemax. She’s currently in production  for two films this year. Check her out on IMDB. Maya hails from Ohio but there is nothing “small town” about her.” She is a natural talent with the exuberance of youth and the wisdom of maturity. She will definitely achieve immeasurable success in Hollywood.


Broken Hearts Club isn’t a typical romantic comedy. In fact if anything it is a romantic-dramady. In my desire to bring the full breadth and profundity of heartbreak into focus I realized I couldn’t do it with traditional rom-com antics. Besides, I think it was a smart move to stray as far away as possible from the conventional. Independent films with no so-called name talent, that will most likely be self-distributed have to do things differently. For Broken Hearts Club the process is simple. Having gone 0-for-8 with film festivals I am nowgearing up to release it on DVD this year. Myself.

Another clip from “Broken Hearts Club” – this clips is in by no means finished. It’s in its most raw form with temp sound, so adjust your speakers volume as necessary 

What I’m Working On Today

Wednesday, April 1st, 2009

dirangeloAs usual my day starts with a blurry-eyed sweep of Google Alert emails and new Twitter follows. Then it’s off to scour the Internet for more information on independent film distribution. I usually squeeze in some time to jump on Myspace to promote my two films The Resurrection of Serious Rogers” and “The Broken Hearts Club.”

My dilemma is that I had to do a cold-market of my short film collection, Pulp Fusion: The Raw Shorts . There have been no recent screenings except for one of the films screening online at RebFest.com. The last screening for three of the films on the short film collection was during 2007’s LA ShortsFest. However, it was a necessary rush to market so that I can learn more — in real time — about self distribution. I’m prepping myself for the release of Broken Hearts Club in the Fall. Additionally, I’ve rehashed an old film, made it a new one and now The Resurrection of Serious Rogers will be an important aspect of my learning curve as well.

There’s so much sporadic information about distribution and its various methods that someone who clearly and concisely gathers that information, decodes it and brings it to the masses will probably make a lot of money. For my own efforts, I’ve been working with a mentor as well as conducting fact-gathering via case studies I’ve found. In between these efforts I’ve been going to war with the Newport Beach Film Festival because of their feeble but bold attempt to bully me.

My efforts are concentrated in generating audience interest outside of the United States. I’ve set up profiles on several UK and Australian forums and chat boards. I’ve also identified several potential foreign partnerships to leverage their networks as my own.

Ultimately the goal is this, earn enough to from my Amazon DVD sales to fund bulk replication of DVD’s. Then I’ll run my own kitchen-table distribution company, handling fulfillment on my own (allowing me to keep a bigger percentage of the profits); build networks and partnerships in the US and abroad to serve as retail outlets. Build and maintain a personal distribution list. Eventually move to more formal retail outlets. And finally, keep making films.

More Pulp…and elongated perspective of “Pulp Fusion”

Tuesday, March 3rd, 2009

PULP FUSION:
The Raw Shorts Collection by Angelo Bell


NEW DVD RELEASE


Don’t miss the surprise trailer at the very end of this auction ad :)


This is a Brand New, self-made DVD collection by independent filmmaker Angelo Bell. I self-distribute my films using my MacBookPro. I have 13 film credits, two “best in fest” awards and I made history at the Los Angeles ShortsFest in 2007 when FOUR of my shorts were accepted into the festival. My credits are at http://www.imdb.com/name/nm1479226/

This DVD short film collection comprises the first of several “Pulp Fusion Series” DVDs that I’ll be releasing as part of my Independent self-distribution model. My films are now available to a global audience. The second film in the series, “Pulp Fusion: The Resurrection of Serious Rogers,” is actually a 2-hour feature film and contains several clips and sequences from “Pulp Fusion: The Raw Shorts.” The next DVD will include director interviews explaining how I rewrote the narrative for a previous film to include clips from several of my other films. It was an amazing process. But more on that later. Let’s talk about RAW.


On the DVD you get FIVE short films and a director video totalling over an hour of entertainment. The short films cover the gamut of genres and often contain multiple genres. There’s art house, action, drama, noir, girls-with-guns, satire and comedy. The films discuss drug abuse, heroin addiction, human trafficking, murder, love, sisterhood, friendship, sacrifice and of course, murder in the first degree. It’s great entertainment. And you’ll want to want each short film over and over again. If I do say so myself, the writing is exemplary and has gotten many kudos.

As I mentioned, you get FIVE films. Get Spielberg, Renounced, Valerie & Sid, The First Time and I know Who Shot You. Here are the trailers for the films


View the trailer for GET SPIELBERG here: http://www.319prods.com/films/getspielberg/



My Blog: http://www.angelobell.com/pulp-fusion



My Official Amazon DVD ships March 30th for $24.95. But you can get it here on eBay at a $10 discount. I manage my own DVD replication but my DVD’s are guaranteed to work. If the DVD doesn’t work on your DVD player or laptop for any reason, you’ll get a new one. Period. Just ship it back. My DVD discs do come with an affixed label.I ship within 48 hours of receiving payment. DVD arrives in a cardboard mailer in a DVD sleeve. No case.

I’ll also enclose a coupon for $5 off the second film in the Pulp Fusion Series, “The Resurrection of Serious Rogers” which will be available in early April right here!


Stalking the Mighty Indie

Friday, February 27th, 2009

I'm an Indie Stalker

I'm an Indie Stalker

One of the more important lessons I’ve learned in the quest to facilitate the distribution of my films is: look for someone who’s done it and is doing it and shadow them. That’s exactly what I’m doing. And to be honest it’s very simple. I go where they go. I post where they post. I solicit PR where they solicit PR. I blog when they do. I comment when they do. I appear when they appear. All this happens very easily on the Internet. And the answer is “No.” I’m not hanging around their houses at night like the indie-paparazzi.

Timeliness doesn’t matter this time around because I don’t have a film to distribute…yet. This is my walkthrough. My test run. My beta version. Everything I learn goes into the bank, gets refined and then prepped for when it’s my time. Soon.

shadowstandin

The beauty of this stalker/shadower process is that you can shadow big independent filmmakers or small independent film makers. Finding out where they live and breath is simple. You can arrange to get emails dropped into your inbox everything your stalkee filmmaker gets mentioned on the Internet. And if your chosen stalkee is procedural and professional (which he/she should be) you can find elegant traces of their whereabouts in their website’s “About Me” or “press” section.

I have a mentor and I have stalkees, i.e. filmmakers I keep a close eye out for. I monitor their movements and successes on a weekly, sometimes daily basis. One of my chosen stalkee’s has a model for filmmaking, community connection and film distribution that I’ve always envisioned for myself. They’ve achieve a respectable modicum of success, which I can emulate, but I have loftier goals. Achieving their business model is a first step for me. And they’ve laid the groundwork for me.

Independent Film Distribution Information Overload

Tuesday, February 24th, 2009

There exists an incredible amount of information very pertinent to the independent filmmaker embarking upon the task of self-distribution. The only aspect of the old model of distribution that holds true is that filmmakers must think about distribution BEFORE one sequence of the film is ever shot. Doing this creates a focus on results.

The only caveat I have is the overwhelming statistical data and numerical comparisons used in discussing the old incumbent model vs the new emerging model. Every film is different. Many films have completely different audiences and the way to reach these audience vary by increasing degrees. Podcasts may not work for every film. A local theatrical run may not work for a film while an overseas theatrical run, via festivals, may work wonders.

Filmmakers should have a presence on the web and free Internet tools and social networking sites such as Vimeo, YouTube, Twitter, Myspace, Facebook, Wordpress, Blogger, etc should direct the prospective audience to that web presence (site). Trailers and new versions of trailers are good examples of visual content to make this happen. Promoting a recorded Interview is another way to make this happen. However, I for one, cannot imagine how giving away your content –a completed film– could help a filmmaker unless that was his intention from the start.

In the end, it’s about hard work getting to know your audience(s). My distribution mentor, Tony Comstock, once told me that you should never commit to making your first film unless you’re committed to making your third. It’s about building your audience. Documented examples like “Four-Eyed Monsters” are exciting but rare. It’s difficult to emulate a film’s success especially when you have a different kind of film.

In my personal experience, I realized that there was a 99.999% chance that I’d have to self-distribute my film, The Broken Heart Club. However, being new to this arena I also realized the importance of education. I didn’t want to “learn” on my pride & joy, so I pulled another film out of the cobwebs, dusted it off and prepped it for self-distribution. The process not only revived the film (I ended up shooting another sequence and a narration) but it revived FIVE other films as well. My self-education unearthed glorious and empowering examples of low-budget film distribution. Now I am as excited about distributing Pulp Fusion: The Resurrection of Serious Rogers as I am about The Broken Heart Club.

Empowerment is the key. If independent filmmakers truly believe we don’t need Hollywood to make a film, shouldn’t we also believe that we don’t need Hollywood to distribute our films? We’ve proven the former. Let’s prove the latter.

Embrace the undefined film distribution model

Wednesday, February 18th, 2009

There have been many  self-serving discussions on the plight of independent filmmaking. The Home Entertainment industry wants us to believe that movies are dead and we should ramp up our home systems. Hollywood wants us to continue supporting big paydays for celebrities so they can keep making expensive summer blockbuster films while more than half of their film inventory loses money theatrically (or so they say).  Festivals want us to believe they support us indie filmmakers even as they raise their film submission rates and lose their ability to broker distribution deals. A-list celebrities expect us to genuflect in their presence, thanking them for being in our so-called independent films. Distributors want us to believe that independent filmmaking is simply dead.

It time for filmmakers from LA to Austin, From Chi-Town to Miami, From NY to Berlin to Australia and Japan to  engage in a sincere philosophical exploration of the plight of independent filmmaking. The present model of independent film distribution is dated. Yes. And it is almost impossible for a good film without celebrities to get screened at a festival, let alone get distribution. This is true. But  this has been true for some time now. It isn’t anything new. 

But independent filmmaking wasn’t built on the Hollywood model. Rather, it was built on a “F*ck you, Hollywood!” platform led by an irreverent, “I can do this myself.” However, independent filmmakers should consider taking this one step forward. We beat our chests proclaiming we don’t need Hollywood to make a film, then we turn around and ask that same Hollywood to distribute our films. This cannot help our situation. We must seriously consider gaining a proper film education that transcends studio-driven brick & mortar distribution methods. The educational process begins by not giving away our content on mediums such as YouTube or Facebook. It’s continued by developing and embracing our niche audiences. Connecting with those audiences and corresponding with them.

In the same way Dreamworks and Paramount are household names, we must become familiar personalities to our audiences. Certainly we cannot be all things to all people. But it’s been done before. Ask Mr. Lynch or Mr. Jarmusch or Mr. Corman. Now a filmmaker must not only be a creative facilitator, he/she must also become knowledgeable at alternative distribution models that take full advantage of new technology.  This means establishing our own websites and offering our films directly to our audiences.

As TV becomes more connected to Internet usage, well-managed artist websites can secure wondrous footholds  in the market. Imagine, by 2015 an individual watching TV can click a button, jump to the internet, surf to your bookmarked website and immediately pay for, download and watch your film. And they can do all this without checking their snail mail for Netflix films. 

I believe people will always go to the theaters to see certain movies. As long as there are men and women who date and families with children theaters will survive. But as movie concession prices continue to rise and ticket prices skyrocket audiences will become highly selective.  We’re already seeing this selectivity. In general, people are tuning into adolescent lipsynch videos on YouTube, thrusting teens into superstar status. Where are the so-called movie deals that were supposedly established through YouTube? Individuals want real content or real entertainment. The days of back yard videos drawing nationwide attention will soon be at an end. 

Content is key.  And as Hollywood gets stuck in its perpetual rut of done, redone and overdone film themes, it is the independent filmmaker who can truly experiment with film and alternative distribution methods.  We have the flexibility. We’ve proven to the world that we can make our own films. Now let’s prove to the world that we can distribute those films.

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