I was inspired to make my documentary Imagining a Better World in 2006 when I first read Dr. Nelly Toll’s award winning biography Behind the Secret Window: her remarkable story of hiding from the Nazis in occupied Poland alongside her mother during WWII.
Painting by Dr. Nelly Toll
Still a child during this terrible ordeal, with her mother’s love as her only protection, Nelly created a body of sixty watercolor paintings depicting what her life would resemble under normal circumstances.
Without the kindness of a Catholic family, who risked their lives simply by hiding them, Nelly and her mom would not have survived.
Today, a renowned art therapist and teacher, she believes strongly in emphasizing the positive values she took away from her experience to triumph over adversity as she goes and visits schools, of all levels, across the country to share her story.
The Nelly Toll Story is another example of “one man can make a difference”, a theme explored in my previous work, Sugihara: Conspiracy of Kindness. This documentary film relates the story of Japanese Diplomat Chiune Sempo Sugihara who risked it “all” acting against government orders during WWII to save the lives of strangers, by writing visas for escaping Jews.
He did so with the belief that somehow these strangers would find their way to safety. Were it not for his courageous actions, some 60,000 people would not be alive today.
As a storyteller, I am constantly reminded that FAITH is a critical tool in my work as well. Without it, no matter the value of our vision, it will not bear fruit. If courageous individuals, like Dr. Nelly Toll and Chiune Sugihara could “imagine a better world” under some of the worst circumstances in our history, well, so can we.
As a filmmaker and a messenger, my subjects teach me through their stories, to have faith in a better humanity.
diane estelle Vicari, Director / Producer is an award-winning filmmaker and is internationally renowned for her work in promoting the production and advancement of the documentary film genre. Now in production on Imagining a Better World, her last documentary, Sugihara: Conspiracy of Kindness, won the Hollywood Film Festival Award for Best Documentary and the prestigious IDA/ Pare Lorentz Award. It has also been honored by the United Nations and aired nationally on PBS.
Norman shared with me his insights and tips on how best to use LinkedIn Groups.
Why should filmmakers join online groups?
“Why do people go to the town square and hang out for the evening? You do it because that’s where the people are.” suggests Norman.
“If you want to find out from filmmakers, where do you find a whatever, anything from a prop to a location to a producer, those are the people you would ask. And if you sell it well enough, if you present the information well enough, you’ll get a good answer.”
What should you do when you join a LinkedIn Group?
“Alright, we have this town square”, said Norman “If you rush into the town square and you say, ‘I’m here, I’m here, look at me,’ people will wander away. You have given them nothing.”
The best way to start is to share something that you learned. Share your experiences in filmmaking. The easiest thing people can do in groups is to share knowledge and come off as the wisest person in the room.
How can you get people to give you advice on your film?
If you want people to look at your film, if you want to utilize the group, explain what you did.
“Say, ‘Look, we had to go to this location, we only had xxx dollars. We climbed a mountain. We used this camera and these lenses and we put the camera “here”. You tell me how difficult it was to film in this location. Then I’m interested.”
But, just saying “Hey, look at my film!’” Norman warns, “Doesn’t work well.”
So, if you’re free with information, if you give, before you ask to get, you will get a good response.
How do you market yourself and actually make money for a professional4 service in a group?
Norman said his group has a lot of people in it who work closely with story structure, who teach writing, who talk about protagonists, antagonists, all the pieces that make up a good story. They’re really incredibly generous and some have workshops.
But, if you want to get people into your workshop, you have to set out a lot of breadcrumbs of wisdom to attract them. As they come in picking up all these bits of knowledge you’ve laid out, they will eventually come through your door. It takes some effort.
This is the helpful and the respected way to promote yourself online in groups. Then you can tell people when you have a seminar and you have a much better chance to get customers.
How do you promote your talents to get work?
Norman’s advice is to answer: “Who are you? What are you talking about?”
“If you come to me and you say, ‘I made a film for $20,000. I had these people in the cast. We shot for these many days, and I used this special crane that I had my grips build.’
Well, all of a sudden I really am interested, I really want to know.”
The people who say, “hire me, hire me”, are missing the point.
“If I like what you’re telling me, if I like the product that you’re delivering, I’ll hire you. But, I’m not going to start the conversation by hiring you, and then figure out whether I like your stuff.”
Can you talk about funding for your film?
Norman said that he limits this discussion to technique rather than making an “ask” from the group.
What’s fair and acceptable is for someone to say, “If I were looking for money for my film, where would I go?” That’s worthy of a discussion.
“But please do not say,” Norman chides “Go to my Indiegogo campaign and donate!”
This is the new world of self-distribution for indie films and Tugg is one of the leaders in the field.
Here’s how it works.
Collaborate with Groups That Can Use Your Film To Motivate Their Members to Attend Your Screenings
Tugg encourages filmmakers to think about who in your community doesn’t just want to buy tickets, but who would like to share and evangelize around your event on your behalf.
That’s the mentality of a promoter. Tugg gives you the tools to collaborate with people or groups and to do so in a way that people are incentivized.
Touch the Wallwas one of Tugg’s most successful films last year. It’s about swimmer Missy Franklin and it documents her journey of becoming an Olympian. This incredible filmmaking team set the bar high in terms of entrepreneurial mind sets and other types of outreach.
They knew they had a certain amount of people through their direct community. But then they thought, how could we collaborate with swim organizations and swim teams around the country?
They created a system and a campaign where swim coaches could promote the screening as an event. They participated not just for their love of the film or love subject. They were also able to use these events as fundraisers for their local issues and needs.
As a result of that campaign and being able to approach swim coaches with that value proposition, they’ve had about 500 events around the country.
After all of those events, the filmmakers were able to get every email address from every ticket buyer and every promoter. That’s because Tugg provides that transparency to its filmmaking partners.
Now, when they do their home video and VOD release, they are not going with just the financial success generated from all of these events, but with an expanded community as well.
By using the social connections of other organziations, Touch the Wall was able to financially reward themselves, gain a massive data base of people interested in the subject of their film, and give back to the community by letting locals use their film as a funding event.
Tugg also helps migrate that community into other auxiliary buying experiences. At the point or purchase, Tugg has a screen for you to sell your merchandise items with your tickets.
Nick says that the Girl Scouts have raised over $5,000 in donations at one of these events. So, your film is helping fund other important issues while you are getting paid for the screening from the box office and merchandise sales.
This is a wonderful way for you to reach your audience, make money, build a data base and give back to communities across America.
A revolution is occurring in the way films are marketed and distributed. Direct to Video, Day and Date, Streaming, Self-Distribution are just some of the options popping up and new ones are added seemingly daily.
If you are a filmmaker who can navigate the changes, there are significant rewards.
Does Your Film Have the Necessary “Buzzability”
At the same time, savvy investors want a clear understanding of how they can profit from their investment. As I create the business plan for my documentary, The Shamans of Rock & Roll, it’s crucial that the marketing and distribution section provide background on how to achieve that goal.
To get an idea of what to say to investors, I refer to the great insights provided by Kevin Goetz of Screen Engine at the ITVA’s 15th Annual Production Conference. Kevin’s company specializes in market research and he believes that “every movie can make money as long as you know what you have.”
In today’s marketplace, Kevin says it’s the Big Idea is the single most important indicator of a film’s success. More than even the story – it’s the idea of it all – the DNA.
The Big Idea motivates a big audience.
Also, filmmakers should know just who makes up their audience. Who are they making their film for? How large is this audience?
It’s important that their film is “comp’d” (using examples of other films that are similar) correctly. You should not use “aspirational” comps –what they wish it could be. But, filmmakers should choose films with similar genres and similar budget ranges.
To be successful, a film needs at have at least one the following:
*Capability – the DNA measurement, the gut.
*Playability – the audience’s experience when they sit down and watch the film. How well does it “play”?
*Marketability – the ability of a film to attract an audience.
*Buzzability – what critics and social media want to see.
I’ve found that it’s been extremely useful to include a discussion of these ideas in conversations with potential investors – especially those from outside the entertainment industry.
It gives them an understanding of today’s marketplace and just how successful my film can be.
Let Go of These 5 Myths to Raise Money for Your Film
by Carole Dean
The reward for crowdfunding your film comes not just in money, but knowing that others support you and your work. At From the Heart Productions, we’re partners with Indiegogo and have helped filmmakers raise over $2 million for their films.
But, that support or money did not always come easy. We provide lots of resources to create a successful campaign and fiscal sponsorship that allows tax free donations, but it took work and dedication from filmmakers.
And that only happened when we got them to let go of the myths they have about crowdfunding.
Myth 3 – I’ve got 45 days reach my goal so I can take my time.
Myth 1 – You build it and they will come.
Nonsense. No matter how fantastic a campaign page you create, how important the cause, or how great the concept, you need to bring your crowd to the crowdfunding campaign. You will probably get 98% of your funds from you own email list. Not from Facebook, Twitter, or any of your social networks. Just from people you know. Focus on getting your list to send to their lists is the first trick of crowdfunding.
Myth 2 – My film’s budget is $85,000 so that is where I need to set my campaign goal.
Your film’s budget has nothing to do with where you should set your campaign goal. Raising money is not easy so why set your goal for an amount you will have trouble getting. Break it up into achievable segments.
How to know what you can raise? Use the number of names in your data base and multiply by 5 for the number of donations you will get. Example: Let’s say you’ve got 1,000 names. 1,000 x 5 = 50. So, you can expect 50 people will give you money.
At From the Heart, we have an average of $100 per donation. That means for 50 donors you can raise $5,000.00 (per those 1,000 names). Don’t plan on getting much from your name on your social networks. They do not donate much. Focus on your data base where you can send emails every 5 days. These are your prime donors.
Myth 3 – I’ve got 45 days reach my goal so I can take my time.
You may have a 45 day campaign, but it’s critical to hit 30% in first 72 hours. If you hit that, your campaign has an 80% chance of succeeding.
What amount can you raise in 3 days? $3,000.00? You may want to work backwards and use this calculation to set your ultimate goal. If you think you can raise $3,000 in first 3 days, then you ask for $9,000 and you can probably hit it.
Lots of work? Yes, but the payoff is more in marketing than you would ever imagine.
Myth 4 – If I don’t hit goal, I still get money so that’s ok, right?
Hitting your goal is essential. The record of how your campaign performed and how it was accepted by others will be out there forever. While not necessarily an accurate judgement on how successful your project will ultimately be, it will be seen by some that way.
Distributors want to know you understand social networking. They think crowdfunding is an example of how good you are at marketing so they judge you by your success. Be prepared for this.
Myth 5 – T-Shirts make great perks.
I like gifts that are personal and I like you to be part of the gift. Send me something personal. John Trigonis, Film Campaign Strategist at Indiegogo, wrote a poem for those who donated to his campaign and he was very successful.
Make your gift something that sets your project apart and makes other take notice. One crowdfunder asked his potential donors, “Where is your dream vacation?” Then, he took a picture of you and put you in that location. He did very well because people posted these items on Facebook. That got him new leads who eventually donated because of the extraordinary gifts.
Whatever you do on your campaign, let go of the myths and you will be much more successful.
The US government gives filmmakers a great gift at the end of 2015 in the recently signed budget
by Carole Dean
Just before Congress dashed out for their end of year holiday vacation, Section 181 of the tax code of 2004 was reinstated. For a filmmaker, this is going to be an important tool to attract investors.
Entertainment Attorney and Section 181 Expert Corky Kessler
Enacted originally in 2004, Section 181 allows you to eliminate your investor’s tax bill by what they’ve invested in your film. It permits a 100% write-off for the first $15 million of the cost of producing a film in the U.S. It had expired at the end of 2014, but Congress instead extended it to the end of 2016 and made it retroactive to the beginning of 2015.
Entertainment lawyer, Corky Kessler, is one of our best film attorneys, an expert on Section 181, and one of its biggest advocates. He has used Section 181 seventy-four times to help filmmakers. He revealed more highlights and new benefits of Section 181 during my interview with him on my Art of Film Funding Podcast.
Section 181 is for shorts, documentaries and features up to $15 million and some up to $20 million dollars.
It covers all films started or finished in 2015, if you know how to apply for it. Section 181 also can cover films that finish in 2016.
How it works. For example, if $500K is spent on your film in 2016 and your investor is active in the production or made active, they can write it off as an expense against their taxes. If that investor is in a 30% tax bracket, they will save $150K from that $500K investment.
That is because you can create 100% of a tax loss when you invest under Section 181.
Depending on what state you decide to film in, you can minimize your investors risk considerably.
For example, let’s say you are shooting in a state with 40% state rebate your investor is using Section 181. If that investor is in the 35% tax bracket, then they could have an assurance that 75% of the money is returned to them.
States like Georgia, Louisiana, California and NY all have great incentives. To protect your investor Corky, recommends finding a state to shoot in with a good incentive. Some states like Louisiana allow you to bring people in to work on your film from out of state and you still get 30% benefits.
Section 181 is fairly simple if you have a good lawyer and accountant who can advise you on how to use it.
If your accountant is not well versed in Section 181, you can lose this benefit. For example, if the accountant capitalizes the production expenses you can lose this. Also, if your accountant does not file in the first year that you intend to use the 181, you cannot use it. Knowledge is the key to using this.
Also, for the first time, Section 181 includes theatre. Certain rules about theatre are still to be revealed. The good news is that you have until the end of 2016 to get your projects grandfathered in case this is not extended again.
Get started before you do your taxes.
“If you want to use 181 for an upcoming film you need to complete a form this year when you do your taxes.” Corky explained. “This form tells the IRS that you intend to use it for your film to shoot in 2016. That’s the most important thing to know now before you do your taxes.”
You also need to have your paperwork completed for the film. Your lawyer will know what papers are required. Put aside a week to get these done so that you can file that extension and be eligible for this great tax incentive offer for your investors.
You can contact Corky via email at and or call him at 312 853 8448 For an accountant, he recommends Todd Hein with Crowe Horwath who knows how to do the election and file properly.
When 16 year old Chris Strachwitz left Germany and came to the US in 1960, he played his radio every day because he was so impressed with the music in America. He loved it all!
He listened to Mexican music, soul, and blues, jazz and accordion music. Chris developed a very good “ear” for music. He knew how to discern talented people. But, many of the artists he liked were older musicians whose work would be lost when they went away.
He decided to dedicate his life to record them to save their music.
In the documentary “This Ain’t No Mouse Music”, we follow Chris from teenage music lover to a restless archivist who discovered and preserved the work of many great songs and artists.
He started on a shoestring. He began to record music exactly where he found it. In front yards, restaurants, bars, by the lake. Wherever the musicians played, that’s where Chris recorded them.
Chris never had a studio. He never wanted one. He wanted to record the music just where he found it. This brilliant idea really worked, you can hear it in the recordings. It’s natural and the outside or surrounding sounds belong.
Music was the life blood in the heart of these deep rooted communities. People loved their music and loved their musicians.
Chris started his own record label Arhoolie Records. Arhoolie is the word for a field hand in the south. He became a folk, blues and soul music detective combing Texas, Louisiana & Mississippi for musicians and also for local records.
During his search for music, he found folklorist Mac McCormick who became a brilliant partner to help Chris in his quest. Chris & Mac were not afraid to ask anyone for the names of musicians. Once they had a name, they used their detective skills and went to work to find them.
This desire to find folk music in the South would cause him to find some of the greats. He found Fred McDowell, Aakka White, and Big Mama Thornton, who sang Hound Dog and I Smell a Rat.
He found Richard Thompson, John Jackson, Mance Lipscomb, Charlie Musclewhite and Big Joe Williams whose great song is Sloppy Drunk!
Chris took many of these people to the folk festivals and on tour to either create or resurrect their careers. He took Big Mama Thornton overseas where she recorded on of her best-selling record Big Momma Thornton – In Europe.
He recorded Country Joe and the Fish singing their anti-Vietnam War song I Feel Like I’m Fixingto Die Rag. Chris recorded this in his home and when they were leaving they said, “What do we owe you for the recording?”
“Well, you don’t have a publisher,” Chris replied “So, let me be the publisher.”
They signed a contract which brought Chris a lot of money. Chris used this income to cross the country and find us these marvelous musicians. Years later, when they next met, Chris gave the publishing rights back to the artist.
Chris is a one-man-band by finding the talent, producing, recording, editing, marketing, selling and promoting. He even shows you how to wash your records!
If you love music, musicians and good bio pics, this is a wonderful film for you.
Songs truly are the poetry of the people…
The podcast Dissecting Docs with Carole Dean and Don Schwartz is dedicated to our most precious and beloved filmmakers, the documentary filmmaker. Each week, the show honors these brilliant creatives who give of their time, energy, and sometimes their freedom to bring us the truth. They are our last vestige of sincere, unbiased reporters who put their heart into their films.
Documentary Exposes International Underworld of Sex Trafficking
Oxnard, CA Oct 30th, 2015 – The Summer Roy W. Dean Grant has been awarded to director Chelo Alvarez-Stehle for her feature length documentary “Sands of Silence”. Overseen by the non-profit From the Heart Productions, the film grant is the second of three awarded each year to a filmmaker with a unique project that contributes to society.
“Chelo’s dedication to the production of her film, ‘Sands of Silence’ is exemplary” said Carole Dean, president of From the Heart Productions. “This film will change lives, open conversations and raise the consciousness on many hidden issues. We are honored to support Chelo in getting this film made”.
The Roy W. Dean Grant is open to all types of film projects including documentaries, short films, features, and web series in any stage of production. Submissions were received from from across U.S. as well as internationally from United Kingdom, Australia, and Nigeria. Winner receives cash and donated film services to help complete their film.
In “Sands of Silence”, Chelo records a 15-year quest to expose the underworld of sex trafficking from Asia to the Americas back to the windswept beach where her childhood ended and family secrets began. Documenting the transformation of young women in Mexico and Nepal from powerless victims” to resilient survivors and passionate advocates, the filmmaker undertakes a parallel journey toward personal healing and family reconciliation.
“I still remember the thought-provoking Documentary Trailblazer course I took with Carole Dean over 10 years ago.” said director Alvarez-Stehle upon learning she had won the grant. “The course spanned over 12 weeks and it was a stepping stone in my path towards documentary filmmaking.”
From the Heart Productions has also served as a fiscal sponsor for the grant winning documentary.
“Carole was there for me through good and bad times and has always been a beacon and an inspiration. So now that my film is finally about to see the light after all these years, receiving the Roy W Dean Grant feels like coming around full circle, a feeling of completion, as if the positive energy that she encouraged me to pour in my film, had manifested. I could not be more grateful”.
Director Chelo Alvarez-Stehle
Journalist, documentary and new media producer Chelo Alvarez-Stehle has worked for over 15 years exposing stories of human trafficking through her creative and outreach work. She worked on documentaries for NHK and became Spain’s El Mundo daily correspondent first in Tokyo, then in Los Angeles. Canal+ Spain turned one of her print reportages on trafficking in the Himalayas into TIN GIRLS feature documentary film.
As producer/director she did her first short documentaries WISDOM IN SMOKE and THE POWER OF 2 distributed to 30 countries, in Cuba. She then directed and co-produced the SOLD IN AMERICA: A Modern-Day Tale of Sex-Slavery (Montreal Human Rights Film Festival.) She is currently producing/directing a transmedia project that encompasses the feature-length documentary SANDS OF SILENCE: Journey into Trafficking, the SOS_SLAVES social impact videogame and a micro-documentary series on sexual exploitation. She has just produced the short documentary THROUGH THE WALL, about a family divided by the US/Mexico border.
Now in its 23rd year, the Roy W. Dean Grant has awarded over $2,000,000 in cash and donated film services to films that without its help may never have been made. Films submitted to the grant can be short films, documentaries or features from early stages of pre-production to those needing help in post.
The grant has been integral in fostering award winning films. Past winners of the grant that have been completed include the award winning “Heist: Who Stole the American Dream”, emmy winning “Mia: A Dancer’s Journey” and “The Winding Stream: An Oral History of the Carter and Cash Family” which is now showing in film festivals around North America.
About From The Heart Productions
From The Heart Productions is a 501(c)3 non-profit dedicated to helping filmmakers get their projects made. Besides providing funding through the grant, they are also a fiscal sponsor which allows donations made to films they sponsor to be tax deductible. From The Heart has raised over $1.9 million for crowdfunding films as a partner with Indiegogo. President Carole Dean is the best-selling author of “The Art of Film Funding” which is now in its second edition.
Life and Work of Pioneer Independent Filmmaker Nell Shipman is Focus of Winning Documentary
Oxnard, CA Sept. 9th, 2015 – From The Heart Productions, the 501(c)3 non-profit that oversees the Roy W. Dean Grant, has awarded the first Roy W. Dean Grant of 2015 to director Karen Day for her feature length documentary “Girl from God’s Country” about silent film director Nell Shipman. Karen will receive nearly $30,000 in a combination of film services and cash to help her with her project.
“Applause and recognition,” Nell Shipman once wrote, “are the handmaidens of creativity.”
Virtually unknown today, Nell Shipman wrote, produced, and starred in over 70 silent films. In 1915, at the age of 21, she directed and was featured in “God’s Country and the Woman”. She was one of the first directors to shoot a film almost entirely on location. Nell was known for creating films about strong adventurous women. The sequel, “Back to God’s Country” was an international hit and the most successful silent film in Canadian history. It also included one of cinema’s first nude scenes.
“With the increased focus on the struggle women filmmakers still face in getting jobs and getting recognized, it’s time Nell’s story was told.” said Carole Dean, president of From the Heart Productions. “She was an amazing women who was not afraid to take risks for her art. There is even a scene in one of her films where she embraces a bear!”
The Roy W. Dean Grant is awarded to a film that is unique and makes a contribution to society. Over 300 filmmakers applied to the grant. Submissions were received from Canada, Iran, Mexico, Sweden, England, Australia, New Zealand, and Honduras.
Narrated by actress Geena Davis, the documentary “focuses on the unorthodox genius and gutsy “sourdough” spirit that fueled Nell’s creativity and infused her work with unmistakable passion” states Karen and the producers about their project. The documentary will help define the major contributions made by Nell as well as highlight “an ignored chapter in our cultural history—how and why a generation of women, once a powerful force in all aspects of the silent film industry, were silenced to this day by monopolistic major studios”.
Filmmaker Karen Day
Director Karen Day is a filmmaker, writer, and journalist. She has reported on Afghanistan, Cuba, Iraq, for Newsweek , ELLE, and the Los Angeles Times. She has hosted and produced more than 50 feature stories and has appeared on NBC Nightly News, BBC, and CNN. Her PLUM TV series “Women earned the 2009 Idaho Press Club Award for Best Independent Environmental Series and an EMMY for Best Independent Television Series.
Her documentaries focus on humanitarian issues and include the award-winning, “Conversations for Peace with the Dalai Lama: Ethics for the New Millenium” and “Learning to Be Different”, about the extraordinary work of the Lee Pesky Learning Center, empowering children with learning disabilities.
Now in its 23rd year, the Roy W. Dean Grant is awarded 3 times each year. Films submitted to the grant can be short films, documentaries or features from early stages of pre-production to those needing help in post.
The grant has been integral in fostering award winning films. Past winners include the award winning “Heist: Who Stole the American Dream” and “The Winding Stream: An Oral History of the Carter and Cash Family” which is now showing in film festivals around North America.
The Fall Roy W. Dean Grant is accepting applications. Deadline is Sept 30th.
About From The Heart Productions
From The Heart Productions is a 501(c)3 non-profit dedicated to helping filmmakers get their projects funded. In addition to the grant, they are also a fiscal sponsor which allows donations to films they sponsor to be tax deductible. From The Heart has raised over $1.8 million for crowdfunding films as a partner with Indiegogo. President Carole Dean is the best-selling author of “The Art of Film Funding” which is now in its second edition.
Creating a Marketing Plan Early Can Increase Donations and Help Target Audience
by Carole Dean
In the Intentional Filmmaking Class on film funding that I teach, I usually start with marketing. It’s something filmmakers often overlook until the film is finished.
I know from working as a fiscal sponsor how marketing your film early brings you money for donations, major discounts, and in-kind donations.
“Filmmakers must realize they are not making a movie just for themselves”
But, I believe if I was on a stage and my class was sitting in front of me, they would be throwing things at me (well, it’s an online class so maybe they are throwing things at their computer screen!). Filmmakers don’t want to hear the fact you need to market your film while you make it.
Sheri explains how and why you need to identify your film’s market during the early stages of production.
Why You Need to Start Focusing on Marketing in Development
“I understand this seems like a business thing that they don’t really want to get involved in,” Sheri says referring to the block creative people put up when dealing with business matters.
“But what I normally say to them is, if you are planning on having a career beyond this project, you need to pay attention to marketing because part of show business is not just the show, it’s also the business.
“You want to get money to make your projects, you want people to see your projects and you want to be able to make other projects, so you have to face the marketing and distribution questions that go with your project.”
Why You Need a Marketing Plan to Create a Strong Budget
Sheri asks that filmmakers need to realize that they are not just making a movie for themselves. If that were the case, it would be a hobby or something to put on shelf to look at.
If people are making it for people to see, you need to know who those people are. Who are you making your story for?
“Because you won’t be able to reach them if you don’t know who they are, and that is really the basis of what marketing plan is.
“It identifies the audience that you need to reach, and explains how will you reach them and what’s the budget you need to do that. You want to connect your work with the audience that you hope will watch it and enjoy it, and spend money to see it and tell other people about it.”
How Working on Marketing Early Will Help Film Reach its Audience
As Sheri explains, “there is just so much competition these days for the audience of the film.” Filmmaking has gotten cheaper, the equipment has gotten cheaper and the ability to edit and even to distribute your film is cheaper too.”
“But it also means so many more people are doing it, so we have this glut of content where there is just tons of it in the world and it’s very difficult to just release a film and hope it does something for you.”
“It isn’t enough to target men or women or even an age group like 18 to 35. You need to know exactly who your story is going to appeal to and describe these people.
“There’s got to be something at the heart of and at the emotional core of your film and you need to start from there.”
Marketing Questions You Need to Ask Yourself about Your Film
Sheri provided a list of essential questions filmmakers need to ask as they embark on marketing their film.
What is it about your film that is attractive, not just genre wise, but attractive to the kind of people who like this story?
Why are you attracted to this story?
What is about you that wants to tell it? Start really identifying those things in yourself like:
Where do I like to hang out?
What do I like to read?
Where would I go on vacation?
What would I wear to the premier of the film if it wasn’t mine?
With these answers you can start to find those communities where you would go online and it would be much easier for you to join them because you are like them.
“It is very authentic and human rather than the advertising base model that we had for so many years which is: I make a film in secret, and then I throw it out into the world and try to advertise my way into an audience.
“Hollywood still does that, very much so, but a low budget independent film cannot do that, will not have the funds to do that, so they can’t even approach their filmmaking from that perspective.”