I'm not writing as an expert. I would never claim the title of "expert". But I do take the title of "observer". I like looking at things and noticing trends. That is a lot of what science is. If you continue to do something over and over again and you don't like the results, that the science of what you are trying to achieve would state, than you need a different approach.
My angst is not against film festivals. They provide their service. My angst is against a mindset within the industry. People who have been successful look to those who have not broken in and respond with comments like "it's not that hard to get access" or "your material must not be Good Enough". These statements fly in the face of common sense. So if the new critically acclaimed film Cloud Atlas isn't a blockbuster hit, does that mean the Matrix duo suck at telling stories? Since War Horse wasn't the hit of the year, does that mean Spielberg is a bad director?
Imagine this: you go to an auto mechanic and have him fix your engine. After fixing it you drive down the road on an empty gas tank. The car automatically ends up shutting off. Is it the mechanics fault the car won't drive?
Several experts and guru's blogs I follow have recently stated that if you want to get into the business it's not access but quality of script that matters. I find those types of statements to be offensive! 1.) it assumes that we the writers/directors don't know how to write a good script and 2.) it comes across with at least a hint of arrogance. Most of these people didn't rise out of obscurity into the business off a great script. So I'm going to state a few things I've learned as an observer.
These are trends and I'd recommend not to take my word on it but to do your research.
Want to Break in and either pitch your script or sell your film?
It is All About Who you Knows You or more importantly "Who Knows You".
This is one of the great lessons I learned from my father. He told me once that he hated the statement growing up, but in his adult life he realized how important that is. It doesn't undervalue the value of quality. Actually the "who knows you" importance underscores the huge value of quality. People only pay attention to material that matters.
An example are two contractors building houses. One of them spends more time talking up their achievement while the other makes something that creates a buzz. The one who created buzz gains the respect of the people vs. the one who talks too much. You can talk a big game but make sure your work backs it up.
But, If you want to get into this business, just making great films isn't good enough. And writing great scripts isn't good enough either! Even though value matters, knowing Key influencers matters more than perfect script.
Actually many mediocre films made by filmmakers that people like have a greater chance of response than great films made by shy, reclusive people. I've even seen it in local responses. A son of a popular business person makes a mediocre film and shows it in a local theater. There's almost no marketing, but since everyone knows that filmmaker's father they all show up and watch the film. They pack the house, praise the film. On the other hand another filmmaker spends twice as many years, knows few people in town, markets the crap out of the film... and few show.
It's not fair, but it is reality.
Networking Matters!
Networking doesn't mean having thousands of friends on Facebook or followers on Twitter. It means cultivating relationships with those filmmakers you respect. For instance one of the filmmakers I have followed since 2009 and respect is Angelo Bell. He sets an example of how to truly use online networking. You can follow his blog and see the progress he is making. One of the things I like about Angelo is that he isn't trying to be popular, he's trying to create value. The value he creates isn't just his own work but investing time in other people. He continues to have value able conversations with different people he respects. He doesn't have to show off, he just talks about what he is learning in his own process and then learning from what others have experience too. This type of conversation creates great relationships that will build into long term career bridge building. He is just one of many filmmakers I have connected with.
The Tom Sawyer Approach.
Another great lessons I learned from my father is the Tom Sawyer White Washing the Fence idea. Tom is told he has to white wash the fence for his aunt. Instead of grumbling about it he decides to make it look fun. His friends come over ask if they can give it a try. He says it's too much fun for him to let them do it as well and keeps "painting the fence with a smile". His friends one by one pay him with toys or candy so they can have a try at white washing the fence.
As aspiring artists, or artists in general, we focus on trying to get other people into our project, instead of giving them a reason to demand to be involved in the project. Find ways to create excitement about what you do. Find ways to make it "infectious" as Angelo Bell stated in his recent blog post. If other people are excited about what you are doing or about to do they'll tell others and it will spread. Eventually the people you want to work with will respect your work as well and more doors will open up for you.
Build Your Brand
Most experts minimize brand to genre. Spielberg and Ridley Scott do action movies, but their brands look completely different. As a filmmaker or even just as a script writer you need to find a way to show your unique brand. The beauty of technology today is that you can show of your brand in a very small "taste testing" kind of way without having to have a huge budget. Most filmmakers think this means shooting features or short films. I would advocate smaller. Create a micro-pilot: a short, 5 minute or less, "my concept in a nutshell" film. It has a beginning, middle and ends with a cliff hanger. Keep the budgets low. Drop them on youtube and see what response you get.
When I did Awakening I used whatever money I had on me ($100) and borrowed goods. The more people who got involved in the project, the more others wanted to be. We ended up with actors who drove over 2 hrs to be involved. We shot it on a road made for an industrial park, with borrowed "smashed up" cars. I didn't expect I huge break through response, just another project to show my brand. The risk: $100 and a few months time doing post production. The return on investment: doors opened to make The House That Jack Broke.
When people think about networking in the film business they think of L.A.. If you don't live in L.A. you are then restricted. Every state has other people interested in your industry. Maybe there isn't as many as there is in Hollywood, but if there was at least 1 or 2 other people you now have a network. Connect, find things you can do together, make your value.
When it comes to promoting your film you are the most popular filmmaker in your small local town. It is cost effective to show off you material in a local setting and the best chance of turn out. The director of "Paranormal Activity" built the buzz he needed to get Paramount's attention because of a local screening in which the participants were requested to post their comments online on Twitter with a hashtag related to the film. The faith-based film "Facing the Giants" gained the attention of Twentieth Century Fox because the local community spread the word around.
Hate to say this, but it's the reality. Popularity Matters. It matters A Lot! But you don't have to have the charisma of a Hollywood actor to utilize popularity. How you treat others is the greatest catalyst to create value albe relationships. If you treat others as you would want to be treated they remember you. When you go out to promote your film they will show up because they "like you". But don't be nice to gain something. Be nice to others to give something.
Be Bold. Be Desperate!
I'm a shy guy. In front of people I shine, put me in the middle of a crowd and I shrink back. It's just the way I am. But there have been times when I finally just said, "I won't be a reclusive person". Those were times when this desperate passion push me forward to be an extrovert. It was in those times I connected with everyone around me. They had a ton of conversations with me, things moved forward.
When trying to connect with others those thoughts of doubt kick in.- "I can't talk to that person", "what if they blow me off'", etc, etc. That's when that desperation needs to kick in. I'm not talking desperate like doing crazy stuff and looking like a nervous person who rambles on or is doing irrational things. But that desperate mode that says, "this might be my only chance!" and you jump on it.
An episode of 666 Park Avenue the lawyer character who wants to get into politics is having dinner with Terry O'Quinn's character. Terry's character tells the lawyer that the politician the lawyer wants to work for is sitting across the room. He instructs him that the club they're in the lawyer will never be able to come back to again unless invited. What's the chance that he can introduce himself to the politician again? Yes he sent in his resume, but the guy is just across the room. Terry's character instructs him, "make you move or lose it". The lawyer stands up and approaches. The politician blows him off. What happens next is the important part. The lawyer goes to walk away when the desperate mode kicks in. This is it, this is his one shot. Say Something that Matters!... And the lawyer says the most important line, and simple one sentence that lets the politician know that he has an edge that can save the politicians career. The door opens up, he is going to be hired. BAM!
It is All About Who You Know and Showing Your Potential or the Potential of your Brand!
Don't believe me? Do some research on these people. You'll see that key relationships were the key to their careers, yet they also had to show their potential.
Spielberg: Met and became a friend with the President at Universal before making his short film "Amblin". It was actually some of the executives at Universal that funded the short film. He showed the short to the President of Universal and was offered a directing deal.
Robert Rodriguez: Yes he did make a film for $7,000 called El Mariachi. But he was rejected by the people who run the Spanish TV/Video distribution companies the film was intended for. He met a man who was a friend of an agent at CAA. The agent saw the film and new how to pitch it to the studios. It was HOW the film was pitched and HOW they pitched the director that mattered, not just the material. Without those key relationships the film made never have been seen.
George Lucas: Meets Coppola and shows him the short THX 1138. Coppola producers the feature version of it with Lucas directing. The film is not a financial success. But when Lucas goes to pitch Star Wars it opens doors. Every studio he pitched Star Wars to rejected it. Even the executive at Fox said he didn't get the script. But he had seen THX and liked it. Star Wars was then funded.
Sam Raimi: The Michigan native filmmaker had several friends whom he had worked on small projects with. He utilized already existed relationships to raise the budget, bring together the key cast/crew, and find the distribution for The Evil Dead.
The list goes on and on. The key to ever single successful filmmaker was Key Relationships Cultivated over a long period of time while Building their Brand and Showing Value in their Work.
So the experts... what advice Should They Be Giving? If someone says, "how do I get in the decision room to pitch to executives?" or "how do I get my film in front of the right people to sell my film?" the answer should be well researched articles on the right respectable events that create the environment to meet those people. Then advise those people on how to interact and cultivate long term relationships with those people while also creating and building their brand so they eventually pitch that material to those key influencers...
