How to Get Ahead in the Movie Business

Behind every big organisation there is normally one or two characters with vision who have pushed hard and created something from almost nothing. Bill Gates and Richard Branson are two men who created international brands so big almost nobody on earth can get away from them. Well, in the world of film there are a lot of people all trying to do practically the same thing - make and sell films. There are thousands of indie filmmakers out there all with creativity and imagination and striving to be the next Tarantino or Spielberg. Problem is, when they have finally finished that low budget drama, where do they go? All too often they'll pay out money to get their film to a festival and hope to get picked up. When that doesn't work, they spend more and send to another festival. Sometimes this can actually work, but only at the right festival, at the right time and with the right product. After all that waiting and spending they then trawl the internet looking for distributors to take them on and then it's a game of Russian Roulette wondering just who can be trusted to sell their precious film, let alone actually pay royalties, eventually and honestly.

Well that pretty much sums up the situation for filmmakers who don't work at one of the big studios, unless of course they go it alone and try and get listed on Amazon or somewhere else. I wanted to get to the bottom of the whole thing and so we're gonna have some interviews with some of those men behind the world's biggest independent film and documentary distribution companies.

We start with one of the men behind a film company that started around ten years ago with one film and is now one of the fastest growing international independent film companies with hundreds of movies and documentaries. These guys actively seek out films around the world. They don't take any crap, they say it how it is and they have a lot of experience within the entertainment industry and marketing. I have spoken to a few filmmakers who are with them and have had nothing back but glowing reports, which makes me suspicious that there's way too much dope being smoked in the industry.

Well, here we are, Warren Croyle, CEO of Reality Entertainment. Enjoy.

Have you always wanted to work in the horror industry or did you begin your career elsewhere?

Oh yeah, I loved everything Horror starting with Frankenstein at the top of the list, then "Creature Features" with Bob Wilkins on channel 44 and of course "The Night Stalker" hooked me big time. Then there was "Friday the 13th - the original." My Mom had to buy us the tickets and go with us due to our age. When Jason came out of the lake, the whole theater jumped out of their chairs, I remember it like it was yesterday - it was AWESOME. After that "Halloween," "The Howling," and "The Thing" were my favorites at the time. But when I was a teenager I was into rock and early metal so I started hanging out at the big LA studios, eventually becoming a recording engineer and then a producer. Years later, when we weren't seeing our royalties being paid on time, or at all for that matter, I decided to start Reality Entertainment and as a result many of the bands I had produced came over to the label with me. From KC and the Sunshine Band to Godhead to Marcy Playground we're one big happy family. We started our film division ten years ago and always planned to branch off into Horror which we finally did with Chemical Burn.

I know you own a lot of other media properties. Could you describe them?

Well Reality Entertainment is our parent company. RE is a multimedia company, we produce and distribute music, books and films. Chemical Burn is one of our brands all under the RE umbrella. World Wide Multi Media is another brand in which we have Horror and other interesting genres. But we cover all applicable media from digital to CD to DVD with no barriers or limitations. We're considered a major aggregator for the large distribution networks in the US and have many partners abroad so we are into a wide range of film and other content.

What is your company philosophy?

Strange is Normal, in other words we're looking for something as mind blowing and original as Jimi Hendrix was with music and want to support original and exciting films and filmmakers who are trying to re-connect with the heights of filmmaking which we seem to have gotten so far away from in the last 20 years. Take a look at "Rosemary's Baby," "The Exorcist," and "The Tenant" as well as films like "In a Glass Cage," you just don't see these kinds of films anymore. Not only are they MORE terrifying, but they are made in a style and with an intelligence that has been completely erased by the modern film industry, which is a travesty. Slash is talking about restoring this void of the true supernatural, suspense horror film, THANK GOD! Slash, we want to put out all those films please call! (Slash was in our studio a while back doing an incredible solo on Ray Charles' last record.) But I must say that past the time of the films I mentioned above, there's one filmmaker who's work stands up incredibly and took the essence of "Rosemary's Baby" and "The Exorcist" into the 70's, 80's and beyond and that is John Carpenter. From "The Thing" to "Star Man," Carpenter films are ones you can watch many times and still truly enjoy. They resonate deeper than films today and have a quality, an intelligence to them that is rarely there anymore. Films need to be more than visceral gore and standard scares and well lit sets. Instead they need to rock our psyches, they need to change how we think about certain things, and keep us exploring who are we, what are we, and where are we going?

How do you select which movies you want to produce or distribute?

It's either something quite marketable, something we like, or something we see potential in. Some films aren't the best but you can see mega potential in the filmmaker so we take them on and help them grow and make a business from their hard work which is a big part of the reason there is a Reality Entertainment, Chemical Burn, etc. Outside of being a studio, we are also a creative breeding ground for what's around the corner. We're like a virtual world studio that can facilitate almost any type of work, be it music, books, films, theater, whatever. For instance, we have a filmmaker Daniel Falicki, who is making AMAZING films entirely in green screen, wait until the world gets a hold of "Future World: City of Mass Destruction" and "Dwarf Hammer." Amazing characters and total transportation to another world all within the confines of a green screen and a computer loaded to the gills with memory. It's the beginning of a whole new genre really, one where the stories have no limitations or barriers - anything goes, the imagination doesn't have to stop because "it costs too much" or "can't be done"... it's very exciting. Ultimately we are looking for super original, cool stories that have unique characters that immediately command your attention and suck you into their story/journey. Where is the new Lynch, Kubrick, Polanski? Maybe I'm asking for too much, I don't know. But one thing is for sure, no more detectives on murder investigations, that has to stop!

How has the horror movie market changed from when you first began?

I think it's become very derivative, much like music. You've got too many bands making records that probably shouldn't be making records, same with horror films. So many people are making the SAME movie, and they are making movies for the wrong reasons in a lot of cases. It's not about showcasing that you can shoot on a RED camera, it's not about the derivative template or framework, lets blow these things apart and REALLY see where it can go, "In a Glass Cage" stills blows my mind - sex, death, horror, are all layers in that film that go much deeper into the psyche than a "normal" horror film. We've got a film called "FELL" by Marcus Koch, which is about a guy (Jeff Dylan Graham) who's on the skids, lost his job, his girlfriend broke up with him, he got kicked out of the band, etc. so he's a mess, He's seeing a shrink who wants to put him on pills, so he's sort of going down a rabbit hole if you will, when one day he wakes up to find a dead body in his bathtub. "FELL" is a one character, 2 peripheral characters max that achieves the depth and brings the horror out in a way that you can relate to because it's in a very real context. All this with literally no budget. We are now in an era where VERY talented people who perhaps couldn't have made films back when CAN do so now. The video era is opening up the possibility of finding a horror Picasso in a trailer park in Des Moines, Alaska, wherever...

Where do you see the horror movie market currently headed?

I think there's going to be a breakthrough, at least I'm hoping so. Its interesting that more people aren't demanding better films with better stories, that tap deeper, even the first films of the modern era like "Friday the 13th," "Halloween" and "Jaws" got way under your skin compared to a lot of films nowadays. You just don't care enough about the characters and the situations, and the audience isn't experiencing that ride into another world like movies of the past have achieved. There HAS indeed been breakthroughs, but largely from Europe and Japan, some of the Japanese films are mind blowing, very unique and genre defining, Takashi Miike and the others are doing a style and a perspective that they OWN. In addition to Japan, you've got Sweden, Italy, Serbia, etc. kicking our asses with cooler films, they have nuances and perspectives that are defining a different kind of genre. So I'm hoping that we can take a step back, and see of we can do more than push the limit but create a new playing field. I'm a dreamer but I'm not the only one.

What advice would you give to budding indie horror filmmakers?

Do it - go forth and do it and don't look back. Ted Nugent said it best, you pick up that guitar, find your own sound and style, then you get a drummer to back you up and you never look back. Don't read books by people who TEACH you how to make a movie who don't actually make movies. I'm not saying there's anything wrong with that, I'm sure you can learn a lot from some of the schools out there and that may also lead to some opportunities but most filmmakers I admire just do it - no budget, no huge crew, no Kraft Services... nothing, they make do with what they have available and what's more they are quite often BETTER films from relying on ingenuity and true creativity, they are REALLY resourceful. Guys like David Lynch are most happy when they are creating, for them this is the state that their minds are at peace, they try to make that stasis "everyday normal" which is cool, I dig that but I also admire the filmmaker who has a specific vision, has done their homework and works methodically to achieve the end result. Make a film that blows your mind and therefore will probably blow the audience's mind as well. Look at Bennie Woodell who made "Fast Zombies with Guns," what a cool title. Here's a kid from the Midwest who HAS to make films, you gotta support that so we had him make two films, "Fast Zombies" and "Death Angel December" both great efforts from a first time filmmaker. Bottom line, don't let anything get in your way and just do it.

What is your personal favorite film that Chemical Burn released and why?

There are several really, but what James Eaves did with basically a bare industrial room to achieve some first rate horror and terror in "BANE: An Experiment in Human Suffering" is quite admirable. Then theres Julian Grant, a Corman alumni who's "The Defiled" is for me, the greatest zombie film since "Night of the Living Dead." HUGE statement I know, but he captured a parallel universe, post the final holocaust and framed it in such a way that it forces you to examine your fears, insecurities, human relationships... such a cool film. "I Sold My Soul to Satan" by David Gaz is one of the coolest documentaries of late. Philip Gardiner heads up our UK team and has a "Hammer" style to a lot of his films like "The Stone" and "Paranormal Haunting." The Dark Watchers was the weirdest Alien horror film you'll ever see. We've got a lot of cool films coming out in 2013/14, some of the young filmmakers we have are doing incredible stuff and will be names to look for in the years to come.

So how do you get your film in with these guys? Send your screeners to

Alchemy Werks
POB 91
Foresthill CA 95631
USA

Read more from Brian Johnson at his movie blog, http://www.rostrumreviews.blogspot.com

Night Film (24p) - Canon Vixia HF S21 / S20 / S200 Low Light & WD-H58 Wide Angle Lens

10 Ways a Bride and Groom Can Help With the Production of Their Wedding Film

1. Warn your vendors of upcoming events. Cake cutting, garter/bouqet, toasts, special dances. Just a small, 5-minute warning can help us confirm that we are in the right place and the right time. Let your DJ know that he needs to make sure all your vendors are prepared for what is about to happen.

2. The Toasts. Tell your best man/maid of honor to not only talk about you as a person, but also as you both as a couple. Have them share their thoughts on you two finding each other and getting married.

3. Turn down the radio/iPod during prep. It's common for the girls to blast a wedding mix album while doing hair and make-up, but this can easily mask a power piece of dialog that can be used to tell your story. It also creates an awkward background noise when a cinematic soundtrack is applied later.

4. Have a first look. Your photographer will tell you the same thing. Seeing each other before the ceremony helps you with your nerves and creates a wonderful opportunity for you two to say just say "hi". We also view this as a opportunity to capture you two alone together which is actually a rarity, believe it or not, on your wedding day.

5. Tell your wedding party & parents that we're coming. Make sure they understand that we desire that everyone behaves naturally and let them know that they need to try and ignore our presence as much as possible. We want your day to unfold the same whether we are there or not.

6. Exchange gifts. Add a special moment to your day by giving each other gifts. You can have a bridesmaid/groomsmen deliver it or exchange them during your first look. It's always fun to see how we can tie this sequence into your film.

7. Talk. Have conversations with your family and friends. Chat about how you meet, how the proposal went, what has gone into planning this wedding, etc. Your wedding day is packed full of emotions, let everyone know how you're feeling.

8. Don't chew gum. We know you're nervous and feel the need to be busy, but please refrain from the Juicy Fruit. This goes for the wedding party too.

9. Stay together. It's not uncommon for the bride and groom to split up once the reception is underway. Grooms, get out there and dance with your new wife! Your wedding day is finally here, enjoy it together.

10. Consider your vows. When it comes time to state your vows to each other remember to relax. Take a deep breath and look into one another's eyes and deliver your words from the heart. Slow down and think about what you are saying.

To view a wedding film by Felix Roman Films click here --------> http://www.felixromanfilms.com

Quentin Tarantino Filmmaker Advice

American Film Market on a Shoestring Budget

In early November, the American Film Market comes alive with sellers, buyers, and promoters bartering for placement in distributor's catalogs. With attendance around 8,000 AFM is the World's largest motion picture trade event. It's a marketplace where producers and sales companies license films to distributors and this year they project to have 2,000+ New Films and Projects, 1,000+ Distributors and 400+ Production Companies. The market is based at the Loews Santa Monica Beach Hotel and it uses conference rooms and movie theatres in the area.

For struggling filmmakers and screenwriters, AFM offers opportunities for networking, project financing, and distribution. However, on a shoestring budget it takes a lot of planning to achieve ones goals. Attendance fees are steep and exhibition costs are higher. Yet there are ways to obtain meaningful accomplishments and do so without breaking the bank.

The immense size of AFM may seem overwhelming to first timers, but it's more a community with established relationships that date back years. Rapport and trust have been built up over time and while the products may evolve, the people stay pretty much the same. It's also a market of niches where buyers must evaluate which products will have value in their home markets. Buyers face another challenge, in addition to assessing potential value and the whims of film goers six month to a year hence; they must also judge how present economic conditions will affect the entertainment marketplace. In previous downturns, movies have played the escapist role but that was before entertainment became so fragmented. Now there are considerably more choices and younger audiences find that the Internet, I-pods, and video games better fit their needs and budgets.

Yet, whatever the state of the economy there will always be a need for product. Theatres, television, cable, satellite, and now the Internet all look for viable programming. Multiplex screens and television schedules eat up a vast number of titles. With the major studios cutting back and concentrating on blockbuster entries, there are product voids and independent filmmakers stand ready to fill them. What's more, as the ongoing credit crisis limits the number of movies released those that do obtain financing will find foreign distribution easier to acquire.

For the low-budget independent filmmakers, especially on a shoestring, working this market requires considerable preparation. The AFM Pitching seminar stressed the importance of having a succinct coherent presentation whether it's a project in development, a proposed script or a completed film. One must remember that buyers, sales agents, and distributors receive countless pitches and to avoid getting lost in the shuffle, you and your project must be memorable. Your pitch should have water-cooler talk-ability. By that, I mean it should be highly transferable and be able to travel through the community without losing energy. Long before the market opens this process should begin by contacting your prospects and giving them a preview of what you will be presenting. You can do this via mail, email or by phone. Give them a taste to wet their appetite. See the Market's tips on How to work the AFM, especially the guidelines on Pitching Essentials.

Jonathan Wolf, AFM Managing Director, reiterates the importance of obtaining assistance in areas where you are weak. Being able to pull together the expertise and good judgment of others is an essential part of being a successful producer. This may require attaching a producer to your project who is more familiar with the creative aspects or one who is capable at securing financing, or a line producer who is able to manage the details of the production itself. If the film is near completion, a producer's rep may be of help in obtaining festival exposure as well as securing a distribution deal. A publicist may also be required to create the desired pre-market buzz. Adding a sales agent to secure licensing rights within various foreign territories is another asset that ups the value of your package.

One obstacle for first timers is identifying likely prospects and obtaining their contact information. For a listing of exhibitors and their contact information, go to American Film Market website and navigate to Attend/Buyer/Exhibitor List. Since some of these companies also serve as sales agents, this list will be useful in locating these people. One can use other directories to cross-reference and identify the sale agents attending. Google or Bing "Sales Agents for Films" for various directories and look specifically for the one put out by the Screen Australia. This pdf directory contains 22 pages of detailed contact information, including person to contact, acquisition policies, and recent acquisitions.

Another source is the directory on the Internet Movie Data Base, pro version - IMDbPro.. Navigate to Company Directory and from Type Company scroll down to Sales Representatives. This addition to IMDb offers greater industry information and is available on monthly subscription bases. Also, check out the KFTV online directory for their list of sales agents. This free online service caters to the international entertainment industries. Enter Sales Agents in search window.

Short phone calls can help establish a rapport with targeted personnel. However, most filmmakers are reluctant to do this because international calls can be expensive. I would suggest using a low prepaid international calling card. LDPOST has a list of available services along with rates by countries. For instance, calls to France, London, and Germany can be as low as 2.0 to 2.4 cents a minute, which is cheaper than stateside long distance rates. Simply place your call-in number, then your PIN number on your speed dial to streamline this connection process. There is also a Direct Dial option available where you dial a single number.

Because your prospect will not likely have the final say, your pitch and accompanying materials should provide strong sales arguments that can move up the corporate ladder. Up front, it should state your objectives, i.e., seeking international sales agent, seeking co-production financing, or seeking acquisition of completed script, etc. While your presentation may be convincing, it's competing with numerous others and having statements and figures to back up your arguments is essential.

There is a long list of evidentiary materials and here are some of the more prominent ones. Include the ones that best represent your project. Comparisons to similar budgeted films--their critical and box office success, log line, elevator synopsis, full synopsis, script coverage, named actors, named director, named DP, projected budget, festival awards, reviews, test screening results, audience ratings, trailer, DVD screener, poster art work, press book materials, production stills, production stories, music tie-ins, merchandising opportunities, unique locations, EPK, film's web site, and project's blogs. Label these items with project name and contact information, then package them in a clear plastic bag so they are not mixed up with materials submitted by others. State the availability of the master and release copies as well as their screening format. Condense your pitch into succinct leave-behind summaries that contain pertinent arguments and include goals along with all vital contact information.

While one quest in presenting a film at the market is to obtain a sale, another is to generate a buzz for your movie. Post cards, DVD handouts, one-sheets and walking billboard characters are some of the methods used. A film's talk-ability inertia is a key factor in gaining distribution or representation by an international sales agent. In fact a small number of this year's foreign language Oscar contenders are using AFM to maximize award season exposure. Additional buzz can be obtained from reviews or news briefs posted in trade publications such as Variety, Hollywood Reporter, The Wrap, Deadline Hollywood, and indieWire.

During the later half of the market, Industry Half-Market Badges are available. During this period, exhibitors have more time to meet with you and are more receptive to hearing your pitch. To best utilize your time, map out your prospects and their locations in the hotels. Be aware that exhibitors are on numerous floors and that some share space. Scheduling appointments will help lend more credibility to your project. While the Half-Market Badge is good for four days the final day is a get away day and most exhibitors are packed and closed up by noon.

It may take some time for buyers to get back to you so it's a good idea to follow-up reinforcing your pitch and document the arguments supporting your project. It also helps to add new developments that make the project more appealing. Follow up first with an email and later with a phone call. Because these are busy people, focus on the feedback you really need. While you may be looking for a deal memo, you should also be looking for ways to strengthen the relationship. An appreciative thank you card can be helpful in this regard especially when it notes useful advice or feedback you've received.

AFM conferences and seminars are also good places to network and promote your project. In past years, topics have included seminars on pitching, financing, co-production deals, and incentives and tax rebates. These conferences are normally an added cost to your market pass and prices are listed on the American Film Market website.

One of the perks to being a pass holder is being able to pick up various print publications covering the market. These publications include Screen, Cineuropa, Beyond Cinema, Filmmaker Magazine, American Cinematographer plus industry trade editions such as Variety and The Hollywood Reporter. These are available on the mezzanine level and free to pass holders.

I would also suggest taking in a number of screenings to see how other filmmakers promote their product. There are over 500 screenings to pick from and while big budget, big star films draw respectable audiences, most films play to small crowds. Yet these gatherings afford opportunities to meet industry people, particularly filmmakers and producers. Use this time effectively and choose films that are closely related to your project. Screening times and theatre locations are listed in the catalog. Shuttle buses to various theatres are provided outside the Loews Hotel.

There are numerous opportunities at the Market to pitch ideas, network, and gain knowledge about the industry. The hotel lobbies where participants mingle are prime spots. It's a relaxed atmosphere where spiels and business cards fly about at will. In addition, it's a good idea to have as much information as possible on your card. Some attendees apply a sticker to the back with pertinent information about their project and/or company. Where applicable, write on back a desired call to action. Things such as "View my trailer at... " When you exchange hundreds of cards one can be easily forget, so make notes on the back of those you receive.

With the advances in technology, you will also find notebook presentations as a practical means of making a presentation. These devices are able to play trailers, interviews with stars, and offer samples of promotional materials. There are numerous advantages to this type presentation in that they are quick and to the point. Film is a visual medium and what better way to promote a project. Most prospects are amicable to watching a short trailer and if interested open to viewing more materials. However, you have to identify the buyers and open a dialogue. While the color-coded badges provide some helps, most buyers are so inundated with impromptu pitches they stuff their badges inside their shirt.

There are also special receptions, parties and red carpet events, and most require being on the invitation list. While most of these events are for established friends and associates, a kindly inquiry can sometimes result in an invite. While not openly publicized, invitations are handed out to promote a product or company. It some cases it is to firm up established relations or in appreciation of past business.

Lastly, mingle effectively. Introduce yourself by tagging your name with a profession, company affiliation, and info about your project. Listen, ask questions, and work the entire room with meaningful productive dialogue. For when it comes to mingling with the international side of the business, AFM is at the top of the class, a marketplace where chance encounters can easily evolve into lucrative deals.

Erik Sean McGiven has attended the American Film Market as a film representative, publicist, and film reviewer. The information compiled in this article is the result of his research and attending workshops on how to best utilize AFM opportunities, especially on a limited budget. Erik writes articles on the entertainment industry in addition to doing film reviews. Links to these articles and reviews are available on his website. http://www.erikseanmcgiven.com/writings/the-biz/. He has worked in the industry in a number of positions including producer, writer, director, production designer, script supervisor, reader, and reviewer.

Food Truck Rodeo

Sites to Download Paid Stock Footage

The stock footage industry is growing at a very impressive rate. The main factors influencing this development are the cost savings associated, as well as the time factor. This footage is normally either royalty free, or rights managed. Many television programs and movies make use of stored footage in many of their scenes. This is mainly because of difficulty and impracticality of filming each scene. Certain epic events such as volcanic eruptions, tsunamis, and earthquakes do not happen every day, hence the usefulness of archived footage. In terms of expense, it would be much cheaper to purchase quality footage, that to suffer the cost of shooting your own videos.

The expense involved in hiring the production team, buying all the required equipment and travelling to distant destinations in order to shoot required footage is staggering. Using stored footage is more convenient when it applies to saving time. All you have to do is pay and immediately download the footage. This is more convenient than wasting a lot of time shooting your own footage. The availability if stock footage depicting certain special effects is also a major advantage. The special effects footage available involves various aspects such as explosions, car crashes, gunshots, and many more.

Factors to consider when buying stock footage

1. When you buy stock video, it is always advisable to study the license agreement and terms of use. This is important because misusing the footage may lead to copyright infringements and legal action. It is important to note that greater restrictions are placed on rights managed videos. They are usually more expensive, and licensed for single use. Other restrictions involve usage within a certain time, and location. Royalty free footage on the other hand has fewer restrictions, and once purchased, it is open for unlimited use.

2. The footage must be of good quality, and its resolution must match the rest of your footage in order for the whole video to flow seamlessly.

Top sites for buying stock footage

Getty Images Stock Footage - this website offers royalty free clips at affordable prices. The range of topics covered by the clips available is wide. In order to view and preview the clips, you will need to have QuickTime installed in your computer. The cost of the footage will depend on the licensing terms, as well as the type of video.

Shutterstock Footage - this website has a wealth of royalty free footage clips to choose from. There are clips featuring nature, transportation, wildlife, and many more. In order to have access to these clips, you are required to sign up as a member. You may also opt to buy a yearly subscription, or buy on a per footage basis.

Revostock - this site offers royalty free music, video, and special effects at affordable prices. You will find both high-definition footage, as well as standard-definition. Account set-up is required before making a purchase.

ITN Source - Flash player and QuickTime are required to preview footage from this site. Both of these software programs can be downloaded from the ITN site. To download content, you will be required to pay a licensing fee, the amount of which depends on the license duration, there the footage will be aired, how it will be used, and frequency of use.