Some useful ideas explored here from New Breed - these are part of an on-going series from Filmmaker Magazine and The WorkBook Project to document the Filmmaker Summit held last Saturday at Slamdance (more about this to follow soon).

Filmmakers Zak Forsman and Kevin K. Shah of Sabi Pictures arrive at Park City with an intent to define the questions most relevant to independent distribution options. Insights from Brian Newman, Dan Mirvish, Jon Reiss and Ira Deutchman open a path toward discovering some real solutions.

SABI filmmakers Zak Forsman and Kevin K. Shah move away from identifying the questions toward some possible answers that may, in fact, lead to the solutions we seek. Insights from Linas Phillips (Bass Ackwards), Habib Azar (Armless), Dan Mirvish, and Brian Newman are fleshed out with more thoughts from the pre-Filmmaker Summit roundtable.

SABI filmmakers Zak Forsman and Kevin K. Shah move away from identifying the questions toward some possible answers that may, in fact, lead to the solutions we seek. Insights from Linas Phillips (Bass Ackwards), Jon Reiss and Brian Newman are fleshed out with more thoughts from the pre-Filmmaker Summit roundtable.

Any of y’all going to Park City are  spoiled for choice for cool workshops to attend this year! The Filmmaker Summit is brought to you by the very wonderful people at Slamdance, Workbook Project and Open Video Alliance. We’re fans of all three so if you can’t make it to the Summit be sure to participate online and remember that it will be streaming live on Jan 23rd too.

Here’s a statement from the producers of the event:

The mission of the Slamdance, WorkBook Project and Open Video Alliance Filmmaker Summit is to jointly craft a new charter for filmmaking, storytelling and content distribution, with and by the global filmmaking community.Our collaboration is born out of reaction to an independent film industry currently in a state of change and how, as a global filmmaking community, we can better understand and find greater success afforded by new technology and the democratization of new tools and processes.

We believe sustainable independent filmmaking is no longer about the production itself. Instead, it’s about how filmmakers must now expand their role and take charge of reaching and engaging worldwide audiences across all viewing platforms. In this direct approach, the viewer is now collaborative, less passive and more connected then every before. New business models will emerge as a direct result of experimentation and transparency around process, the Filmmaker Summit is an attempt to chart a course towards sustainability one that is by filmmakers for filmmakers while at the same time being inclusive of the audiences that support them.

Digital Dive is a free, one-day immersion program to help you improve your digital media literacy. Experts will present case studies, product demos, and practical information about how to get your feet wet with website, mobile phone, social media, and cross-platform production. A collaboration between Sundance Film Festival and Jigsaw Global, the workshop will be held at New Frontier on Main, and it is perfect for filmmakers and film industry professionals with minimal, hands-on digital media production experience.

OPEN CALL FOR ALL FILM INDUSTRY PROFESSIONALS. APPLY FOR A FREE RESERVED SEAT, OR JUST SHOW UP ON JAN 22ND AND 23RD AND GRAB A GENERAL ADMISSION SEAT.

This year SXSW have opened up their panel picker voting system to the Film Conference (it used to be just Interactive). You have till Friday, Sept 4th to cast your vote for the panels you like best.

Workbook Project’s New Breed brings you this piece by Zak Forsman on how to make the festival circuit work for you EVEN if you don’t have a film screening. The key advice is: manage your expectations and make connections because these connections will help you in the long haul and festivals are probably the best place to meet all the key players in one place.

Here is Zak’s video from SXSW:

Shooters,

Excuse the cross-posting with the Festivals blog, but we didn’t wany any of you to miss out on this -

Mullighan recently presented a panel at the London Short Film Festival, entitled ‘Luck = Preparedness + Opportunity’. With him were the delightful filmmakers (and Shooters), Ben Slotover and Eva Weber.

If you weren’t lucky enough to make it down to the Curzon for the event, no fear! Ben has kindly made his notes from the panel available to you all here.

Ben, as it turns out, has actually made short instructional videos, very good tools for the newer indie filmmaker. You can watch his Zero Budget Filmmaking Compilation below, but he has uploaded more videos to his profile on Shooters which I thoroughly recommend you watch.

The incredibly useful Workbook Project recently added another weapon to its creative arsenal. NEW BREED consists of first person accounts of the filmmaking process – you can read through all the posts or go straight to the filmmakers or projects that you’re particularly interested in. The site outlines some NEW BREED goals for 2009:

With the dawn of 2009 comes some new additions to the site. NEW BREED: CRITICAL FOCUS will introduce a new series of interviews, special topics addressed by site regulars and more articles from guest contributers. Look for upcoming conversations with filmmakers Hunter Weeks, Ondi Timoner, Barry Jenkins, Lynn Shelton and Joe Swanberg, as well as a new series of articles by site regulars sharing insight into lessons learned… the hard way. And in a few days we will introduce a prolific filmmaker of short films, Jack Daniel Stanley, who takes his southern gothic horror film, A Little Mouth To Feed, to Slamdance 09 and offers insight into his preparations, planning and experience at the festival.

If you’d prefer not to learn ALL your lessons the hard way, read NEW BREED and hear from filmmakers who learned them for you!

Sundance is going to be interesting this year. With the economy in the dumps there is almost certainly not going to be the usual sales activity, and hopefully filmmakers will be going there with expectations firmly in check. This could actually be a good thing for Sundance. As Steven Zeitchik writes in the Hollywood Reporter:

But what these breakouts show is that the fest’s main value might now lie in the classic indie model, in which little money is spent and little is earned. The payoff comes in the form of critical cachet and awards, not in a “Little Miss Sunshine”-style plug-and-play blockbuster. It’s a switch that takes the fest back to its emergence two decades ago, when movies like “sex, lies & videotape” were championed not as possible crossover hits but as giving rise to directorial talent and even a new style of filmmaking.

Such a shift would dovetail, in a sense, with the festival’s own ambitions. While organizers haven’t voiced outright opposition to the sales market as they have with swag and ambush marketing, they have had an ambivalent relationship with it: Organizers like the heat and industry attendance it brings but privately worry that it puts the emphasis on the big sale instead of the great film.

So, like the Scouts, be prepared and be ready with a strategy that does not stand or fall on a sale.  Filmmakers looking for festival strategy tips may already be aware of Chris Gore’s Ultimate Film Festival Survival Guide. I haven’t read them but you might also want to look at Christopher Holland’s Film Festival Secrets: A Handbook for Independent Filmmakers and Heidi Van Lier’s The Indie Film Rule Book. You can read more from Heidi on the Film Independent website here and here. Bomb It director Jon Reiss also has some good advice on his blog, including info about printing postcards and posters.

Shooting People will be reporting from Park City over on our Festival Focus blog so stay tuned!

This is the second and final part of a 2 part post on non-theatrical distribution by Rachel Gordon, a freelance marketing/distribution consultant specializing in the niche and educational usage of documentary films.

Something to be aware of that many filmmakers don’t consciously think about when starting to get their work out is that it will take some time for your film to “hit” a place in the non-theatrical market – often up to a whole year.  You can’t count on this to be your only source of income because, while there are people who have made a year’s salary on one film, that is not the normal shape distribution takes – whether it be partnering with a distributor or a solo journey.

It is absolutely impossible to promise or estimate how much money you will gain.  I get this question a lot and I try never to give an answer because there simply isn’t one.  Some films do better because of controversy or timeliness of their content, others do better because the information they include is unique and nobody else has captured it yet.  There is no way of knowing how a film will fare until you start sending it out into the world.  There is a lot more to choose from than there used to be and sometimes it all comes down to a matter of timing.  The key point being, however, that you have to send out information repeatedly because nobody will know or remember that your film exists unless you tell them.

Educational distribution is a hefty time commitment.  It means researching organizations that might show your film at a conference.  It requires collecting quotes to use in emails and promotional sheets.  It involves taking the time to collect, or buy, email or mailing lists to send out information to parties that would be interested in using the material you have to offer.  It means having the nerve to ask people to be supportive and either provide advice on other people that would benefit from your film, or include a link to your website.

So if it is not easy, why do it?  The non-theatrical world is a wide, enthusiastic, supportive environment for consuming media.  Professors, social activists, non-profit organizations, journalists, etc, talk on listservs every day.  They give each other advice, they program fascinating conferences, webinars and discussions.  They also love media, and they will continue to be repeat customers when they have found reliable sources to obtain it from.  They know as much about a filmmaker’s work as the average film critic in New York City.  Yes, what I just said is true.  Every time I’ve exhibited at an educational marketplace, customers come into my room to specifically view the latest film from one of the independent filmmakers I represent.

Rachel Gordon is a filmmaker and freelance marketing/distribution consultant specializing in the niche and educational usage of documentary films.  Her short film, Loose Ends, is currently at festivals while she finishes writing the feature version of the story about feminine fear of commitment.  She is also in production on a documentary series about alternative medicines.  She can be reached through her website at www.energizedfilms.com