Some Big News About the Future

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This is a post I have meant to write for a few weeks, but it’s gained a bit more poignancy and urgency in the past week or so.

This month is Film Sprites PR‘s fifth birthday. If you know the background of Sprites, you know that it was created seemingly by accident thanks to a tweet asking filmmakers if they needed publicity and social media marketing assistance. It has grown into a beautiful, exciting (albeit small) consultancy that I am proud to have created. The icing on the fifth birthday cake for me has been recently appearing on Karyn Hay’s Lately show on Radio NZ to talk about whether artists who are reluctant self-promoters could successfully promote their work. This opportunity came about thanks to an article I wrote on the subject that was published on The Big Idea. It’s by far the biggest exposure I’ve received to date, and I’m so grateful for these experiences.

While this was happening, I was also offered (and accepted) the position of Wellington Communications Assistant at the 2019 New Zealand International Film Festival. You might recall that in 2014 I was a Publicity Assistant for the Christchurch leg of NZIFF 2014, which happened while I was also working full-time and building Sprites. Given that the Communications Assistant position is full time, you might be wondering what’s happening with Sprites (Or, hey, even if you aren’t wondering, I needed a nice little segue into talking about the future of Sprites, and that was it).

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It’s been a remarkable five years, but the time has come for me to move on. Sprites was only ever going to be a small part of my story; a way to assist independent filmmakers with publicity and digital marketing while I built up my skills and portfolio as a publicist. From now, I will no longer be taking on publicity or social media marketing work under the Film Sprites PR brand. The website will remain up, and I will continue to update our social media channels and write about topics that are relevant to filmmakers, however. I have a few speaking engagements organised in the near future, so I will be continuing to spread my knowledge of social media marketing and publicity for independent filmmakers, which is something I love to do. I am doing this so that I can begin to look for a full-time, permanent position in the film industry which is one of my big dreams in life. I also want to move into being a producer as well, and so something has to give, and that ‘something’ is Sprites.

I have no net.

I have no guarantee that I can achieve my dreams and goals.

However, I have faith in those dreams and goals, a lot of moxie and a huge heart that yearns to be of service to the wider film community and its audiences.

I think sometimes you have to clear the decks and make space for things to enter, and I feel this very strongly at this point in my life. I haven’t quite achieved what I set out to achieve, but in actual fact I’ve achieved much more than I dreamed possible (if that makes sense).

I am eternally grateful to my friends, family, supporters, the filmmakers I’ve had the privilege of working with, Sprites’ media contacts, my film industry support network and colleagues, and YOU.

Project Lodestar: The Making of an Indie Film

Project Lodestar The Making of an Indie Film

It’s a genuine pleasure to be bringing you a guest post from Daniel Harlow about Project Lodestar, UCLA Film Studies! Want to know what Project Lodestar is, and how you can participate if you are an independent filmmaker? Read on…

TITLE: The Making of an Indie Film

LOGLINE: One man, against the odds, forges ahead while an industry burns. A thriller with an ending that no one can (ever) predict.

Fade In – SXSW 2017 – A Roundtable Discussion

Frank and I sit at the Round Table Discussion table. He’s an Austin filmmaker with a big burly beard, slick backed hair, pony-tail and a burning gaze. Frank punctuates his sentences with a verbal exclamation point that tells you that if he says he’s going to do something – he’ll run someone over to make sure it gets done. Frank is hard core. He pays the rent by shooting rock music videos and if he showed up to shoot your rock music video, you’d think: “Yep, that’s how a guy that films rock music videos should look.”

Frank wants to make a movie – bad. He’s filmed his own short. He’s filmed his own reel. He’ll hand you a jump drive with it on there. It’s not half bad. And he’s shelled out the $1600 for the Filmmaker pass at SXSW to hear what the experts have to say. How do WE get to where THEY are – with a film in South By Southwest.

Whoa.

Tell us.

Teach us.

Frank and I have spent almost every hour of every day the prior 3 days talking to industry experts in one-on-one sessions, round tables discussions and listening to panels. The experts have spoken.

One of the more coveted experts at SXSW is a manager associated with a recent Oscar winner. His advice is clear: “Do work,” he says. “Make something.” Yeah, make something. Stop screwing around and yacking and being a pretender. Make a movie.

I kind of get it. You ask 10 people at SXSW what they are doing and 9 of them will say: “I’m working on a film.” After a little while, once this answer starts to feel a bit well stale, I learn to ask the followup: “What stage are you in?” Expecting to hear: pre-production, filming starts on X date, post-production, editing, distribution, whatever. But I don’t hear that even once. The answer you get in almost every case is: “I’m looking for funding.” As an entrepreneur that ran a business for a couple decades, it’s hard for me not to kink my neck at that answer. Ok. So if you’re looking for funding, you’re kind of NOT really working on a film. So I get Mr. Oscar winner’s advice. Stop looking for funding. Do something.

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Ava DuVernay has a 2013 Film Independent keynote address on YouTube with thousands of views where she speaks about the number of people that ask to sit down with her and “Pick her brain.” She pounds her podium: “Don’t pick anyone’s brain, make a movie. Take all that energy you wanted to spend talking to experts and just make a movie.”

Mark Duplass has a well known YouTube video where he spoke at SXSW: His advice: first, make a short film. Then take $1000, buy food, pay for all the equipment you need with credit cards at Best Buy and Home Depot and return it all when you’re down. Make a film. With a voice. Stop sitting around and thinking about it.

Frank and I sip our two free drinks at the bar at the Intercontinental Hotel at SXSW catching more experts in between beers, asking more advice. We tell them about the films we’d like to make and our plans to market them. One after the other, they give some version of: “finish your movie, then get back to me.”

The experts have spoken and the ruling is nearly unanimous. Make a film. First. Make it good and worry about the rest once it’s finished. If you build it, they will come.

Listen, I get it. Ava, Mark, Mr. Oscar winner, they all talk to people all day long that will never, ever, in a million years, make a movie. So I get their frustration and I hear their message. So should you. But I can’t help feeling there is something dismissively simplistic in their advice. It might not be flat out wrong but it seems unnecessarily extreme to tell people to go from analysis-paralysis to suddenly go to a strategy of: fire first, aim second. I ran a successful company for a long time and that doesn’t fit my personal investment style, nor my management style … nor my anything style actually.

And, do studios make films this way? Um, no. Do I want to put up $100,00 of my own money into a film without the foggiest notion of what will happen once it’s done? Um, no. So I resolve to go find some filmmakers that followed this advice and see how it went.

SXSW closes.

Project Lodestar Camera

FADE IN – later that year – Cucalorus Film Festival, Wilmington 2017

Katherine has made a solid independent film. She sits across from me with her new daughter in a lovely coffee shop unusually crowded due to the influx of visitors from the festival. We are lucky to get the two couches with the coffee table in between giving her and her daughter extra room.

Katherine raised around $300,000 to make her personal film that has received strong reviews for its sensitive drama and sense of humor from multiple, small festivals. I discuss with her how she feels it will do financially and she deadpans that it will make near-zero dollars and she’s just hoping that it will get on Netflix somehow, even if she and her investors make nothing out of it.

Wow.

Nothing?

About nothing.

From a $300,000 investment to recoup $0?

Almost zero she says.

Oh.

FADE IN – later that day – different coffee shop, Wilmington 2017

Peter sits across from me wondering how in the world his tiny film with just 2 actors managed to cost $250,000. He was the director and not the producer so he wasn’t sure what cost so much but he knows that was his budget. His film won distribution by a very large, prestigious distribution firm. They, of course, will pay him nothing up front for the film. Zero.

But he’ll make a % right?

Yes, he says. After they recoup their costs.

What costs, I ask?

He has no idea – but whatever they are doing, it will cost him some $30,000 of his film’s first revenues. He believes all they are doing is putting it on iTunes, which costs about $1,500. But they did sell the film to Hulu for $35,000 – almost all of which the distribution company will keep. His investors will make a few thousand dollars back.

Out of a $250,000 investment?

Yes, he says. And he knows many of his peers that are in the same situation.

“We can never use the same investors twice. It’s just a process of burning through investors.”

Okay then. “There must be a better way,” I say. He agrees. Absolutely. He just doesn’t know how. He has no clue how to make a profitable film.

“I’d make a zombie movie if you told me it would make money. I’d make a movie about 2 stoner skateboarder kids fighting zombies if you told me that would make money.”

What makes money?

Project Lodestar is born.

Project Lodestar BannerI am heading a research project out of UCLA to find out what is the better way to make a movie. Here’s a few quotes from sales agents and distributors once I told them what the experts were telling me about “Just Do It”:

Sales Agent #1: “That’s the dumbest advice I’ve ever heard.”

Sales Agent #2: “…the stupidest thing that you could tell a filmmaker.”

Distributor X: “Why do filmmakers make these movies that no one wants to see and are impossible to sell?”

Distributor Y: “I know it’s hard for many filmmakers to hear when they worked on a film for one or two years but many times their films are worthless, not worth very little – literally worth nothing,  zero.”

Over the course of many conversations with sales agents, distribution companies, and producers (of films that have made money), another approach to making small films starts to emerge. As the final interviews are conducts and the notes are compiled, I can begin posting the notes. But another problem facing the industry has become clear that affects how hard it is for filmmakers to make good films with commercial success. The film business has a long history of secrecy. One of the film consultants I talked to explained it well:

“You might be too young to remember, but the movie business decades ago was going to a theater and paying for ticket. It was a cash business, Dan. And what happens with cash businesses? A lot of that cash disappears at one point or another. It’s impossible to audit. The mafia and other disreputable groups get involved. Everything was secret. The numbers you saw were never trustworthy and this veil of secrecy about who made how much (gross or profit) from where, it’s still a big secret for the most part. It’s impossible to get real numbers from anyone.”

And she was right. Almost no agent nor distributor would give real financial results. The best I got was “we are in the black” or “we are not even close” or “we are close and probably in the next year we will be in the black”.

They are (slightly) more transparent about the budgets of the films but there are obstacles there as well. First, a distributor and a sales agent don’t technically need to know the budget. Sometimes they really don’t and you have to ask the producer. But they almost always do – since making the filmmaker a “profit” on their film is usually the first goal, and success on that criteria is impossible to gauge unless you have a target/budget to make up.

Second, filmmakers, producers, everyone are – once again – always giving you dodgy information. They don’t want to give you the real budget, they want to double or triple it because films get pre-judged based on budget. No matter what the budget is, the filmmaker will hope you think it’s 2-3 times that much. There is a stigma associated with films under $1M so all films want to appear to have at least $1M or else they will lack enough “production value” to be good. On the other hand, they don’t want to tell you the movie “lost money” either. Thus the complicated dance around the numbers. The movie is “in the black” – which is good. But it is in the black because it was so cheap to make – which is bad.

The data is a real problem and thus we launch www.projectlodestar.org.  A place where Film Industry personnel can send their real_film financial results anonymously – without being judged for being a failure, nor sued for being too successful.

The lack of data does make a difference. If filmmakers don’t know what films make money then how are they supposed to make films that make money. If all filmmakers use a benchmark like “Little Miss Sunshine” and “Napoleon Dynamite” then they will think comedies rule. If they use “Paranormal Activity” and “Blair Witch” as comparable films then Found Footage Horror is the way to go. One Sales Agent was adamant at how risky comedies were, saying that humor doesn’t travel. And it doesn’t even travel usually to Britain or Australia. The sense of humor can be very different in other (even English speaking) countries. If filmmakers saw real returns, actual sales figures for comedies that consistently showed a big drop-off from the US to Britain or Australia then that might get a lot of filmmakers to think hard about their next RomCom.

The financial margin for error on film is getting much smaller. Making a film that can has a chance to be profitable means knowing what sells in the US and in foreign markets.

Participate in the project. Send in your film’s results.  Foreign, Domestic, VOD, whatever budgets and revenues you are seeing and get a window into whether your film is an outlier or close to the average.  We will collect, categorize, summarize and report back to the participants what patterns we can see.

Maybe we can usher in a new age of greater transparency, better data, smarter films, more profits, better movies and better careers in film.

Then stay tuned to change metaphors for a moment from film to TV. Don’t touch that dial.

FADE OUT

ABOUT PROJECT LODESTAR, UCLA Film Studies

For the financially minded filmmaker: do you think that a good start to a career as a filmmaker is showing you can make a (good) film that makes more money than it cost? We do.

If you agree, then we are talking to you. Maybe you are using their family’s money, you own money or maybe you just don’t want to lose your investor’s cash. To those filmmakers: listen up. There’s a UCLA Research Project that you should be paying attention to.

What makes small films successful and profitable in the new digital age is what Project Lodestar is about. Can you “Moneyball” your cast? That is, can you find cast that is feasible for a small budget but will guarantee returns on your budget dollars spent? What genres are most reliable and is that changing from 5 years ago? We are not looking at outliers but rather averages and, in fact, we are trying to remove the outliers since they tend to throw off the curve.

If you or someone you know has developed a small film, send us your case study and contribute to the overall body of information. Once we have crunched the numbers, we will have the good, the bad and the ugly news that you can use to inform your next films! Participate HERE.

ABOUT THE AUTHOR

Daniel Harlow started his career at UCLA  in the Computer Science Department. Daniel ran an I.T. Consulting firm for 20+ years with offices in San Francisco, San Jose, Oregon, North Carolina, Arizona, New York, and Minneapolis before making his exit and starting his career as a Professional Golfer. However, his golf career was short-lived realizing that the inability to get out of a bunker at the age of 45 would likely be a big obstacle to his goal of winning the US Open. Never one to be daunted by the odds, he now approaches the fast-changing world of Film and Entertainment with the same mindset that allowed him to build a large and successful startup.

 

I Felt Like An Idiot On The Internet…Here’s What Put It Into Perspective

I Felt Like An Idiot On The Internet

As a publicist and digital marketer, I spend a significant amount of time on the Internet. Whether it’s sending off a press release to a media outlet, pitching a potential story, generating social media content or crunching social media numbers, I’m either hooked to my laptop, tablet, or phone. And while that comes with the territory, because digital technology is so ubiquitous in everyday life, I found myself in a bit of a predicament.

The lines between work and life began to blur. I found myself looking at the number of ‘likes’ on my personal Facebook page, the follows on my personal Instagram…and feeling dejected. Why weren’t people engaging? Why did the feeds of people I knew look SO damn interesting compared to mine? WHY was I feeling like such a d*ck on social media?

Talk about a First World problem!

My self-indulgent moping was cut short by a wake-up call yesterday. During my morning shower, I discovered a lump in my breast. Upon finding the lump, I felt a sense of dread that I’ve only ever felt once before. My stomach felt like it had dropped through the floor. We lost my sister in law to breast cancer in 2013, so immediately my mind is jumping to the worst conclusion.

I booked an appointment to see my doctor that afternoon and after a thorough inspection he said that he had no reason whatsoever to believe that there was anything sinister about the lump. I was exceptionally relieved.

Here’s the thing: that one little scare put everything else into perspective. No ‘likes’ are going to help you if you have an illness. No amount of follows on Twitter or Instagram would take something like breast cancer away. Perspective is a very valuable thing.

I’m great at what I do when it comes to social media for work. But when it comes to my personal life, a lot of it is not share-worthy…and that’s OK. You won’t see me dolled up to go out right now, but that’s because there’s a lot of hard work going on behind the scenes every single day. It doesn’t make me more or less worthy than anyone else.

So yes, while engagement levels, shares and other data are important on the business side of what I do, it shouldn’t make a lick of difference on my personal side. I think we sometimes forget (I know I’m guilty of it!) that what we see on social media is what people choose to share with us. It’s carefully curated, even if we’re not intending it to be that way. And how many ‘friends’ do we have on social media that we catch up with in ‘real life’? If a picture I share of my pizza on Instagram gets more ‘likes’ than a picture I took of a beautiful sunset on my DSLR…does it really matter? Am I enjoying sharing content? Yes.

You know, it’s okay to feel like an idiot on the Internet. I think we’ve all had those moments…just don’t stay there. And while I have your attention, check out Breast Cancer Foundation NZ’s breast changes to watch out for. Knowledge is power!

 

We’re Having a Spook-tacular Month!

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It’s been a spook-tacular month at Film Sprites PR in more ways than one! There’s lots going on in the office, so I thought I’d share some of the things we’re working on, as well as some client updates!

It’s been a pleasure to work with horror writer/director Oliver Park for the past few years, and his first horror short, Vicious, has received over 1.1M views on YouTube! He’s currently in LA, talking with studios about the possibility of making Vicious a feature film, as well as talking about other projects. His latest horror short, Still, is being released later this year. You can check out the teaser HERE.

Oliver Park Horror Press

Just some of the press Oliver Park has received- including being in a Buzzfeed article!

And in a similarly spooky vein, Film Sprites PR is assisting H2Ow Productions with PR and digital marketing of Ao-Terror-Oa. The brainchild of producer Hweiling Ow, Ao-Terror-Oa is a horror anthology linked by one unique element- New Zealand culture. Ao-Terror-Oa was funded by NZ On Air and Google, with the shorts being shown on YouTube. In addition to the 6 shorts, there are 2 mini-series being shown on the H2Ow Productions YouTube channel: Hweiling Watches, where producer Hweiling Ow (who doesn’t like watching horror movies) watches horror while being hooked up to a heart monitor, and Body FX Basement of Horror, where the team from Body FX share their techniques. All of these combine to create 6 Weeks of Horror, starting October 27 (Oct 26 Northern Hemisphere time)! For more information, click HERE. Ao-Terror-Oa has already started to receive press attention from outlets like Stuff, Horror Society, Screenz and FilmDebate.

Another Film Sprites PR client, Apple Park Films, recently made their critically acclaimed feature film Little Pieces available to rent/buy via Amazon Video, where it achieved over 800 minutes of viewing time in the first week of release!

Little Pieces Film Poster

Apple Park Films’ latest short film, Emotional Motor Unit, is also coming to Amazon Video very soon. Emotional Motor Unit is a tale set in a dystopian world where emotions are secondary to output. In order to achieve a writing task, Writer (played by Little Pieces‘ Graham Cawte) will find out what it means to be human by interacting with an Emotional Motor Unit robot (played magnificently by Francesca Burgoyne).

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And as we head closer towards the end of 2017, if you’re releasing your film in 2018 it’s a good time to chat with us about publicity and digital marketing. Our services include:

  • Copywriting (IMDb biographies, website copy)
  • Social media marketing (Instagram, Twitter, Facebook)
  • Press kit and press release creation
  • Pitching to media (both traditional and new media)
  • Crowdfunding campaign publicity, promotion and support

Spots fill fast, so get in touch! Don’t forget, you can also find us on Facebook, Instagram and Twitter. You can also connect with me on LinkedIn.

And if you’re planning to celebrate Halloween this year- make sure you have a safe and happy time! It’s a good time to enjoy some of those classic horror films, as well as some of the newest releases!

 

Handy Resources for Indie Filmmakers

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Following the success of our blog post featuring PR and digital marketing resources for indie filmmakers, we’re back with even more general resources! These are things that are too good not to share. After all, it’s all about working smarter, not harder. Here’s some resources we stumbled across recently that we think you’ll like:

Distribution expert Peter Broderick recently taught a masterclass about the New World of Film Distribution at NZ’s Big Screen Symposium 2017, and it was hugely informative. Thankfully, you don’t have to have attended the session to make the most of his information- check out his post on the New World of Film Distribution HERE.

Want to know what types of low budget films break out? film industry Stephen Follows and Founder of The Numbers, Bruce Nash, bring you a comprehensive report that is well worth reading.

For people in the NZ film industry, ScreenSpace is a free website which acts as a classified ads service for people in the industry. Hire/sell equipment and services, post jobs (crew jobs, acting, etc), and more.

Jonathan and Kieran, the creators of ScreenSpace say: “After always struggling to find either a location, cast member, crew member or piece of gear on every shoot we’ve had, we decided to start ScreenSpace to make it easier for New Zealand filmmakers to connect and collaborate – sharing both their resources and expertise. A service by filmmakers for filmmakers to find what they want, when they need it, and for a reasonable price.”

Another excellent resource for NZ filmmakers is Showtools, a cloud-based production system which makes the production process easier. Better yet, Showtools has easy pay-as-you go pricing…and short films are FREE. Keep track of work hours, crew and rentals, and share product information with everyone easily. It’s a smart, affordable resource to make your film production less stressful and more streamlined.

Whether you’re keen to enter your film into a festival, or need to know how the screening dates of prominent festivals could affect your release and/or the publication schedules for film media, check out this handy guide to key festivals and markets.

And finally- some shaaaaaaaaaameless self-promotion: at Film Sprites PR we’re currently taking on films (short and feature-length) for publicity and digital marketing in 2018. The best time to chat with us about PR and social media marketing for your film next year is right now in order to secure our services. From copywriting for your website and IMDb profile, right through to sourcing media placements (features/reviews/interviews) and social media marketing, we do it all. For the past 3.5 years we’ve provided 25+ filmmakers and their films publicity and digital marketing, and because we focus on independent film we know the media landscape and market for indie films. For more info, download our services pamphlet HERE.

Happy filmmaking, folks!

 

Film Sprites PR At Big Screen Symposium 2017

Film Sprites PR at Big Screen Symposium 17

On the weekend of September 30 and October 1st, people from the entire spectrum of the film industry in New Zealand converged on Auckland to take part in Big Screen Symposium 2017. It was Film Sprites PR‘s first year at the Symposium, and due to the fact that we’ve worked mostly with international films thus far, it felt like a bit of a homecoming. For two wonderful days we were treated to a line-up which included speakers from various threads of the industry, including directors, producers, a casting agent, and writers. There was also plenty of time to network and catch up with old friends (as well as make some new ones).

The theme of Big Screen Symposium 17 was Authenticity and Pretence, a theme which is so pertinent in the digital age. As Big Screen Symposium Director Esther Cahill-Chiaroni notes in her introductory letter which accompanied the schedule: “[i]n an age of selfies and fake news, what is the role of the storyteller and how is it that sometimes ‘making shit up’ enables us to get closer to the truth?” Thanks to the wealth of information given via talks, masterclasses and the keynote address, I know we all came away with our own unique answer for that question.

Participants were spoiled for choice when it came to selecting which sessions to attend, because there were so many tempting choices and so many opportunities to learn even more! In particular, I thoroughly enjoyed the masterclass with writer/director David Michôd. I personally consider his first feature, Animal Kingdom, to be one of the finest Australian films of the 21st century, so to hear about the process behind this film (and his latest, War Machine, now on Netflix) was refreshing. I can definitely say his road to the completion of Animal Kingdom is the definition of “authenticity”, especially when it came to the remarkable performances of his cast, including Ben Mendelsohn and Jacki Weaver.

Equally engaging was the Casting Matters session with casting director Kerry Barden of Barden Schnee Casting. Kerry’s credits include American Psycho, Spotlight, August: Osage County and Winter’s Bone (and that’s a fraction of his credits!). It was interesting to discover the role of a casting director, the interaction between casting directors and the film’s director and listen to Kerry’s anecdotes about working in the film industry.

From the producing side of things, it was a delight to hear from Kylie du Fresne of Goalpost Pictures Australia (whose producing credits include the smash hit The Sapphires and popular TV series Cleverman), and Midge Sandford (whose first project as Sanford/Pillsbury Productions with her producing partner Sarah Pillsbury was Desperately Seeking Susan). One of the really interesting things that came out of both sessions from both speakers was the concept of having a producing partner, and how beneficial that can be from a producing point of view.

As well as publicity and digital marketing, distribution is one of my great areas of interest in the film industry, so it was a real treat to hear from Peter Broderick, distribution expert, leading the charge in the “New World of Distribution”. His knowledge of distribution is so pertinent, I encourage you to go to his website and make sure you sign up to his mailing list. Peter was knowledgeable, but also incredibly approachable and engaging (and let’s face it- I’m always going to like someone who has a giraffe on their business card and penguins on their website!).

I would be completely remiss if I didn’t mention NZFC CEO Dave Gibson’s final address in this current position, where he announced additions to NZFC’s gender policy, which you can read here. It’s a step in the right direction to not only encourage women to participate in the film industry, but to continue to support women currently working in the industry as well.

If you want to see the entire line-up of speakers who attended Big Screen 17, you can look on the website. A massive thank-you to everyone involved in the weekend, from the Big Screen Symposium team through to the speakers, sponsors and everyone working behind the scenes to make things run smoothly. I look forward to attending next year.

The Indie Filmmaker’s PR and Digital Marketing Toolkit

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Over the years at Film Sprites PR, we’ve amassed a mountain of really useful resources for independent filmmakers; everything from graphic design lifesavers for your social media graphics, through to inexpensive (or free) ways to advertise your independent film to your audience. They’re all things we’ve been recommending to our clients, and now I want to share them with you. They’re not huge trade secrets- just things that we personally rave about and things that work.

In addition to these resources, we’re also including a ‘sanity saving’ section, additional books to add to your reading list, as well as some inspirational resources to help keep your momentum up. Let’s face it- every bit helps when you’re working hard for your dreams.

Advertising/Promotion

While social media and organic publicity is great, sometimes it’s a good idea to reach out to places that can do paid or unpaid promotion, or provide advertising space. If you’ve got a horror film to promote, we thoroughly recommend PromoteHorror.com. They have a range of options with minimal pricing, but they also provide free services, like the posting of press releases (and they’re exceptionally prompt about it!). Popcorn Horror also has advertising packages available. Also, whether you have a short, a feature or a webseries, our media partner FilmDebate has a FREE promotion section. Click HERE to read all the details.

And, hey- I’m going to be cheeky and shamelessly self-promote. Here at Film Sprites PR we offer publicity and digital marketing services to independent filmmakers; from crowdfunding campaign promotion and support through to securing media placements (reviews, interviews, features), and social media marketing (both feature and short films). We can also provide copywriting services for websites and IMDb biographies. Get in touch with us to see how we can assist you. Email us at: thefilmsprites@gmail.com.

Additional Good Reads for Filmmakers

You may have seen our recent post about great reads for filmmakers, but since then I’ve found more reads that need to be added to the list! Firstly, Dean Silvers’ book, Secrets of Breaking into the Film & TV Business is a great read. Just like Julia Verdin and Matt Dean’s Success in Film, Dean breaks down every step of film production, financing and promotion. It’s not only useful, it’s genuinely enjoyable to read. If you have an interest in film marketing (both indie and mainstream), Film Marketing into the Twenty-First Century is a great read. A series of academic articles, it looks at different topics within the film marketing sphere, so you may choose to read the entire book or just focus on topics that interest you. There’s an excellent piece about international voice casting and subsequent publicity for the Ice Age franchise, as well as publicity around the high frame rate of the Hobbit trilogy.

Our “Cheat Sheet” Posts

As you may know, we’ve been providing “cheat sheet” blog posts which cover the ins and outs of indie film publicity and digital marketing. Here’s a list of posts that can assist you at various stages of production:

Crowdfunding: notes on looking after yourself during your crowdfunding campaign can be found HERE. We also show you how to harness Twitter for your film’s crowdfunding campaign. And what about after your crowdfunding campaign? We show you how to maintain connection with your contributors post-campaign as well.

Publicity and Digital Marketing Timelines: our most popular post gave a handy timeline for generating publicity and social media coverage for indie films, which you can read HERE. We’ve also broken that timeline down even further and with more information in our post about publicity prep in pre-production and filming, and publicity prep from post-production to release.

Social Media: we gave you the lowdown on the most annoying things you can do when promoting your film via social media, as well as giving you some handy alternatives. We also answered the questions we’re most frequently asked by filmmakers.

Pitching to Media Outlets: There will come a time when, if you have to do most of the heavy lifting on your indie film yourself, you will need to pitch to media outlets to secure reviews, interviews or features. We’ve got you covered when it comes to this process! We give you a breakdown of  identifying what’s newsworthy about your film to make it even more appealing to media outlets.

Sanity Saving Resources

Sometimes things can feel impossible, the pressures insurmountable…or sometimes things are just plain awful. It’s a good time to seek out some inspiration! TED talks can be incredibly uplifting. Check out these great talks by J.J. Abrams, Jeff Skoll, and Deborah Scranton. The incredible Marie Forleo and her interviews with creatives and entrepreneurs like Seth Godin, Bryce Dallas Howard, and Tony Robbins (just to name a few).

Hopefully there’s something for everyone in this list of resources. Happy filmmaking!