If you’re serious about distributing your film, about it reaching audiences beyond your living room, it’s in your best interest to advocate for a film publicist in your line budget.
There’s plenty to get excited about when you’re headed to a film festival, and there are plenty of ways to ensure you’ve checked every box on the Festival Marketing Musts checklist in this article. Covering these bases is the best way to get local audiences interested in your film and keep them in the loop for its future success, too.
Wherever you are in the production or release of your film, you should already be marketing it. Build your audience now so when you announce that first screening, they’re all clamoring to buy tickets. After all, making a film is only half the battle. The other half is finding people who want to see it.
If your press release isn’t getting the traction you’d expect, it could be that it just sucks and is costing you the attention you deserve. Below are the top five mistakes a bad press release makes. And, more importantly, how to fix them.
A press kit is an essential part of any film’s production plan. Like a storyboard or line budget, it’s a behind-the-scenes necessity. And when done right, it can make all the difference in how the press, film festivals, theaters - and ultimately the audience - talk about your movie.
In this episode I talk to Brad Wilke, an award-winning filmmaker, produced feature-length screenwriter, and film programmer for the Seattle International Film Festival.
Veteran filmmaker, teacher, and fundraiser Mark Stolaroff takes a pause in the middle of the Kickstarter campaign for his new film “DriverX” to reflect on his filmmaking career and the psychology of asking friends and strangers for money. Mark is the creator of the "No Budget Film School” seminars and a role model to many indie filmmakers.
Are you being offered the “festival rights” to the music in your film at a discount? It’s a trap! Find out why the deal you’re being offered might not be the best option for you.
When licensing music for their projects, sometimes filmmakers will ask whether it's advisable to purchase only the "festival rights." Sometimes it's possible to save money on music licensing by obtaining permission to use a song in a film limited to play at festivals. It sounds great, but it is it a good idea?
Allison's film just isn't getting into festivals. Here are my thoughts on the possible reasons.