Previously I discussed the various distribution options for Microbudget Feature films and I noted that by and large the question of distribution has been solved for filmmakers. However, the big question mark we still face is marketing.
So, you've completed your film and taken it where you can on the festival route (or not). Now what? How do you get it out there so people can see your beautiful baby - and maybe you can recoup some of what you spent on it?
When I announced a little while ago that our first film had gotten distribution on Amazon (and now in China!) I received some emails asking me about the "nightmare of deliverables" and what I meant by that.
The first challenge that microbudget feature filmmakers face is how to come up with the best story for their feature film. This isn't as straightforward as you might think!
In the first two FAQs I dealt with questions that readers raised about how to participate in the Launchpad's bootcamp and win the $5000 competition and also why I was doing it in the first place. In this FAQ I responded to various questions: like can non-US residents participate, what genres would work, and whether participants can submit already completed scripts.
Over the last four months I've been working closely with a group of filmmakers in an intense microbudget screenwriting bootcamp and competition called The $2500 Microbudget Launchpad.
Recently I posted on my wall an article about the new distribution landscape as a result of Netflix and Amazon, which have been snapping up content at a remarkable rate. Of course, for microbudget filmmakers this seems like the best time to be making movies and getting people to watch it and getting some payment for their efforts.
I haven't posted in a couple weeks because I've been super-busy. We lost the composer on our feature film Fucking My Way Back Home that's in the final stretch. And I've been reading the scripts submitted as part of the Microbudget Film Lab Launchpad competition - the winner will get a $2500 production investment in their feature film.
A LOT of people contact me about film financing, wondering if I can hook them up with some money people, or provide them with a list of film investors. I figured it was time to have a discussion about investors and investment.
In the first three episodes in this series I talked about the kinds of paralysis that filmmakers faced - and some solutions to those forms of paralysis: specifically financial and organizational paralysis. In this webisode, I focus on creative paralysis. How do you get a great story? How do you turn it into a great script? What do you think?
Click on the image