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.
In the first FAQ, I explained the motivation behind the Launchpad program AND how it works. In this one I wanted to answer another question: why am I doing this?
Indiewire has published a post-Cannes article about the future of cinema in the age of Netflix & Amazon that is worth a read because this is something that will be important for microbudget feature filmmakers.
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.
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?
In the first video in this 4-part series I talked about the three types of paralysis that afflict filmmakers - financial paralysis, organizational paralysis and creative paralysis. Now I want to start to suggest some solutions to these three things that can help you get on the road to making a microbudget feature film and even launching your filmmaking career.
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