Actors Talk with Tommy G. Kendrick

027 ATP -The Fellows Hip – Real World Experiences With Post-Production, Distribution and Deliverables

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Actors Talk with Tommy G. Kendrick

Actors Talk with Tommy G. Kendrick

Austin, Texas

Description: Interviews with Actors, Writers, Directors, Filmmakers

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027 ATP -The Fellows Hip – Real World Experiences With Post-Production, Distribution and Deliverables

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There’s A Little Bit of Geek And Hero In All Of Us

On January 16,2012 I published the first episode of Actors Talk that featured an interview with a guest, conducted via Skype.

My guest for that episode was producer-director Ron Newcomb. I had met Ron on Facebook after he had posted a trailer for his film THE FELLOWS HIP: RISE OF THE GAMERS, a comedy with heart that centers around a group of geeky gamers obsessed with the LOTR online game. At the time of our first conversation, TFH was in post-production.

I knew Ron had what looked like a potentially good film and I knew he was going through experiences as a first time feature film producer-director that I wanted to share on Actors Talk.

What I didn’t know at the time was that Opening Act Productions had secured the rights to use the

Now eleven months later, THE FELLOWS HIP has had quite a ride, indeed. It is now an award winning film, having picked up the BEST FEATURE FILM award at the GenCon Film Festival. The producers sought and signed a domestic distribution agreement and sales to some international territories were recently negotiated at AFM, the American Film Market.

In this episode of Actors Talk, Ron has agreed to return and discuss some very important lessons learned about post-production, marketing, the film festival circuit, seeking distribution, sales agents, producer’s reps and perhaps most important of all, a component of this part of the filmmaking process that many young filmmakers know little about, DELIVERABLES.

What lessons did you learn from this filmmaking experience that will inform how you approach your next production?

Hire good people and then give them the freedom to do the kind of work they’re capable of.

Post-Production Experience

I would bring a post-production team on very early on – even in pre-production. I would go ahead and engage them, get them on board and make sure that expectations are set. Unfortunately we had one company that went out of business on us and another company that wasn’t able to do the work, which took us into an extra YEAR of post-production.

After Post-Production – Marketing Strategy

I asked Ron if their plan included taking the film to festivals to generate interest or did they have a different plan of attack for THE FELLOWS HIP?

Ron says the question really is “do you want to get into the distribution game yourself.”

As part of this discussion Ron mentioned companies like distribber, an IndieGoGo subsidiary that has become a relatively recent player in the indie film distribution world.

For more information about distribber, be sure to check their web site and look for the ‘How It Works’ tab.

There is an excellent summary of costs and potential revenue from distribber on the FAQ page.

The FELLOWS HIP production team asked themselves all the typical questions that other indie filmmakers ask when they’ve got a finished film:

-Do we want to self-distribute
-Do we want to go after a distribution deal
-Do we want to hire a sales rep or
-Do we want to go after film festivals

Ron offers this view on festivals:

‘to me [festivals] are good for a couple of things. One is to build your pedigree so that you can kind of point to your success on the festival circuit and say ‘see, this is validating, I have a good film.’

And the downside of festivals

They (film festivals) are everywhere and many of the festivals have no coverage or clout with buyers, with distributors. Of course the high profile festivals, Toronto are well known in part because they DO attract film buyers.

Because Ron didn’t think his film a ‘festival film’ and he was reluctant to spend the considerable amount of time and money necessary to attempt a multi-festival approach, with a payoff from that strategy being so uncertain. So they decided, as Ron says ‘out of the gate’ to seek a DISTRIBUTION DEAL.

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SEEKING A DISTRIBUTION DEAL

First he put together a press packet and started to go through his list of contacts he had compiled through the years. He was looking to target three areas:

1. The Producers Rep
2. The Sales Rep
3. A true, legitimate distributor

‘We tried to target those ones that had films that they were representing that were like ours so they had a built in audience. Then we sent out inquiry emails saying ‘hey, we have this film, we have a packet, I’d love to send it to you. And we got [responses back] saying ‘yeah we’d like to see it.’ So we sent out the press packet along with a screener.

In case you’re wondering about what should be included in a typical Press Kit here are some basic elements. Be sure to do your own research on this aspect of the process because certain required elements of a currently modern press kit may change over time. A current Google search will give you a lot of suggestions like this on creating a PRESS KIT.

Press Kit to Include: A synopsis, production notes, biographies of key players including the screenwriter(s), director, producer(s), and of course any NAME actors; a credit list for
all cast and crew. You may need to have available press kits in hard copy and digital versions (digital press kits will be typically referred to as an EPK or electronic press kit).

What Was Their Success Rate?

Out of approximately 100 inquiry emails sent, Ron received about 20 responses that expressed some level of interest and out of those they had six officieal deal offerings from 1 distributor, 4 sales reps and 1 producer’s rep.

I asked Ron about having more than one of these entities representing the project. As he explains the filmmaker can have a combination of representation: a domestic distributor and either a sales agent or a producer’s rep that would focus on international rights exploitation.

Foreign or Domestic Rights

Ron talks about the process of deciding which person or company to sign with to represent the producers and the film. As part of the decision making process, Ron suggests asking the potential distributor or sales rep or producers rep for estimations of what kind of revenue the film can garner from certain markets.

In the end, the produces of THE FELLOWS HIP decided to sign with one Sales Agent who has experience in both domestic and international marketing and distribution. The decision on the sales agent was important because the Ron and his fellow producers wanted to have their team in place prior to the 2012 AFM, American Film Market in Santa Monica, CA.

The mention of AFM led into a mention of Foreign Pre-Sales and Ron suggested that any producers who aren’t familiar with what and how foreign pre-sales work, be sure to do some homework on that issue. A brief overview of debt financing models can be found here.

DELIVERABLES

After you complete your film and if you are fortunate enough to secure distribution, you are going to need to go through the process of compiling all of the DELEVIRABLES required to get your film out into the marketplace.

Meeting the list of required deliverables is not without cost and can run into thousands of dollars which must be accouted for in your budgeting. The more aware you are about what will be required when you do sell your film, the more money you can potentially save in compiling all the required delivery elements.

Ron and I discussed a partial list of deliverables required including: A Master of your movie on HDCAM SR tape; Closed Captioning; Final Shooting Script; MPAA Rating; Proof of E&O Insurance Coverage; Chain of Title; Any necessary releases; Music Clearance; and on and on. The list is really quite extensive and will seem quite daunting, especially if the filmmaker is unaware of the need to supply these elements in the very particular form required by the buyer.

Here is a link to a great list of DELIVERABLES that you can refer to. Note that this list is dated April, 2011 and as we know, things change. Your sales rep will provide you with a complete list of all that is required. But taking a look at the list I’ve linked to will give you an idea of how organized you need to be throughout the filmmaking process.

Otherwise, you may just cost yourself that distribution deal you’re hoping and praying you’ll secure.

BRINGING IN AN ATTORNEY

During the process of negotiating a distribution agreement, the filmmaker needs to have an entertainment attorney on board. It is preferable if you already have a relationship with an attorney before you begin looking for a sales agent or distributor. But you must have an attorney on board before you begin signing legal documents that impact the future of your project.

Ron suggests if you are not in a major market you might consider checking with a local or nearby university that has a law school. Someone there might be able to refer you to an attorney with entertainment law experience. Of course one of the best ways to secure an attorney you trust is to work through referrals from fellow filmmakers who have already been through the process. Failing that, Google becomes your best friend. Seach for entertainment law specialists in major markets. Investigate them online and see if you can find a few attorneys you feel good about contacting.

Although I’ve never used his legal services, I’ve been very impressed with attorney Episode 24 of this podcast.

GenCon Success

Ron talks a bit about the success of THE FELLOWS HIP at the GenCon gathering where the film won the Best Feature Film award in 2012. Like a lot of gaming conventions they have a film festival associated with the event. This film was a natural fit because it’s a film about geeky gamers.

“For us that is [the GenCon Film Festival] is like Sundance because that’s our customer base.”

We wrapped up our conversation by talking a bit about the terrific cast, largely unknown actors then local to the DC area, some of whom have now relocated to Los Angeles.

Be sure to check out terrific web site.

If there are film buyers from international markets who may hear this podcast and have interest in bringing the film to your territory contact Ron Newcomb at: Ron@oapfilms.com or contact Highland Film Group by clicking the image below.