FEATURE: TRAILER - SUPERSEEDS | Super Powered Adventure
- Thread starter Kholi
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Hawk Teflon
Veteran
Who do I make my check out to?
That looks great, man.
That looks great, man.
Here's what I think about all of this, the distribution thing, making a short versus a feature, etc:
I feel like what we've done is just over the tipping point of being "enough" to grant us access to another project, but after it's all said and done what I feel doesn't really matter: I'm only the gatekeeper to my own content, but not the network with the ability to push it to a level or status that we would all love to be at.
For Ruairi, short films were what he needed to do to get to the AKIRA level, and whatever he may be doing at this moment.
For some others, it will be a feature film that does that.
And for everyone under the sun, there is no guarantee. There is nothing guaranteed, and it's all up to timing. No matter which path you take, you cannot be certain where it will lead you. The best bet is to do what you can with what you have, be that a short or a bunch of shorts, a heap of twenty second videos, web series, whatever that is. Trust your own instincts and research the sort of route you want to take.
If it sounds like I've changed my mind and I'm not as optimistic as before, it's because I did change my mind and I am not as optimistic as before. At some point I did get whittled down to thinking that you really do need a star and alot of money to do anything, and everything that inspired me was just a fluke. Oddly enough, once you settle into that mind-set it becomes infinitely simple, just not easy.
Major takeaway for me on this date, as of now? Spend as little as possible on whatever you do if you aren't already pre-selling, get names attached in someway, and have press lined up before you even shoot. Go to film festivals and markets, get to know people before you start shooting, it'll be less of a ninety-degree uphill battle.
This does not come from being turned down by anyone or anything, as the trailer hasn't been sent to press outlets yet, much less any distributors. It's just from reading so many other stories and researching. It's gotten the better of me.
Maybe something will happen that changes my mind back the other way, but this stuff is hard and exhausting work, even when you aren't working... without the capital and peace-of-mind while you're doing it it's almost not even worth the risk at any budget level.
I feel like what we've done is just over the tipping point of being "enough" to grant us access to another project, but after it's all said and done what I feel doesn't really matter: I'm only the gatekeeper to my own content, but not the network with the ability to push it to a level or status that we would all love to be at.
For Ruairi, short films were what he needed to do to get to the AKIRA level, and whatever he may be doing at this moment.
For some others, it will be a feature film that does that.
And for everyone under the sun, there is no guarantee. There is nothing guaranteed, and it's all up to timing. No matter which path you take, you cannot be certain where it will lead you. The best bet is to do what you can with what you have, be that a short or a bunch of shorts, a heap of twenty second videos, web series, whatever that is. Trust your own instincts and research the sort of route you want to take.
If it sounds like I've changed my mind and I'm not as optimistic as before, it's because I did change my mind and I am not as optimistic as before. At some point I did get whittled down to thinking that you really do need a star and alot of money to do anything, and everything that inspired me was just a fluke. Oddly enough, once you settle into that mind-set it becomes infinitely simple, just not easy.
Major takeaway for me on this date, as of now? Spend as little as possible on whatever you do if you aren't already pre-selling, get names attached in someway, and have press lined up before you even shoot. Go to film festivals and markets, get to know people before you start shooting, it'll be less of a ninety-degree uphill battle.
This does not come from being turned down by anyone or anything, as the trailer hasn't been sent to press outlets yet, much less any distributors. It's just from reading so many other stories and researching. It's gotten the better of me.
Maybe something will happen that changes my mind back the other way, but this stuff is hard and exhausting work, even when you aren't working... without the capital and peace-of-mind while you're doing it it's almost not even worth the risk at any budget level.
THanks a lot Frank, and we appreciate--I appreciate, the positive vibes. At this stage, it's really optimistic to think about meetings and such, but it's kind of a far stretch. I'm definitely keeping as realistic as possible on this and realizing more so that it's a tough deal.
As far as a publicist goes, unfortunately we can't afford it! Haha. I can barely afford to eat a decent meal these days. We'll have to go it on our own, which makes it even harder.
Without a foot in the door, honestly, it's just as hard no matter how good the story is, quality, etc. In all dreaded honesty, you don't have to try very hard to sell anything, you just have to have enough money to get a name to put on a poster. You don't need to be a good director, you don't need to be a good writer, you don't even need a good image.
Without the name etc, and trust me it sucks to say this, but you're fighting the steepest uphill battle.
Frank Perrotto
Active member
Believe me, I've thought that way for a while too (like all of 2008 and 2009, lol), but I had some success just getting a web series to a few people, and it didn't look anywhere near as polished as this. Although it sort of fizzled, it got WAY further than I ever thought it would. And I still am in touch with those contacts on a regular basis. Hell, I just sent them a script. I think luck definitely plays a big part, but I also think you're underestimating the need at all levels of the entertainment industry for people that can direct genre films, especially if they're heavily vfx driven, and come out with a halfway decent product.
It's obviously very difficult to tell without seeing the entire film, but like I said, if it's anywhere as good as the trailer, then I think you have nothing to worry about. What you're saying would be true if all the films you're talking about that couldn't get over the success hump looked as good as this. If everyone is telling you, 'better luck next time', or 'looks alright', then you're showing the wrong people and that's the God's honest truth. Not everyone is actually qualified to judge talent, especially the kinds of people that make up what I call the 'vast middle'... all those readers, assistants, festival people, and hell, even your friends, family, etc. Along with that, you have to KNOW what you have, and that can either be a bit painful or a bit euphoric, but it's ok to compare to others and judge where you're at with what you have.
Of course there's no guarantees, but I'll also help you in any way that I can.
It's obviously very difficult to tell without seeing the entire film, but like I said, if it's anywhere as good as the trailer, then I think you have nothing to worry about. What you're saying would be true if all the films you're talking about that couldn't get over the success hump looked as good as this. If everyone is telling you, 'better luck next time', or 'looks alright', then you're showing the wrong people and that's the God's honest truth. Not everyone is actually qualified to judge talent, especially the kinds of people that make up what I call the 'vast middle'... all those readers, assistants, festival people, and hell, even your friends, family, etc. Along with that, you have to KNOW what you have, and that can either be a bit painful or a bit euphoric, but it's ok to compare to others and judge where you're at with what you have.
Of course there's no guarantees, but I'll also help you in any way that I can.
For sure, Frank.
I mean, there's always hope! And, I do think that you're right about judging talent and the product, etc. It's just in the face of a machine that's run fine how it is forever that it'll be a bit difficult, but no one said it was easy, anyway. Takes a lot of damned time.
I mean, there's always hope! And, I do think that you're right about judging talent and the product, etc. It's just in the face of a machine that's run fine how it is forever that it'll be a bit difficult, but no one said it was easy, anyway. Takes a lot of damned time.
October Black
Well-known member
Kholi, I think your film will set a precedent! It has everything a good film needs except star power. This film is important to so many of us.... win or lose.
Good luck and thanks for having the balls to go for it.
Good luck and thanks for having the balls to go for it.
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Ted Spencer
Veteran
Finally had a chance to look at this thing (been working nonstop lately)...
Wow...
Very clever concept, good acting, well lit/shot, great FX, actual humor (comedy *is* hard)...looks like a real winner, Kholi!
Can't wait to see the whole thing. Great job!
Wow...
Very clever concept, good acting, well lit/shot, great FX, actual humor (comedy *is* hard)...looks like a real winner, Kholi!
Can't wait to see the whole thing. Great job!
capitalP
Veteran
Great trailer, the FX was top notch, I love the fact it didn't look cheesy, I think the trailer rides on the FX, if the FX was cheesy then you would of lost the audience. And of course the concept is awesome. If I had to give some constructive criticism on something, it would be the acting. I felt some of the acting was a little rough, especially the guy with the glasses but the overall feel of the trailer is good. Good luck with this.
tieuellegacy
Active member
@Kholi,
You have a very nice trailer. I would think that the film is marketable.
I'll be a little longwinded because I would hate to see you give up on it or not be encouraged as you continue. Seems like you might've had a change in heart about the chances. Most of these are rhetorical and just for you to ponder. I can't remember everything that you've typed so you might've answered them for yourself or on this blog.
My initial thought was that you were hoping to complete the film on your budget and get a distro deal. I can see that it may be frustrating because you will spend a lot of time over the next few years filming if you haven't shot all of the footage already. It comes down to whether you want to spend that much time on one proj. Would it be okay if in 2013, you finish and no one is knocking on your door? You're helping others with inspiration by doing this blog but will that be enough?
You've taken on one of the more expensive genres. You could've done a horror film and got away with cutting costs. I agree with you. You HAVE to have money or work with people that have resources. It's misleading for anyone to say that there was no budget. Even if it's sweat equity (in-kind), it should go into the numbers. Reason is that if you apply for grants many of them want to know what you've spent and how their money will be spent. They wanna know that you will finish the project if they don't give you the funds that you request.
I encourage you to hit the festivals. Not only do they see your film, you meet people that can do things or they know people that can help you. South By Southwest, Austin Film Fest (more of a writer's market), American Black Film Fest, and do research on the people that have attended the others. Even if you don't show your film in these places, you meet distributors. I suggest carrying copies of your product trailer even if you haven't registered the script. You've filmed it already and the trailer is only telling a portion of the story so you will be fine.
I really don't think that you HAVE to have mainstream talent. I would use Hangover as an example but they added a few stars as cameos. I still believe that it came down to timing. I don't feel that it's the funniest film out there but it caught people by surprise.
I think that you have film that would fit in the Spy Kids and Superbad areas.
Keep pushin' it. If you don't have a PR person, find one in college that will hopefully be the next best thing. I think that you're in LA so you might have to look for people outside of LA to really help you. I mentioned it to Martay before. Find blog talks like the Double Down film show and talk to them. Both have distro'd their work in different ways. Listen to their archives and research how the talent on their promoted their work.
It's doable.
Tieuel Legacy! Motion
You have a very nice trailer. I would think that the film is marketable.
I'll be a little longwinded because I would hate to see you give up on it or not be encouraged as you continue. Seems like you might've had a change in heart about the chances. Most of these are rhetorical and just for you to ponder. I can't remember everything that you've typed so you might've answered them for yourself or on this blog.
My initial thought was that you were hoping to complete the film on your budget and get a distro deal. I can see that it may be frustrating because you will spend a lot of time over the next few years filming if you haven't shot all of the footage already. It comes down to whether you want to spend that much time on one proj. Would it be okay if in 2013, you finish and no one is knocking on your door? You're helping others with inspiration by doing this blog but will that be enough?
You've taken on one of the more expensive genres. You could've done a horror film and got away with cutting costs. I agree with you. You HAVE to have money or work with people that have resources. It's misleading for anyone to say that there was no budget. Even if it's sweat equity (in-kind), it should go into the numbers. Reason is that if you apply for grants many of them want to know what you've spent and how their money will be spent. They wanna know that you will finish the project if they don't give you the funds that you request.
I encourage you to hit the festivals. Not only do they see your film, you meet people that can do things or they know people that can help you. South By Southwest, Austin Film Fest (more of a writer's market), American Black Film Fest, and do research on the people that have attended the others. Even if you don't show your film in these places, you meet distributors. I suggest carrying copies of your product trailer even if you haven't registered the script. You've filmed it already and the trailer is only telling a portion of the story so you will be fine.
I really don't think that you HAVE to have mainstream talent. I would use Hangover as an example but they added a few stars as cameos. I still believe that it came down to timing. I don't feel that it's the funniest film out there but it caught people by surprise.
I think that you have film that would fit in the Spy Kids and Superbad areas.
Keep pushin' it. If you don't have a PR person, find one in college that will hopefully be the next best thing. I think that you're in LA so you might have to look for people outside of LA to really help you. I mentioned it to Martay before. Find blog talks like the Double Down film show and talk to them. Both have distro'd their work in different ways. Listen to their archives and research how the talent on their promoted their work.
It's doable.
Tieuel Legacy! Motion
Hey October! Thanks for stopping by to check it out and keeping up with the progress. Hopefully we'll have some BTS up here soon, FINALLY. Which may include some of the process of audio mixing and vfx creation as well.
Really appreciate the vote, man. EVery little bit of encouragement counts.
TedSpencer, glad you saw it. I was actually interested in hearing what you thought about the acting, coming from an actor as well I'm happy to hear it didn't fall flat for ya. I think everyone did a better job than we could actually afford, haha.
THanks for the kind words on the overall product, P. VFX are a hard sell in general, I initially wrote it around the idea that the presentation wouldn't need to be a multi-million dollar one, but something that "looked" like a part of the paradoxical world. Seems to be working out okay.
Since I'm not an actor, I do feel inclined to defend them, at the same time each of us have different tastes and I respect the opinion and definitely am more so glad that you were honest with your comments and thoughts. Thanks man.
Yeah, I think so too but you know... the machine as it is? It's really dead set on the easiest path possible, which is names. I'm not saying that it's a bad ting, either. This is a business.
We need discussion for everyone, not just myself. This stuff is hard as hell, and no one is guaranteed anything at any budget level. Green Lantern maybe? The change of heart, it's happening. The more you hear people the more you begin to listen.
So, the budget's sub 30K (at the time of writing) and we've shot ninety-nine percent of the movie. The one percent is the infinite and unobtainable portion, you know... there are ALWAYS little inserts, etc, even after the process. So, it's in the can, it's cut, and VFX have begun.
We move on to sound soon.
At the time of writing this, we're under a year from funding to post production and should be finished late August.
Realistically, there won't be a 2013 for me and this project! Haha. It needs to move out of the house in the next few months so that I can get on with my aging life.
If you change 2013 to 2012, yeah, if I'm still bothering with this thing early next year it won't be enough. But, I'm not going to be bothering with it then, I can't afford to do that. By afford? I mean I'm still on chicken nuggets. LoL
Yeah, the 30K is a misleading number still: with the amount of sweat that's going into this it's well beyond that number. We're talking at least 250K range, and at that point--as it's been remarked to me, you can start to see about 250-350K in the trailer itself.
Makes sense.
As much as I really... really don't like the idea of festivals, it may end up that way. At that point, I've truly got to rely on the strength of the material.. too broke to pay a bunch of entry fees, that just can't happen.
I will say that we've met distributors already, so it's not all grey skies. We're just not ready to really approach them with anything until there's something to show, at least a cut with a lot of temp FX and sound so we can start getting feedback.
We'd hate to get all the way through post, think we've locked something then have to change it. That is EXPENSIVE.
I agree with you. And, you can tell by the numbers these days that audiences are getting wise to this stuff. The model can only last so long, I still believe in that. It just isn't happening right this moment to a degree where you can walk in with a product that's obviously marketable as hell and go "here you go."
The first thing anyone's looking for is names. That's just the reality of it.
It's funny, because those are both completely different demographics, technically, but no longer the case. What you're describing is exactly what video gamers are.
We spend the most money out of ANY demographic, pushing games like Modern Warfare over billions of dollars in world wide sales. We consume high-concept content that doesn't necessarily scream young or old.
Attack the Block is a fantastic example of what we want to watch. While Sucker Punch, which was "supposedly" aimed right at us is not. I knew from the trailer to Sucker Punch that it would flop in my demo, and flop hard.
But that's a hard sale to money people as well. How do you go about telling them that their demographic lines are blurring without being laughed out of the room?
You know what? This is a fantastic idea. I've always thought that you don't know until you try, and people are willing to get behind something that will elevate them as well. I'm gonna seek a PR person this week.
I'll hit Double DOwn soon.
Back of my mind I still agree. Again, you hear too much of one thing and you start believing it.
This isnt' directly in response to you, Doug, but a general response to all of this. There's something that I never really considered until now, but about shooting something under a 50K tent:
There are a lot of faces you can get out there that, as Adam would say, will green-light a feature film. Get pre-sales, or sell a movie overseas in a heartbeat. In retrospect, there's another path that needs to be added to the list of possibilities, and that's literally just making any movie, spending 30K on it, going skeleton as hell and hiring one of those names for 20K of your budget.
Yeah, you aren't making a good movie with this, and your production value is probably going to be outright garbage.
You're also only going to have that actor for a few days, and you may not be able to pay any of the others.
It's a pretty terrible way to work, but on the opposite end of the spectrum you're nearly guaranteeing the return of your money and more, and you're going to make the kind of contacts you need out of that to ease your way up if you do what you're supposed to do.
It's just a thought, anyway.
tieuellegacy
Active member
Yes, the MACHINE. I agree with everything that you said. The chances come and that's what you should be ready for. They won't come just from posting and blogging. You have to get out there. People say that you have to have an agent to contact big companies. In most cases it's true. However, there's a workaround. That's by meeting the right people in the right places.
Film fests can be expensive with just the tix alone. Then you add travel. However, if you can buy the basic package or just get in the vicinity and have someone with the gift of gab, you can get into places. You have to at least look the part though. I went to a fest that I normally paid to get into but the last time I paid for my flight without buying a fest pass. I made my way into half of what I did when I paid. Read this when you get the chance. The editor of the book is a filmmaker that I've known for years and he confirms that this is true because he is the one that was supposed to drop him off at the awards. http://www.champagnelifethebook.com/snippets/
If nothing else, festivals gave me a push to continue my work because you're among others that are doing it and that have either passed or failed. Yet they continue. You also find musicians, artists, and writers there. The issue is that you have to continue to go in order to recharge. Also if you don't have product in hand, you may kick yourself. Research the fests and read who the regulars are. Have your plan together. It's worth trying. There's always a chance. Read about the screenwriter for Brooklyn's finest. The DVD has a featurette with him on it.
Frank Perrotto
Active member
I think your best bet with this film is as a stepping stone to contacts and further opportunities, not necessarily getting distribution. At all levels, there's a need for people who can direct. That particular talent is NOT a dime a dozen. From the looks of this, you can direct and are somewhere above most of the pack that's out there slaving away on their indie shorts and features. So you have that in your pocket. Would anyone here disagree with this? There ARE people out there in a position of power who'll notice this right away, and your goal is to get them to watch it and give you another opportunity to direct.
I think the festival route is difficult without having a connection or someone to 'sell' them on your film. I think going in blind is a total waste of time these days, especially at bigger fests. The problem, as I see it, is they do need genre films like this at the big fests, but I don't think they're plucking stuff from obscurity as much as going with genre films from past festival favorites. But a publicist, someone who is going to make those phone calls and pound the pavement for you is probably a necessity in this arena if you don't have any other ins. That said, I don't think it would be a stretch to just email the trailer to genre festivals that are up and coming and send them a copy... I can't imagine this wouldn't get in based on the trailer alone. Also, your publicist can contact websites like aintitcoolnews for you and start trying to get outlets to cover the story of you and your film by coming up with an angle to the whole thing, no matter how shameless. Shame does not exist in this dojo!
But yeah, I think this film is a stepping stone for you, not necessarily something distributors will want to buy for 100k, and would you rather have a further career or sell this film? It's like the chicken and the egg, I think you need to use it as a stepping stone to something greater and then your film will have added value to a distributor. YOU'RE IN L.A.! I'd start formulating a plan of attack for having a screening in 3-6 months and building buzz around it so that people in power will want to attend. And I think a lot of people just think, "If Spielberg or Ari Emmanuel don't show up, we're done!" You probably already know this, but there are a ton of people working at smaller production companies all over Los Angeles that can give you opportunities, not just the people at the very top. Since you don't have the money, it's going to require pulling some strings somewhere or just outright begging for a space to have a private screening, but I think you're post-partum right now... you're exhausted, it's easier to listen to the negative, and you very likely are super tired of this project and have other ideas you want to work on but can't because of this seeming albatross. If that's the case, I'd work on the other ideas for an hour or two a day... it's a good way to deal with stress at a time like this, it recharges you, and it gets you looking forward again. You're probably burnt the hell out and should take a rest to reflect on everything then come back out swinging.
I think the name actor is only important if your main goal with this is distribution. From the trailer, I think your main goal should be to get someone else to trust you with a much bigger budget to make another movie and that doesn't really hinge on whether or not Superseeds is released and makes it's money back x's 100. It hinges on the talent evident in the film. How many indie films that launched careers had name actors in them? How many short films? Anyway, it's just another opinion, and you know what they say about those...
I think the festival route is difficult without having a connection or someone to 'sell' them on your film. I think going in blind is a total waste of time these days, especially at bigger fests. The problem, as I see it, is they do need genre films like this at the big fests, but I don't think they're plucking stuff from obscurity as much as going with genre films from past festival favorites. But a publicist, someone who is going to make those phone calls and pound the pavement for you is probably a necessity in this arena if you don't have any other ins. That said, I don't think it would be a stretch to just email the trailer to genre festivals that are up and coming and send them a copy... I can't imagine this wouldn't get in based on the trailer alone. Also, your publicist can contact websites like aintitcoolnews for you and start trying to get outlets to cover the story of you and your film by coming up with an angle to the whole thing, no matter how shameless. Shame does not exist in this dojo!
But yeah, I think this film is a stepping stone for you, not necessarily something distributors will want to buy for 100k, and would you rather have a further career or sell this film? It's like the chicken and the egg, I think you need to use it as a stepping stone to something greater and then your film will have added value to a distributor. YOU'RE IN L.A.! I'd start formulating a plan of attack for having a screening in 3-6 months and building buzz around it so that people in power will want to attend. And I think a lot of people just think, "If Spielberg or Ari Emmanuel don't show up, we're done!" You probably already know this, but there are a ton of people working at smaller production companies all over Los Angeles that can give you opportunities, not just the people at the very top. Since you don't have the money, it's going to require pulling some strings somewhere or just outright begging for a space to have a private screening, but I think you're post-partum right now... you're exhausted, it's easier to listen to the negative, and you very likely are super tired of this project and have other ideas you want to work on but can't because of this seeming albatross. If that's the case, I'd work on the other ideas for an hour or two a day... it's a good way to deal with stress at a time like this, it recharges you, and it gets you looking forward again. You're probably burnt the hell out and should take a rest to reflect on everything then come back out swinging.
I think the name actor is only important if your main goal with this is distribution. From the trailer, I think your main goal should be to get someone else to trust you with a much bigger budget to make another movie and that doesn't really hinge on whether or not Superseeds is released and makes it's money back x's 100. It hinges on the talent evident in the film. How many indie films that launched careers had name actors in them? How many short films? Anyway, it's just another opinion, and you know what they say about those...
Ted Spencer
Veteran
I agree with most of what Frank said above. But I think the real, ultimate ball game here is how well the finished film turns out. It's one thing to make a cool 3 minute trailer (which is not by any means to say that it's easy) but it's another thing altogether to make a genuinely cool full-length feature. That is to say, one that complete strangers, with no involvement whatsoever with the film or its makers, really, truly think is cool. If Kholi and company have that, then I believe the world will welcome them and success will come. Of course the business/promotion/etc. side has to be handled, and handled well, but those things have a funny way of failing anyway when the 'product quality' isn't there, and a much greater tendency to succeed quickly when it is.
So...about product quality...let's call it "PQ"...
Look at what happened/is happening with Faith Granger's wonderful "Deuce Of Spades": no stars (far, far from it), but...*no (traditional) promotion/festival/machine either*. So how the hell has she sold ~12,000-15,000 DVDs (so far, and evidently still going strong)? Fundamentally:
PQ
So, call me a rose-colored-glasses optimist if you like, but for my 50th of a buck I say if "Superseeds" is as good a movie as its trailer, it should make rain...
I say enter the sucker in festivals, absolutely positively, and don't be afraid to do so. If it's a genuinely good, solidly entertaining movie, people will walk out of said festival screenings and *tell* other people they *must* see it. That's how it happened for Faith, except *she didn't even put it in festivals*. Word of mouth was so strong on DOS that it sold (mostly) through *the freakin' grapevine*, for heaven's sake. Yes, there were car shows and magazines etc., but those things aren't all that hard to come by. Neither are "good reviews" (in quotes because so many are so shamelessly bogus).
That's also (exactly) how it started for "Paramormal Activity".
So again - for me, the fundamental bottom line; the sine-qua-non for a film's real success (especially at this level), is:
PQ
With that extraordinarily rare and difficult feat accomplished, the rest should be relatively easy.
Stepping down off the soap box now...
So...about product quality...let's call it "PQ"...
Look at what happened/is happening with Faith Granger's wonderful "Deuce Of Spades": no stars (far, far from it), but...*no (traditional) promotion/festival/machine either*. So how the hell has she sold ~12,000-15,000 DVDs (so far, and evidently still going strong)? Fundamentally:
PQ
So, call me a rose-colored-glasses optimist if you like, but for my 50th of a buck I say if "Superseeds" is as good a movie as its trailer, it should make rain...
I say enter the sucker in festivals, absolutely positively, and don't be afraid to do so. If it's a genuinely good, solidly entertaining movie, people will walk out of said festival screenings and *tell* other people they *must* see it. That's how it happened for Faith, except *she didn't even put it in festivals*. Word of mouth was so strong on DOS that it sold (mostly) through *the freakin' grapevine*, for heaven's sake. Yes, there were car shows and magazines etc., but those things aren't all that hard to come by. Neither are "good reviews" (in quotes because so many are so shamelessly bogus).
That's also (exactly) how it started for "Paramormal Activity".
So again - for me, the fundamental bottom line; the sine-qua-non for a film's real success (especially at this level), is:
PQ
With that extraordinarily rare and difficult feat accomplished, the rest should be relatively easy.
Stepping down off the soap box now...
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Ted Spencer
Veteran
Exactly. And putting it that way squares perfectly with my own way of putting it (that I know you don't care for - sorry!):
...considering...
Was the acting as good as if you could have "afforded" to hire the modern equivalent of a young Micheal J Fox, Ben Stiller, or Tina Fey? Of course not. Is it quite excellent though, considering you had a ~$30K budget for everything (and probably next to nothing for actors)? IMHO...you betcha it is. It reminds me a lot of "Deuce Of Spades"; totally unknown actors rising to the occasion and 'playing above their ability' under the guidance of what are evidently unusually talented directors (Faith, and you). And although I know you don't care for Robert Rodriguez's similarly humble (and very successful) debut "El Mariachi", your and Faith's success with the actors remind me of it as well. So yes - big props on that, my man.
So when do I/we get to see this puppy? I can't wait...seriously... : )
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majikfraug
Well-known member
Very solid work on the trailer! I showed it yesterday to some people who are working on my film. They had no connection whatsoever to DVXuser and had never heard of Superseeds prior to seeing the trailer. They liked it a lot and said they would "definitely watch this movie". Very much the 20s/30s cynical movie-going gamer crowd demographic (if such a thing exists).
tieuellegacy
Active member
Frank mentioned earlier that the fest route is difficult and that going in blind is wasteful. That was part of my point. You still have to do homework on which ones to attend and there's still no guarantee. Even if you get into Sundance or Cannes you MUST promote once you get there. Gun Hill Road by Mi Alma Films is one of several examples this year alone and there was another guy that told his story on Youtube regarding his street marketing team at Sundance. You can't expect ANY fest to promote you by themselves because they are trying to get people to purchase fest passes; not so much individual movie passes that are included in the package. They ask for your print materials and that's only the beginning. You have to promote it like you're a hungry musician.
The advantage is that you have more than one distributor, filmmaker, and actor there at the same time. Even if they don't distribute you, other people want to work with you if they feel your movie.
It wouldn't make sense to cut out the festival route or film market when you're a newcomer. Veterans still make it a point to go to a lot of these major fests to see what they need to work on or to see if they can get a distributor. John Singleton helped secure a 2 pic deal for Craig Brewer at a fest that I attended. It went so fast that they snatched the second showing of the film from the screens and replaced it with Four Brothers which already had distro. Big names aren't guaranteed distro either. I think the guy is named Kevin Smith who bought his own film at Sundance this year.
Bottomline...the fest is another way of doing it without having to go through a lawyer or agent for submissions. Spike, Bill Duke, Lee Daniels, John Singleton, and Robert Townsend are almost all at the same fest every year in Miami. They are looking for deals and teaching classes. At the same time, they are looking for talent to push. Research it and make your call on that decision.
Again, these things aren't free but if you can do car washes or get an angel investor to help, it's something to look into. Many people use Robert Rodriguez as an example but they fail to realize that he went the fest route along with Quentin T. Telluride was huge for them.
Tieuel Legacy! Motion
The advantage is that you have more than one distributor, filmmaker, and actor there at the same time. Even if they don't distribute you, other people want to work with you if they feel your movie.
It wouldn't make sense to cut out the festival route or film market when you're a newcomer. Veterans still make it a point to go to a lot of these major fests to see what they need to work on or to see if they can get a distributor. John Singleton helped secure a 2 pic deal for Craig Brewer at a fest that I attended. It went so fast that they snatched the second showing of the film from the screens and replaced it with Four Brothers which already had distro. Big names aren't guaranteed distro either. I think the guy is named Kevin Smith who bought his own film at Sundance this year.
Bottomline...the fest is another way of doing it without having to go through a lawyer or agent for submissions. Spike, Bill Duke, Lee Daniels, John Singleton, and Robert Townsend are almost all at the same fest every year in Miami. They are looking for deals and teaching classes. At the same time, they are looking for talent to push. Research it and make your call on that decision.
Again, these things aren't free but if you can do car washes or get an angel investor to help, it's something to look into. Many people use Robert Rodriguez as an example but they fail to realize that he went the fest route along with Quentin T. Telluride was huge for them.
Tieuel Legacy! Motion