There’s a lot of discussion in the independent film world right now about how filmmakers can earn a living in today’s economic climate, as well as how distributors and art house theaters can continue being profitable in the increasingly-digital landscape.

But, there’s a rarely …]]>

Video Rodeo, Gainesville, FL’s independent video store

There’s a lot of discussion in the independent film world right now about how filmmakers can earn a living in today’s economic climate, as well as how distributors and art house theaters can continue being profitable in the increasingly-digital landscape.

But, there’s a rarely discussed part of the film world that seems to already be the first casualty of the modern film-watching era: the video store.

For some towns, the video store can be more crucial than the movie theater. I know it was when I lived in Gainesville, FL. I worked at a local video store, which is still in business, called Video Rodeo. It’s owned by filmmaker and professor Roger Beebe. Roger runs the store like a collective: the employees are paid through profit-sharing, and decisions are made as a group, instead of by the sole voice of the owner. The store has a huge selection of foreign and art house films, and it exposed me to a ton of great films I didn’t know existed until then. Not only that, but he let me use it as a major location in my first film.

I interviewed Roger to talk about the state of the local video store, and it’s relationship with the independent film community. This blog post, if you can’t already tell, isn’t “totally sillypants” like my others have been. If you’re disappointed by that, just pretend the following interview is between these two people.

Here’s the interview:

ADAM: Why don’t you talk a little about yourself first? I know you’re a filmmaker and a professor, as well…

ROGER: Sure, yeah. I am those things. I teach film and media studies at the University of Florida in the English department. I’ve been (in Gainesville) since 2000. I’ve been making films since 1994 or ’95.

And they’re more experimental.

Yeah, exactly. And, for the last six years or so, I’ve been making mostly muli-projector films that I perform live. 16mm, some loop-based stuff, but some other stuff that’s just, you know, made for three, or six, or eight projectors.

That’s so cool. And, you also run FLEX Fest. 

I do, yeah. And so, that I started eight years ago, and we’re having the ninth festival in February. That’s dedicated to experimental short films, but we do year-round programming that’s more expansive than that. So, like, on Thursday night, we’re showing five 35mm reels from five different Disney films, and combining them into one kind of crazy, Frankenstein’s monster of a film.

Wow, that’s awesome. Where did you live before Gainesville?

I went to grad school at Duke, so I was in Durham, North Carolina for six years before that.

Okay, cool. Because, I remember seeing one of your films that you must have made when you first moved there, I assumed, because it didn’t seem like… You were kind of talking how you just moved to Gainesville, and you’re like, “There’s no tall buildings, it’s really weird.”

Oh yeah, that’s THE STRIP MALL TRILOGY. So, that was 2001, right after I moved here. But, it’s not like I moved here from some amazing city. It was more of, like, a conceit than a reality.

What do you think of Gainesville? Do you enjoy the city?

Yeah. I think, you know, it’s a good college town. It’s not Berlin, it’s not Chicago. There are places I would rather be. But, I don’t know. I’ve got my doors and windows open right now, and it’s seventy-five degrees outside. Life is pretty easy. I like it well enough here. And, you know, as long as you confine yourself to a certain part of town, you don’t have to face the disgusting reality of sprawl and strip malls and all that stuff.

VIDEO RODEO

Inside Video Rodeo

Let’s talk a little bit about the store. The background of it, how long it’s been around, why you started it, that sort of thing.

So, the transition from North Carolina to here is actually kind of appropriate in this discussion, because when I lived there, there was a video store called Visart.

It was just this model of a video store. It was this place where you’d go in, and they had everything, and stuff was arranged by the director. You know, it was just really thoughtful, and smart, and big. And, they actually had some of the dumb recent releases, too. I think that’s kind of how they sanctioned the rest of what they did. But, they were really a model for what I was thinking a video store should be like.

And, when I came here, there was just, you know, Blockbuster and Hollywood (Video). For the first few years, I was content just to use the facilities on campus. We had a media library for teaching, and then there’s the regular library. But, you know, they were no fun for browsing, and I found I was watching lots of stuff I didn’t really feel passionate about, but it was just the first thing you came upon. It was, “Okay, I’ll see that, sure.”

So, finally, I decided to quit complaining about there not being a good video store and just start one up. So, my friend Tim Massett in Jacksonville, who now runs Sun-Ray Cinema, he and I were going to start together. He had already done some market research, and was way smarter about it than I could have been at that point. I was going to bankroll it and he was going to put in this work to make it happen.

But, he ended up getting cold feet, I think, because he knew– he was right, that opening a video store in this day and age is not a way to line your retirement account. And, so he stayed on managing a theater in Jacksonville.

So, I ended up just doing it, not really entirely alone. I had a group of three really cool people at the start, who, you know, we went in there and did all the construction ourselves, we did the painting. You know, built the store from nothing. For about three or four months before then, I’d been collecting stuff, buying a bunch of used VHS to flesh out the collection. But, also, I had a targeted list where I was, like, “These are the– I can’t even remember– thousand movies I wouldn’t want to open the store without.” So, all those I just ordered myself, and fleshed out by getting used DVDs or super cheap VHS.

Again, we had so much space at first, we really needed titles to flesh out. It ended up being a curse because we were stuck with all these VHS tapes.

Films are organized by director

A COLLECTIVELY-RUN STORE

You were talking about the selection, which is kind of amazing. Is there, like, a specific standard or requirement you have for movies you carry? Because I know you also carry those, I’ll call them “not amazing movies.” Is it a personal thing? Or, is it really just, like, “Oh, people seem to want this one, so we’ll get it, because we have this back catalog.” 

So, I guess the first thing to say is that the decisions about acquisitions are still made largely collectively. It’s still run co-op style.

Yeah, it’s profit-sharing. 

But, also, each month… You remember this, right?

Yeah, totally.

Each month, I send out the list of possible titles. You know, all of the new releases or whatever. And we just weigh in. We used to do it face-to-face, now we mostly do it over email. So, anything that gets more than half of the staff voting for it, I’ll buy.

But, I’ll still look at thrift stores and pawn shops, and if I can get something that I know I’ll make a couple bucks and I only have to pay two or three, I’ll add it even if I having aesthetic objections to it. And, I think everyone is kind of guided by that, too, though. We’ve had this discussion really recently, actually, about like, “Oh, should we get this blockbuster because we think that’s what people want?” And, you know, when we look at the numbers, actually, our best-renting things are not blockbusters. As much as we try to sell-out and cater to what people want, it turns out that what people want is more, like, Wes Anderson, which is, again, a little less ambitious than some of the stuff we’d really love them to watch. But, I mean, it’s really cool that they want to watch Wes Anderson instead of, you know, Michael Bay.

Well, do you think that it’s partly because people who want to see a Michael Bay movie probably wouldn’t go to Video Rodeo? You what I mean? They wouldn’t go to a local art house video store. 

Sure. I mean, I think the landscape has changed a little bit since Blockbuster has gone away. You know, as bad as Blockbuster was, at least they had ten thousand movies. I do think for recent releases, a lot of people are just content to go the Redbox and just take whatever, to go rent WIN A DATE WITH TAD HAMILTON, or whatever.

Right. But, you guys outlasted Blockbuster. You’re the only video store in Gainesville now. 

I’ve never seen it with my own eyes, so I don’t necessarily believe it, but there’s technically another place called Go Video that exists inside of a gas station somewhere in northwest Gainesville. It’s not a thing of it’s own, it’s, like, shelves within a gas station. I actually called there once to see if they were real, and somebody answered the phone and said they were there, so…

But, still, you have that–

We outlasted the chains.

Yeah, you outlasted the chains. I remember when I was working there, I don’t know if you still have it, you had that bowl of Blockbuster cards. People would cut up their membership cards.

Yeah, we still have it. It’s actually overflowing. We stopped granting free rentals for people cutting up their Blockbuster cards, but we still like that testament to the damage we did to them.

(We laugh)

Totally. You got ‘em.

The bowl of cut-up Blockbuster membership cards that sits in the store

Now, we already mentioned that the employees work through profit-sharing, and you seem to have a very collective mindset. Why is that an important thing to you about running the business? 

Well, I never imagine it being “me being the boss-man,” and you know, writing checks… I just feel like a place like that doesn’t work if it’s just, like, minimum-wage slaves, just working there. And, I also felt like, to ensure the long-term viability of the store, it would have to have that flexibility to say, “Hey, this month was great. You guys made ten bucks an hour.” And, “Hey, this month really sucked. You guys made four bucks an hour.”

Yeah, I know that I personally cared so much more about the store, not just because of the profit-sharing thing, but because it made me feel like I wasn’t just working for this dude who would come in sometimes and didn’t care. So, it definitely helped me.

Well, that’s great. I mean, that’s always been my thinking about it. And, it seems to be the case. We all went in last month, and we had a really bad month. And, I broke the news to everybody, and they were like, “Alright. That’s fine.” You know, nobody works there as their primary job. We got, I think, seven people on staff right now, and I’m picking up shifts for free, so that boosts the overall wages, because my plan is that if I get any money out of the store, it’ll only be when the store finally shuts down. I put the money in to start it, but I just don’t take any out.

Has this sort of collective approach to it made operating the store harder, from a business standpoint?

I mean, if we had just, say, two people working there, instead of seven or eight, it’d be a lot easier to keep track of where things get fucked up. So, things like that, I think would be a little bit easier. But, I actually think having people only work there four and a half or nine hours a week, they come with a lot more energy to the store. So, maybe they’re a lot more inclined to do something cool while they’re there, like make a weird sign. And, I think having all these different people’s ideas represented is great, and I think the collection really benefits from… A couple months ago, we had a little extra money, and so I let everyone in the store take something from backfill to order. And, someone ordered 9 TO 5, which is a title I would have, you know, rolled my eyes at or whatever.

(We laugh)

But, you know, it’s been rented four or five times in the two months we’ve had it. I don’t know, I think it’s great to have that voice represented, and not have it be just, like, two people who are determining the vision of the– Because, again, if I did it, it would be all Criterion Collection or something. Like, the super nerd taste. And, you know, it’s like, this will serve certain people, but we want to serve more than just the hardcore film nerd. We kind of have to, to stay open.

A window display made by an employee

Do you guys ever have events? Like, you have birthday parties…

Oh, yeah. We started it as just kind of a one-off thing, and it was such a popular event that we realized we should do them regularly to kind of remind the community that we are here to sort of be part– you know, we’re friends with so many of them.

What are they like? I don’t think you were doing them when I was there.

Basically, it’s like, a keg party in the video store. We buy a keg and put it in the back of the store. People parade around, spill beers on everything, and hopefully, like, rent a movie or buy a t-shirt or something. We’ll always have some kind of sale, or, last time we did a drawing. We raffled off the soundtracks to HOLY MOUNTAIN and EL TOPO. So, we always have something special. This next one that’s coming up in 10 days is our eighth birthday. We’re also opening a book store inside of the video store.

Customers at Video Rodeo’s birthday keg party

Now, is that place in North Carolina still open?

No, they went out of business, I think, a year and a half ago, or something. I think they overextended themselves a little bit. They also had a newsstand, and they expanded. They opened a bunch of stores. I don’t know. I don’t know enough about their internal workings. They were actually great. Like, I put out a VHS tape of films from the film festival I was running in Chapel Hill (called Flicker), and I approached them about it, and they ended up buying, like, five copies of it. So, I mean, they were really supportive, and a really great local resource, and it’s really sad to see them go, still.

Yeah, that’s too bad…

VIDEO STORES AND THE INDIE FILM COMMUNITY

Now, okay, let’s get into some heavy stuff.

Uh-oh.

(We laugh)

Yeah, get ready. So, like, video stores… Actually, this isn’t really that heavy. But, something I wanted to talk about was that video stores aren’t something you really hear about in the independent film world. You know, there’s always talk about art house cinemas, and the struggles for them to stay open. And, there’s occasionally something about local video stores and stuff, but I feel like it’s kind of the unsung part of the indie film world. But, to me, the “Gainesville independent film community,” when I was living there, my vessel for all that, was Video Rodeo. I mean, you also had the Hippodrome (the art house theater in Gainesville), but the selection at Video Rodeo was so huge, and the price… you could get exposed to a lot of movies you otherwise wouldn’t see. Do you feel like a video store could play that role in towns that maybe don’t have a lot of options for art house films? 

Yeah, you know, I think that’s one of the things, again, that I lament about the move from Blockbuster to Redbox. Like, Blockbuster sucks, but in towns where you don’t have anything else… Blockbuster has ten thousand movies, there’s got to be some hidden Werner Herzog film in their collection, right? Like, you’ll never fucking find it. It’ll be buried in “drama,” that generic catch-all for anything you couldn’t fit anywhere else. But, at least there’s stuff there. I mean, I grew up in a town with just a Blockbuster, and I remember finding weird foreign stuff there. It wasn’t all curated, you know. They didn’t do anything systematic. It wasn’t like they were getting every good art film or whatever. But, with Redbox, you’re guaranteed not to find anything older than a couple years old. You’re guaranteed not to find anything too adventurous or too indie. And, even Netflix streaming is not much better, and I know that’s now what a lot of people are going to. And, all they watch is TV shows, and you know, that’s great for binge-watching. But, I just worry, that if you go in looking for a specific title… I’ve gone in to look for Godard, Truffaut, Herzog, whatever. It’s really depressing. They’ll have maybe one film of the fifty, sixty, whatever films these people have made.

And, it’s always, like, the minor work.

It won’t be BREATHLESS, or PIERROT LE FOU. It’ll be, like, NOTRE MUSIQUE. You know?

Yeah.

It’s sort of like staying at your friend’s house, and you’re stuck there during the day, and you look through the DVD collection, and it’s like, “Oh, there’s something I can watch.” But yeah, the less longwinded version of the answer is, you know, I definitely feel like a well-curated video store can really be the nucleus for a film scene, or a way for people to self-educate. It’s a great pedagogical resource. And, I think you can do that if you use Netflix disc delivery, which hopefully people in rural Kansas are still doing, and haven’t switched over exclusively. Because Redbox and Netflix streaming is a real impoverishment. It’s like, the future looks worse than the past.

Right, yeah.

It used to be… You know, for me, I lived in an era… Whatever, this is dinosaur talk.

(We laugh)

But, before everything was available on home video. We didn’t have a VCR until I was maybe ten, and then when we got it, how many titles were available? So, it seemed like we were moving in the direction of more and more is suddenly available. It was amazing. The whole history of cinema, and now you don’t have to wait for decades, or just read about these things. They’re no longer fabled. Suddenly, you can go down to the video store and rent a lot of these things. So, it seemed like it was moving in that direction. And, Netflix initially looked like that to, where it was like, “Holy shit. They’ve got 40,000 titles you can get.”

But now, again, because of the way they changed the pricing structure, and because they want to go to only online, and because the way the rights issues are working with that, and the dividing up of the digital marketplace with Hulu Plus, and Amazon Prime… Now it’s looking like less and less is available. That’s a real depressing trend.

Filmmaker Caveh Zahedi posing with his section in the store

VIDEO STORES AS PART OF THE LOCAL COMMUNITY

You talked about the video store being a nucleus for a film community, which I think is a cool idea, especially for smaller towns, like I mentioned. But, also, when I was living there, I always kind of felt like the store was one of the important parts of living in that neighborhood, and being connected to that neighborhood of Gainesville. Not even, like, film, but also just the people in the neighborhood. Do you get that feeling at all from people who frequent it? Do you feel like there’s support from those local people and stuff?

Yeah, I guess I feel that. You know, like, we’ve made ads talking about, you know, like, one of the reasons we hope we’re a vital institution, is that, you know, if you have a band, and you’re playing a show, and you want to put up a flier, you can put it up in our window. Or, if you have a tattoo parlor and you have business cards you want to put out, you can put that on our counter. You know, like, all that stuff, we really want to help cross-promote, and we want to be a place where they know that a certain kind of person will come in there and see their stuff. And, it’ll all feed each other. Yeah, I guess I feel like the neighborhood function– and again, as opposed to Netflix, where it’s like, you know… I don’t know where their headquarters is.

Right. It’s like in the North Pole or something.

Right. Probably.

Customers and employees hanging out at a special event

Is the store involved with other parts of the community? Like, do you do stuff at the Palomino (a pool hall in Gainesville) or anything?

Well, because of all my programming with FLEX, we technically brand any screening we do as FLEX as opposed to Video Rodeo. It’s always seemed like, in some ways, it would be better business for us if we branded it as “Video Rodeo presents”… You know, we use the Video Rodeo Facebook page, which is a lot more active than the FLEX Facebook page, for promoting those events.

Yeah, the Facebook page of Video Rodeo is pretty solid, I think. I think you guys are doing a really good job with that sort of stuff.

Well, we also frequently use the Facebook page to sort of sabotage our own business. To say, like, “Hey, here’s something awesome going on in town tonight that we have nothing to do with. Go do that instead of renting a movie.” So, like, right now HOLY MOTORS is showing at the Hippodrome, and we were really excited they took a risk on that.

Definitely. That’s cool.

We pushed it once. I’m getting ready for Thursday. I’m going to push it again, because that’s going to be the last night.

Do they return the favor?

They do. They actually run a slide for us in their slideshow before the screenings. You know, just a slide that says we exist, which, surprisingly… In a town this small, you’d think everyone would know, but it’s always shocking to find out how many who would be interested still don’t know.

Do you feel like that sort of sharing, local businesses supporting each other… Do you think that’s helped you guys?

I do. I think it could always be more. Whitney Mutch does a thing called Indie Gainesville, and she always promotes “buy local” and stuff like that. And, I think that’s as close as we get to a kind of central forum for local businesses where they’re supportive. But, I don’t quite know how to make it work where there’s even more synergy than there is now. I think there’s some, but I think there could always be more.

Well, do you think that–

I hate saying “synergy,” by the way.

(I laugh)

It’s business-speak or whatever.

Yeah, totally. You sound very professional.

Right?

The store holds fun little contests

VIDEO STORES ACROSS THE COUNTRY

Do you feel like it’s a better place for the store to be, in this smaller town, than it would be to be in a big city? Not in terms of where you’d prefer to live, but do you think the store serves a better purpose, or does better than it would if it was in a bigger city, or some other type of town?

I don’t know. I’d be interested to compare notes with stores… I don’t even know which ones are still open, but like, Le Video in San Francisco, or…

There’s no communication between other video stores, is there?

Not really. I’ve talked sort of informally, there’s a video store in Chicago that I used to go to. And, I talked a lot to the guy who owned that place about how the store worked, and how he made it work. I went out to Santa Monica to see my parents, and there’s a video store there, I’m forgetting their name now.

Vidiots? 

No, it’s the place where the guy created those Cinemetal t-shirts. The ones where it looks like Metallica but it says “Fassbinder” instead. Black Flag but it says “Bela Tarr.”

Oh, right. 

So, when I go into a place like that, I’ll mention, “Hey, I own a video store. I’m kind of curious about” you know… And, it’s always, you know, “Times are tough, we make it work, blah blah blah.” But, I think L.A. is probably a hard place to do it, just because everyone’s so dispersed. But, I think if you were in the right neighborhood in New York or Chicago or San Francisco… If you’re in the Castro, you probably have enough people within foot traffic distance to sustain you in the same way that we do in Gainesville. You might have more density, and a more stable base of people. So, I think each place comes with it’s own challenges, but I wouldn’t say we’re especially privileged here, to have this kind of situation.

Yeah, I bet it would be tough to figure out where it would thrive more.

Yeah.

The “staff picks” shelf, above selections from filmmakers who had just died

THE FUTURE 

Cool. If you could see a future for the store, where you didn’t have to worry about anything, what would you hope the store would be able to do? If it could become the thing that you would be, like, “Wow, that’d be awesome.” If you were about to do that.

I guess first, I think, there’s not an unlimited time horizon for this. You know, I don’t know how long people will have optical media players.

Oh, yeah.

There will be a day when it’s, like, “Oh, you still rent physical media? Because we just get everything streaming.” Whether it’s Netflix or whatever. But, I would love to buy a building, for the rent we pay to be flexible, like the staff salaries are, right now, flexible. And, where it would have more space, because we’ve got a bunch of sections that are… We try to put everything face-out, but stuff is starting to be spine-out a lot, in certain sections. So, it’d be nice to have more room for the store, but also, if the book store starts to work, I’d love to be able to expand what that is. And, have a screening space attached, too. I know Videology (in Brooklyn) just converted the back of their space into a small screening space. That would be wonderful, too, to have. I’ve fantasized about that for awhile.

Yeah.

That’s, you know, when the revolution comes, or when the rich benefactress comes to me to underwrite my future endeavors. That’s what we would do: buy a building and house all of those things, and make it a real destination, and have that kind of… again, I don’t want to say “synergy,” but…

(I laugh) You can say it. 

Like, really positive energy that feeds off of each other, or whatever.

What do you think the half-life of the store is, or of video stores in general?

I mean, I’m surprised we made it this far. We could have gone out of business the first year we were open. I had no idea, really, how it worked. But, I don’t know. I could imagine still doing this three years from now, five years from now. Beyond that, it’s really hard to imagine for me. I think when new computers are built, and they don’t have built-in DVD players, that would really be a tipping point. Mac has already decided they don’t want Blu-Ray. They’re not interested in ever having a Blu-Ray player in their computers. So, we’re really at the mercy of those corporations.

Yeah. Well, it sounds like a lot of cool stuff in Gainesville is kind of going away. So, hopefully, it’s a little while before it happens.

Yeah, well, if it doesn’t last forever, it doesn’t mean it didn’t do something good while it lasted.

Totally.

A customer browses DVDs

FINAL THOUGHTS

I had something, I thought, sort of smart to say, that you didn’t ask about.

Oh, okay. Please, go ahead.

You know, about indie film and the relationship between Video Rodeo and the indie film world… I think there is a way in which we’re still kind of a slave to the market. I would really love to stock a lot more films, like your film. Things that don’t have a giant theatrical release, that don’t have giant advertising budgets behind them, that cost almost nothing, that nobody’s really heard of. But, it’s proven sort of impossible. Like, when I said I have a certain disappointment about Wes Anderson being our bread and butter. It’s that disappointment, that, like… Oh, well these have TV commercials. You know, they’re indie films, but they’re underwritten by corporations.

So, there’s a way in which we’re filling a market niche that’s still very much a part of the market, and it would really be nice to be a store that was more committed to true independent filmmakers. And, I get emails from time-to-time from people who are like, “Hey, we just made this film. It played at these three festivals. We’d love for you to stock it. We’ll sell it to you for half what we normally charge for it.” It sort of breaks my heart, but I have to tell these people, “Look, ten bucks for this DVD that nobody’s ever heard of. It’s still probably more than we can afford.” If we were more flush with cash, I would do that in a second. If this were fifteen years ago, when video stores did really make money.

But, I don’t know. It’s a disappointment. I feel like this fantasy of true independence, of us being real outsiders and fighting the power and all that… I still feel like we’re beholden to those studio indies, and that kind of hipster marketing or whatever, in a way that I wish we could kind of transcend.

Yeah, that’s a hard thing to figure out how to break out of.

But, I guess that’s separate from the narrative of the video store’s continued survival, but it is about… again, our relationship to the indie film community.

Cool. Well, is there anything else you want to add?

No, I think that’s all I got the breath for now.

(I laugh) Well, thanks, Roger. 

—

Follow the links for more info about Roger, Video Rodeo, and FLEX.

Sometimes I feel like a traveling salesman, going from festival to festival selling my finished films, and from market to market pitching my new projects.  I recently participated in my ninth project market on the “filmmaker” side, and I’ve done four of them on …]]>

Film Independent's Fast Track project market

Sometimes I feel like a traveling salesman, going from festival to festival selling my finished films, and from market to market pitching my new projects.  I recently participated in my ninth project market on the “filmmaker” side, and I’ve done four of them on the “industry” side, so I figured I’d write about my experiences with project markets to try to demystify them a bit.

What is a project market, you ask?  It’s basically a matchmaking program between filmmakers (writers, directors, producers) and industry professionals, with the goal of getting the filmmakers’ projects closer to production.  They usually run over 2-3 days, and are often held in conjunction with a film festival.

Examples of U.S. project markets include: Tribeca All-Access (held during the Tribeca Film Festival), Film Independent’s Fast Track (held during the Los Angeles Film Festival), and IFP’s Project Forum (which, by the way, is currently accepting submissions).

Examples of non-U.S. project markets include: Cinemart (held during the Rotterdam Film Festival), Berlinale Co-Production Market (held during the Berlin Film Festival), Hong Kong-Asia Film Financing Forum (held during the Hong Kong International Film Festival), and OMDC Toronto International Financing Forum (held during the Toronto Film Festival).

If you are a filmmaker with few industry connections, project markets are a great way to start building your network of useful contacts.  A project market essentially “validates” you and your project, and prompts the industry to start tracking you.  These markets serve as curators of new talent, which is critical because industry professionals are so inundated with submissions that they need curators to help focus their attention.

However, filmmakers who get accepted to project markets should be careful to manage their expectations. If you think your film will get greenlit within the months following a project market, think again!  Chances are, as ever, slim—I think this is because project markets tend to favor first- and second-time filmmakers and less commercial projects, and because it takes time to build a relationship and mutual trust with an industry person.

But don’t dismay: there are, of course, a handful of films that I know found a chunk of their funding at a project market. And at the very least, you’ll get a chance to meet a lot of industry folks in a short period of time, and to start developing relationships that may later bear fruit.  The value of a project market has more to do with building relationships and a network for yourself than getting a green light for your project. Hopefully, you will have other projects in your back pocket so that if you meet someone who doesn’t like your drama, maybe they’ll like your comedy instead.

So…who the hell are these “industry professionals” anyway? Below is a breakdown of the industry types a filmmaker might meet at a project market:

Production Companies & Producers

• 1. Production Companies Backed by Investors: These companies have private equity, the holy grail for independent films. Some also have first-look or overhead deals with studios.
• 2. Production Companies Connected to Actors: Some have studio deals and connections to financiers. Sometimes, the particular actor must be attached, so if you don’t want to abide by that condition, look elsewhere.
• 3. Production Companies Connected to Directors: Some have studio deals and connections to financiers. Sometimes, the particular director must be attached, so if you don’t want to abide by that condition, look elsewhere.
• 4. Production Companies and Producers With No Backing: The vast majority of “producers” fall under this category. While these folks have no money, they do often have connections to financiers, talent agents, distributors, etc., and can help develop your script, do a budget & schedule, attach cast & crew, and shop your film. Every film needs a producer, so if you don’t have one, find one.
• 5. Development Companies Backed by Investors: These companies focus on script development only. They usually acquire material (books, articles, etc.) and seek writers to do adaptations.

Agencies and Management Companies

• 6. Financing Agents: The major Hollywood agencies (UTA, WME, CAA, ICM, Gersh) and Cinetic have financing divisions that specialize in packaging and finding financing. These agencies work on commission when shopping a project to their network of financiers, and reserve the right to sell the finished film domestically. It’s rare for an agency to take on a low-budget project unless the director or actors attached are repped by that particular agency.
• 7. Domestic Sales Agent: Also called producer’s reps, these companies or individuals work on commission when trying to sell your finished film to a distributor at a festival, market, or directly. Most of them who aren’t one of the aforementioned financing agents don’t have the deep network of financiers necessary to greenlight your film (though some do). As such, these agents are most likely just tracking your project in anticipation of representing it when it’s done.
• 8. Foreign Sales Agent: These guys are responsible for selling the foreign rights for your project. Some of them can offer financing in the form of minimum guarantees (MGs) at the script or financing/casting stage, but this usually requires a big star or big director attachment, or other elements that have specific commercial appeal for certain territories. Even if you can’t get that rare MG, these agents can provide foreign sales estimates that you can show to your potential financiers.
• 9. Talent and Lit Management Companies: These companies can assist with cast attachments, and possibly represent you as a writer or director, thereby opening up their network of connections to you.

Studios and Distributors

• 10. Studios: A major Hollywood studio has the power to fully acquire and finance your feature, but chances are, they won’t do that if you’re a filmmaker early in your career. More likely (though still pretty unlikely) is a negative pickup deal in which a studio promises to pay you an acquisition fee upon your delivery of the film to them. You would still have to cashflow this deal through a bank or other financier. Note that you should expect to give up a degree of creative control in a studio deal, especially in a full acquisition. A studio executive might attend a project market to track you as a director or writer, or your project as a potential future acquisition after you’ve finished the film.
• 11. Mid-Sized and Smaller Distributors: Companies like IFC and Magnolia don’t typically finance production, but in very rare cases, they may put up a portion of the budget in exchange for certain distribution rights. But these companies are still useful to get to know since they’re among the most likely to buy your finished films.
• 12. Other Distributors: There are a whole slew of smaller specialty distributors and newfangled platforms (cable VOD, online streaming sites, etc.) that are helpful to know.
• 13. Distribution Service Companies & Consultants: Distribution service companies will release your film for a fee, and consultants and PMDs (producers of marketing & distribution) will advise you or manage your distribution, also for a fee. These guys won’t help get your film greenlit, and are probably just tracking potential future clients.

Debt Financiers

• 14. Banks and Debt Financiers: These guys can cashflow your negative pickup deal, foreign MG deal, tax credit, or similar collateral.  It’s rare for very low-budget films to use debt financing because a portion of the financing fees (bank, attorney, completion bond, etc.) are flat, so they’ll suck up a bigger percentage of a smaller budget.

Non-Profit & Government

• 15. Grantmaking Organizations: Generally, grants represent a small fraction of a film’s budget, but they’re still great if you can get ‘em!  Most focus on special interests (women, social issue, etc.).
• 16. Government Film Commissions: Whenever possible, “soft money” should be a part of every film’s financing plan as it can mitigate financiers’ risk and give you some “free” money for your budget.  In the U.S., various states have tax credits (NY, NC, LA, CT, AK, to name a few), and in Canada and elsewhere in the world, there may be loans and grants in addition to tax credits. Sadly, soft money is disappearing due to the state of the world economy.
• 17. Project Markets & Labs: Project market organizers sometimes troll other project markets for submissions.  It’s good to do multiple project markets to widen your industry network, but note that like festivals, project markets don’t like to take projects that have already “premiered” elsewhere, though there are of course exceptions. These guys primarily want to meet and track up-and-coming filmmakers, and see what other projects they might have that may be more suited to their own project markets. Also sort of related to project markets are screenwriting, directing and producing labs, which can be helpful in developing your craft and connecting you to more potential collaborators.
• 18. Film Festival Programmers: They don’t have the power to greenlight your film, but it’s good to develop relationships with programmers since so many indie films are launched and acquired at festivals. These guys want to meet new filmmakers and track future films.

Services

• 19. Post-Production Companies: Some post-production companies grant post services, or do in-kind equity deals.  Note, however, that post equity deals will value services at full rack rates.
• 20. Production Service Companies: It’s helpful to get to know the production service companies that have a lot of experience shooting in the region where your film will shoot, particularly if you’re not familiar with shooting there.
• 21. Completion Bond Companies: These companies oversee the production of a film and provide assurance to financiers that a film will be completed on time and on budget (and they’ll cover any overages). But it often doesn’t make sense to bond a small-budget film because these companies require a minimum service fee and 10% contingency.
• 22. Attorneys: Attorneys attend these things to track new potential clients. This is a good time to start shopping around for an attorney so you’ll have one when you’re ready to make deals. Note that some of them also represent investors.

* * * * * * * *

I think that about covers it!  Notice anything missing?  I do: high-net-worth individuals, who are the primary financiers of very low-budget films in the U.S.  You’ll have to find those folks elsewhere.

Some other suggestions

- Write a project summary that includes: logline, synopsis, director’s statement, bios of all cast/crew attached

- Bring a look book, or at least some visual references

- Don’t hand people a full paper script

- If your project has both a director and producer, you should both attend because I find that pitching as a team is more effective

- Be conversational and keep any formal presentations short and sweet

- Follow up over email, and include links & attachments presented at the meeting, even if you’ve already given them physical material

One last thing: before you start pitching to the industry person sitting across the table (whether at a project market or not), figure out exactly which of the above categories they fall into, and adjust your pitch accordingly.  Happy networking!

From the 2011 Independent Filmmaker Conference.

Well, as a young filmmaker, let me give it to you straight from the horse’s mouth (which is currently the only …]]> I’m hearing a lot of talk about how independent filmmakers need to be paid for their work, whether it’s regarding distribution deals, online piracy, or their tip percentage at Fuddruckers.

Well, as a young filmmaker, let me give it to you straight from the horse’s mouth (which is currently the only place I can afford to live): filmmakers don’t need money. Why would we? We’re ARTISTS, people. Knowing us, we’d just blow it on Tom Waits albums and lofts.

We need struggle. We need that feeling of scraping by, with nothing but our wits to save us. Trust me: whenever a filmmaker talks about how they don’t have money and please can you help them because their heat has been shut off, they’re just being funny. Be sure and play along, responding with, “You should have had something to fall back on.” Then, enjoy laughing with another human being, because that’s exactly what you’ll be doing.

“But,” you ask, “aren’t we supporting their art by giving them monetary compensation for it?” HARDLY.

Think about it: when do filmmakers make their best movies? When they’re at their most miserable and desperate. Raging Bull pulled Scorsese out of his biggest career slump, and Beethoven’s 4^th saved David Mickey Evans after the disastrous Beethoven’s 3^rd, which obviously suffered from too many studio notes (“Can we have him destroy FEWER dining rooms?” What idiots!). So, if you really want to help a filmmaker create their masterpiece, the least you could do is slash their tires. I’ve currently got a Kickstarter going to make that happen for myself.

Not only that, but money just makes us out-of-touch; turns us into “the Man.” I mean, how can you understand the fragility of the human condition when you drive around in a limousine with a hot tub in it (which is what I assume everyone who makes over $30,000 a year does)? No, filmmakers need to constantly keep their fingers on the pulse of the working class. I’ve personally been told that’s the only part of the working class I’m still allowed to touch. Otherwise, we risk becoming disconnected from the average person (or in my case, threatened with a sexual harassment lawsuit by an entire economic section of our country).

So, instead, let’s emulate some of the great filmmakers of today who have come from humble beginnings and stayed there, like Jason Reitman and Sophia Coppola (Note to self: Be sure and fact-check this part because I might be getting it wrong [Other note to self: Make sure you don’t leave this note-to-self in the blog post]).

Careful filmmakers like these know that the best thing they could do to ensure that the quality of their work remains intact is to stay completely broke. To finance their films, they max out credit cards and sell all of their belongings, and when the movie is finished, premieres at a major festival, and sells for millions of dollars, they make sure to only skim over the part of the distribution agreement that tells them they’re going to be paid in Rolos. This way, they can hold onto that sweaty desperation that made their first film come out so successful. It’s called a “career plan,” people.

Now, the problem of filmmakers being able to financially support themselves and their families (and it’s a SERIOUS problem) isn’t a new one. It’s been threatening the art of film for decades. Many a filmmaker has committed the rookie mistake of accepting smart and financially lucrative distribution deals, only to see it ruin their careers with the curse of consistent work. May God have mercy on their souls.

(Just look at these poor bastards.)

It’s time that we, as a community, come together on this and say “No more.” We need to let the world know that we’re artists, and artists use a different currency than regular people.  Our pennies are the looks of wonderment on audiences’ faces. Our nickels are theaters full of laughter. Our quarters are when someone is so caught up in a story that they’ll sit for two hours with a bladder full of Mountain Dew.

So, you can keep your millions of dollars, because us filmmakers have something that will always be more valuable: our art.

(Unless you actually want to give me millions of dollars, in which case, I desperately need it. I’m dying here.)

In my first post I covered some assumptions I feel are key …]]> Thanks to those who attended our panel at IFW last month on navigating funding options for non-fiction films! For those who missed it, you can watch the video here. I look forward to continuing the conversation on this blog.

In my first post I covered some assumptions I feel are key to a film fundraising effort, that film grants, while important, can be scarce, competitive, small, and should represent only one piece of a diverse fundraising pie. In my second post I suggested basing your expectations for raising funds on a realistic assessment of your existing resources, the stage of your project, and your filmmaking track record.

Now it’s time to build a list of potential funders that are a comfortable fit for your film. In this post I’ll offer thoughts on how you might assess which of the funders you learn about truly belong at the top of your list. I’ll also share the potential perils of “adjusting” your proposals or pitch too much in an effort to meet different funders’ preferences.

We can focus on how you might conduct your actual search for funders in a future post (hint: visiting the Cinereach resource page might help). But however and wherever you search (resource lists, Google, the Foundation Center, or other tools), I think it’s useful to first make sure you’re ready to recognize a good target when you see it.

Each funder has its own preferences for qualities it wants to see in supported projects. Some relate to
- Specific topical, thematic or issue areas
- Filmmaking styles or approaches
- Type: fiction, nonfiction, experimental, etc.
- Length: features, shorts, etc.
- Phase: research and development, production, post-production, community outreach, exhibition, distribution…
- Filmmaker Experience: emerging, established, etc.
- Demographics/Geography: race, ethnicity, heritage, religion, gender/sex, nationality, etc.
- Budget: budget size, percent of budget raised from other sources
- Intended Audience: broadcast, theatrical, educational, etc.
- Timeline: when the funds will be used

It’s useful to figure out where your project lines up with the above list, and then keep your eyes peeled for funders that have their eyes peeled for you!

All funders are different, and most make clear any preferences they have on their web sites in the form of funding “priorities” or “guidelines.” From my own experience at Cinereach, I can tell you that we put a great deal of time and thought into the language we use to describe what we’re looking for in applicant projects and make sure it’s easy to locate. For our Grants program (currently accepting letters of inquiry for our December 1 deadline) and our Reach Film Fellowship (applications open in April) we are very concrete about some of our preferences (related to our ideal length for a supported feature or short film, which phases of the production process we support, and the range in grant amounts we can offer). We are purposefully a bit more “abstract” and broad in how we define our preferences for subject matter, visual style and storytelling approach. It is exciting to see how differently applicants can interpret our mission to support films at “the intersection of engaging storytelling, visual artistry, and vital subject matter,” and the other ideas expressed on our site.

Funders my also change their preferences and priorities between years and/or grant cycles, or add or dissolve funding initiatives. I recommend your list of funding targets be an evolving, frequently updated list rather than something you create once and reference forever.

With so few funders out there, and so many potential preferences to meet, it may feel like due diligence to cast the net wide while you generate your list of funding targets. You may feel the urge to approach every funder you find and come up with ways to construe your project differently to meet the preferences of each one.

It may seem harmless to present your film differently to different funders, especially because films in progress evolve so much as they near completion anyway. Topics and characters shift, financial circumstances change. You may wonder if it’s really such a huge deal to write that your film will be 60 minutes instead of the 90 minutes you’re aiming for, or to describe your footage as verité when it consists primarily of first-person interviews.

Yes, a lot of the information you include about your film when you’re pitching or writing a proposal is assumed to be hypothetical, especially when you’re early in the process. So how do you know where to draw the line regarding the appropriate level of “spin”?

I would argue that you should put your energy into envisioning and articulating a true plan for how you would like your project to unfold in your ideal (within feasible reason) world. I feel it’s a bad idea to write anything into a proposal to a funder (film industry or not, not-for-profit or for-profit) that you wouldn’t say about your project, or that wouldn’t be important to you about it, if you weren’t applying to a specific funding source. When you feel you’d have to do that to pursue a funding source, it probably doesn’t belong on your list of targets. Here are some of the reasons why:

1) If a funder goes to the trouble of publishing specific funding preferences that means its leadership really really cares about them. They might represent the founding principles or mandates of the organization and the area of expertise of that organization’s staff. They are probably experts at finding projects that meet their preferences perfectly. They will also receive proposals for more projects that are a natural fit than they can fund as it is, and have no room for sort of or almost projects. Chances are if an aspect of your project doesn’t ring true to them, or sounds less developed than others it will not seem competitive.

2) Writing persuasive proposals and preparing supporting materials that convey your vision well to funders is a lot of work and can take months to do well. When a funder is a comfortable fit, however, I don’t believe a single moment of the time you put into developing a proposal to that funder is a waste. You can reuse a lot of the writing on proposals to other well-matched funders, even when there is some variation in funder requirements (e.g. one funder may need a synopsis with a higher word count; another may care more about the social significance of applicants’ stories and need more detail about that aspect of your project). Additionally, the exercise of writing and rewriting about your plans and visions for your film forces you to refine how you communicate what you’re trying to do, and might even help you deepen your own understanding of your project. It’s also a critical step in collaborating with folks who may work with or support the project in some way. Creating multiple different versions, where you struggle to interpret your project so that it seems to fit the preferences of a funder that isn’t a great match, is also a lot of work, but the only value of that work is completing that particular application.

3) Funders are best friends with each other (especially in the film industry). Okay, they don’t all know each other, but funders around certain industries or focus areas are small, intimate bunches. This can be a good thing for you, because if your funder is 100% behind your project, the funder can, and often will, chat you and your project up to other funders. Your success is part of their job. Film funders can also make connections to festival programmers, broadcasters, sales agents, and so on. If you have something to hide, however, this community connectedness can backfire.

4) Not all funders stay in close touch with their supported filmmakers or require detailed updates, but many do. If you have finessed something about your project or yourself in order to squeeze into a funder’s preferences for the purposes of one application, and you actually get funded by that source, when the funder’s staff learns your film is actually going to be 10 minutes instead of 70, or that their grant for post-production was exhausted during production, they are unlikely to offer you the full benefits of their support. They may not be able to promote your project and their affiliation with it (which is an important part of receiving funding as well) or they may even ask for their money back. Or, if you get funded for something you added to your plans for the sake of a grant application, you will no doubt end up having to invest more than just the grant money in that aspect of your project. You will be committed to doing something that can take on a life of its own, is not aligned with your actual passions or skills, and will likely require more resources and time than you’d like to invest.

Fundraising is a time consuming and costly process (researching, writing, cutting teasers and sample scenes, making DVDs, not to mention all the printing, collating, postage, and runs to Fedex). I think it borders on self-abuse to put time and budget that could go towards good solid leads into pursuing sources that have a slim-to-none chance of coming through for you, or come with strings that are not worth the value of the funds you’ll receive. The more specific a funder’s focus is, and the closer that focus is to your own actual goals for your project, the better your chances are of receiving funds from that source. Not only that, you’ll gain meaningful funder relationships that add value exponentially to the funds you receive.

Last December I penned an article entitled “A Decade of Filmmaker Empowerment Coming” for Indiewire.com. The article presaged an era of empowerment for independent filmmakers; an era in which the filmmaker or producer takes a hands on approach to marketing and distributing …]]> Packaging and Financing Films in the Age of Empowerment

Last December I penned an article entitled “A Decade of Filmmaker Empowerment Coming” for Indiewire.com. The article presaged an era of empowerment for independent filmmakers; an era in which the filmmaker or producer takes a hands on approach to marketing and distributing their films. In this new era of empowerment, the antiquated industry standards for success like “all rights” deals from mini-majors are supplanted by the filmmaker’s unique definition of success—they are no longer tethered to the industry’s traditional priorities and requirements. Producers today are now able to establish customized and scalable distribution plans to snugly fit their production, rather than endeavoring to fit a round peg in a square hole.

This empowerment theme infused the Packaging and Financing “Ask-An-Expert” panel discussion this weekend at the 2010 IFP Conference. The panel, on which I served as moderator, included CAA agent Stuart Manashil, Paladin distribution exec Mark Urman, Fortissimo international sales VP Winnie Lau, and SAG Indie Rep Michael Sladek. The panelists’ candid comments based on their extensive experience confirmed that the traditional approach to packaging and financing films is under scrutiny. An array of novel alternatives to the traditional model is now at the empowered producers’ and filmmakers’ fingertips.

While the panelists acknowledged a shrinking market in which fewer traditional distributors are releasing independent films, they also noted the opportunity this created to synergize packaging and financing in order to help get a project off the ground. Given the higher bar to the traditional “all rights” distribution deal, Mark Urman of Paladin advised audience members to consider raising funds for P&A along with monies to finance production. With funds in hand, empowered producers can leverage these monies to raise the profile of the film with a theatrical release and increase the value of the film’s ancillary media and international sales.

Winnie Lau reported that the international marketplace faced competition from increased local productions and more selective buyers. Over and over again, Winnie said, these buyers seek films with strong packaged elements such as recognized cast and a proven director. The relationship between finance and package is becoming increasingly intertwined; a valuable package of elements (cast, script, director, etc.) facilitates production finance through reliable sales estimates and pre-sales. A strong package is the empowered producer’s key to a tool chest filled with viable financing methods.

Panel guidelines required a constructive approach from both the experts and the audience. Problems were viewed as challenges to be overcome and there was a genuine appreciation for positive trends over the past year. Stuart Manashil from CAA shared that, due to market realities and technological developments, the common $3 million dollar independent feature budget is now reduced to $1 million. For many filmmakers, getting their package financed is becoming easier.

On the subject of packaging, Michael Sladek from SAG Indie discussed how SAG’s reduced scale requirements for modestly budgeted films afford filmmakers the ability to work with skilled and recognizable talent at minimal cost. The panelists all agreed that the presence of established names in the package translated to greater value in terms of raising equity and leveraging international sales into production dollars. The higher quality of the SAG talent adds a material selling point to the package for an empowered producer, and as Sladek stated, it will no longer cost you an arm and a leg to get it.

The panelists also lent their thoughts on the market for short films. The panelists agreed that the market value for short films was limited. With a few exceptions, such as when the short film generated interest for a feature adaptation, short films were mostly viewed as calling cards for the directors. The experts also urged filmmakers just starting out to work with experienced producers who could leverage their credibility to heighten the project’s file and accelerate both the packaging and finance process.

I pressed the expert panelists on the ultimate “chicken or the egg” question: What comes first, packaging or financing? According to the panelists and other experts who weighed in on-line, the answer is unclear. On the one hand, the limitless bank account can purchase the most valuable properties and talent. On the other hand, according to an experienced and successful film financier, a valuable package is an essential condition to a finance commitment. No matter which side you fall on, today’s empowered filmmakers and producers have a bevy of tools at their disposal with which to put together a valuable package or secure financing. It’s a bright future full of opportunity for innovation, and the empowered filmmaker will be on the forefront to meet it.

Please share opinion and your experience. I hope to see you at industry events in the months to come. Feel free to email me with questions and comments: beers@gtlaw.com.