A really enthusiastic crowd of local indies jazzed up about the possibility of harnessing the power of DIY marketing and distribution techniques for their present projects and films in the pipeline and I was delighted to have played a part of steering them in the right direction.
Still, it wasn’t easy cramming a full day’s workshop into just a tight 2.5 hours. In fact, last time I’d attempted this for Raindance, I had the full 2.5 hours just for a single one of the components I covered in yesterday’s massive master list! By way of comparison, have a glimpse of what I was up to about a month ago…
What emerged from last night’s session was that Canadian indies, too, are quickly getting up to speed on the DIY movement and are game as all get-out to have a crack at the techniques Jon Reiss and other PMDs (like myself) have been harping on about for the past several years: depending on larger organizations with deep rosters of films and clients to wrangle down all aspects of your film’s release and marketing is no longer a viable option. Moreover, it’s dangerous and neglectful of your art.
Depending on a bigger organization to handle your:
- key audience engagement.
- social media outreach.
- content generation.
- live event strategy, or
- manage your revenues and inflows from sales of DVDs and VOD subscriptions.
is delicate work which a broad brushstroke-approach employed by large organizations (who don’t care nearly as much about your project as you do, as filmmakers have often invested years of their lives making their dreams come to screen) is pure marketing folly.
I learned a couple of things last night, however, and wanted to share those insights with you:
Longer, rather than shorter:
I really felt for last night’s attendees because they absorbed a motherlode of information over a super-compressed time span. I really would have preferred to have had a full day to impart this stuff, because it actually takes the full day – complete with examples, workshopping, brainstorming – for much of it to make any sort of sense. There’s a repetitive aspect to the work which needs to be stressed, and that sort of learning only comes about from several hours of concentrated exposure, like sunlight. In compressing everything into just the scant 2.5 hours, I couldn’t dive into the fine detailed richness these items truly required. Next time we discuss the PMDing craft, writ large, I’m opting for the full day.
The benefit you get from the workshop model is filmmakers can bring specific examples of issues they’re dealing with to the table. The group can hash things out on the table, gaining the benefit of collective creativity and contributions. Filmmakers will have more than just themselves and their production staffs contributing to the idea pool and that’s what they pay for. Plus, the more the entire group brainstorms the more ideas filmmakers can select from. I like Q&A, I enjoy the banter, and I really like getting to the root of a problem in a group setting as opposed to everyone working away in their little silos, caught up in their own worlds.
From what I understand, Raindance Canada will be assembling these items into a web series, making them available to their membership and the general public for a fee, in case you missed the date. Curious to learn more about when and where you can access these materials? firstname.lastname@example.org for more details.
Adam Daniel Mezei, PMD | Producer of Marketing and Distribution
Indie Audience Engagement Services for Independent Feature Films and Documentaries
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