Post-IPO | Is Facebook still relevant for indie filmmakers?

Facebook Logo

Today’s $38 a share – almost $1B US in valuation – Facebook IPO got me thinking once again about the platform’s relevance for indie filmmakers. Does maintaining a prominent presence on Facebook actually help or hinder the process of scoring audience traction for your movie? Does having a robust reputation on the Zuckerberg outpost really generate sufficient revenues for your film, either from DVD purchases or streaming downloads? Is it even worth continuing to invest effort and energy in trying to build up an audience for your productions there, given that the platform will now have a considerable percentage of public ownership?

I suppose the answers to these are beyond the purview of a blog dedicated to indie filmmakers and the craft of making movies viable and sellable, ad besides, it would get us into that niggling sticky wicket of, ew…business, an area of expertise which typically frightens the living daylights out of most indies I’ve spoken to.

Personally, I still find my Facebook community to be valuable for the type of work I do as PMD.  Mind you, I’m a Producer of Marketing and Distribution, not a filmmaker these days, so I suppose were I to bombard my almost 4,500-Friend strong Wall with a continuous self-serving array of “please like me and my film and my actors and don’t forget to like…” messages, I could very well alienate most of my people.

There are indeed stimulating dialogues taking place at the ‘book, even if it’s mixed together with claptrap invitations to events I’ll never attend, with invitations extended by people I don’t know a thing about, to be in a room with other people who I’ve never met before. I’ve been a part of several of these since 2007 when I dove into the Facebook slipstream. I’ve often floated half-baked ideas to my Facebook following as a means of completing the “cooking process,” and occasionally I’ll get back some opinions which take me down alternative paths or cause me to think differently about some strategy I had in mind. There is some instant visible value to devoting all those hours to Facebook.

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Here’s what you risk when you delay audience engagement…

Missing the Boat | "Here's the things you risk when you delay audience engagement..."

I’m fond of telling clients and prospects how audience engagement isn’t a “today to tomorrow” phenomenon. So much so, in fact, that I think it should become its own PMD Proverb, but that’s a subject for another post.

PMDs and other audience engagement specialists should always stress the need to commence audience engagement efforts earlier rather than later. How early? We say as long before pre-production – development, even — as possible, with an aim to always driving your narrative focus towards that target member of the film-going public who will ultimately become super interested in the sorts of work you put out there.

Rather than upbraid indies for what they’re doing “wrong,” which is no fault of their own – in fact, it’s the system’s – here’s a list of a few things indies stand to lose when they defer the essential gruntwork of sitting down and getting into the hearts and minds of the people they’re supposed to appealing to…

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How to bounce back from a failed Kickstarter campaign?

SoMe | a crowdsourced film on the perils of social media, by Loren Feldman, http://1938media.com

Okay, so how many of you don’t know Loren Feldman? Shame on you if you don’t. Means you’re not spending enough time online and that’s just not on, is it?

Once tagged as “l’enfant terrible of Web 2.0,” the 1938 Media head honcho and Chief Chatterbox has been variously referred to as a videoblogger, a tech pundit, an e-entrepreneur, a rabble-rouser, a gadfly, a take-no-prisoners defender of the little man, and a commentator par excellence on the state of our social condition on the interwebs. FULL DISLCLOSURE: I’ve been a friend and professional college of Loren’s for several years now, so if you do happen across videos like this one, you’ll know why. Also, our surnames mean exactly the same thing: the “German” Feldman = “man of the field,” Mezei = from Hungarian for “meze,” or field. We both derive from clans of swaying agricultural engineers back in the Old Country.

Lately, Mr. Feldman’s been going hard to the crowd to raise money for his inaugural feature film, SoMe | Social Media Me.

His first 30-day gambit on Kickstarter – with a US$50,000 asking price – was false-started. Recently the native New Yorker has made his comeback with a re-attempt for an undisclosed sum at his personal site (screen capture above).

Rather than hinge the campaign’s fates on something as quixotic as a timeline, 1938 Media’s dispensed with the ticking time bomb approach and opted instead for an open-ended presentation. By the looks of the list of subscribers at the site (top-left), the strategy seems to be making an impact.

What’s SoMe about? Have a squizz at one of Loren’s SoMe trailers and carry on reading after the jump:

SoMe is on! A social media satire by Loren Feldman of http://1938media.com

 

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PMD Proverbs | Do NOT crowdfund for your entire budget!

Kickstarter logo | http://kickstarter.com

I had the recent good fortune to give a small talk about “Crowdfunding Your Film” at Raindance Canada’s inaugural indie filmmaker guerrilla workshop on May 10th, 2012 (for “rawest of the raw” footage from the event | click here).

Crowdfunding Your Film | a recent Raindance Canada workshop featuring Adam Daniel Mezei/PMD/Producer of Marketing and Distribution | http://themandthed.com

 

Suffice it to say, there were several key takeaways from the session, but something I made a point of hectoring the participants on in particular was this:

“Crowdfunding is strictly found money. Not a right. Not a given. But a gift. Crowdfunding is a privilege. So please do not crowdfund for your entire budget!”

By the end of the almost three hours of the session (not the video’s length, thankfully), I think the message sunk in.

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Social media is the new AM radio…

Social media is the new AM Radio...

Who still listens to AM radio? ::: raises hand :::

Who even knows what AM radio sounds like, what with all these 24/96 quality audio streams around? Who recalls that scratchy, muffled, grainy, drone of your trusty radio, blaring out an endless array of ads, jingles, and classic oldies? When interference from a local thunderstorm or even a sudden electrical surge would chronically affect the broadcast, those undulating waves of current slamming into the broadcast tower and discernible in the playback?

Yes indeed, while AM radio may be FM radio’s bastard spawn, I regret to inform you that AM is still very much with us and will be for a long time yet. As long as we still have cars, traffic, and morning commutes, there will always be a need for a cascade of AM radio.

With the proliferation of online channels, AM’s just undergone a quick substitution. Today, it comes in the form of social media. But how are these mediums similar?

There are several ways…

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Go analog…mainly because it’s better than digital…

Posting Bills, Bairro Alto | Photo courtesy: Andrew Hecht (http://www.flickr.com/people/americanidle)

Whatever happened to analog?! It used to be so popular…

I often find myself confronted by indie filmmakers who query me in the midst of their nascent crowdfunding campaigns who are totally stumped for ideas on what sort of pledge rewards to offer. Time and again, I suggest plumbing the depths of winning graphic and industrial design campaigns over the past three decades for due inspiration. I beseech them to “go analog,” mainly because very few filmmakers do today.

My retro approach to marketing isn’t as harebrained as it reads: actually, the further we get from the seventies and eighties, the more popular those eras’ fashions, style, attitudes, and overall advertising approaches become. As we forge deeper into this second decade of the Brave New World, we long for all that tangible stuff which the online world has usurped.

Bold statement time: analog stuff is the fucking best.

I’m talking about tangible, real-world things people can touch, share, and scratch ‘n sniff. Stuff they can hang on their walls at home or at the office, things which possess a life beyond just the mere experience watching the related film. Things which they can point to and which beckons them to fondly remember the experience of seeing your picture for the first time.

I strongly recommend going analog because it may very well indies most successful technique for drawing others into seeing your film rather than constantly shilling your film existence over today version of AM radio, aka social media.

Examples please, you’re asking…I know, I knows, so after the jump, my babes, after the jump…

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What do you look for in a workshop?

 Crowdfunding Workshop at Raindance Canada | May 10, 2012 | http://pmdforhire.com

I had the good fortune of helming last night’s Raindance Canada-sponsored inaugural crowdfunding workshop at Toronto’s Centre for Social Innovation (May 10, 2012), a spirited session of theory coupled with proven crowdfunding practice.

For two-and-a-half hours I’d proceeded to flesh out my “Five Pillars of Crowdfunding” sprinkled with preeminent examples from the current crop of successfully-crowdfunded indie docs and features. We’ve even got the videos to prove it, so you be the judge.

All of this got me thinking about the stuff participants generally expect to get out of the workshops they attend – and I’ve attended fair share in my almost four decades – compared to what they’d get out of a conference, a barn-burner speech, or something similarly inspirational and life-affirming, life-changing.

Rather than ask my participants for this sort of feedback via survey, I thought it more fun to surmise here at the blog as to the expectations workshop participants may have and how a speaker can capably meet these expectation over the span of just a short couple of hours.

Here goes nothing…

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Things you need to be doing every day as an independent filmmaker…

Practice Makes Perfect! Make sure to do these things on a regular basis, and if you forget, you can always check us out here: http://pmdforhire.com

Here are several tasks you need to be doing every day as an independent filmmaker. These are things you simply can’t avoid, things you must do in order to endear yourself to your audience and place your film on the map. In fact, audiences will expect you to produce these items regularly as a kind of tacit agreement between fan and filmmaker: we give you our loyalty, you ply us regularly with gifts, content, and, of course, as much information as possible about your movie.

So what are some of these things, and why these particular items?

Let’s get into the list below…

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The curse of too much free time…

You Idle, You Pay!

Another fun chat yesterday afternoon (May 08, 2012) with Film Specific’s striving Stacey Parks, author of The Insider’s Guide to Independent Film Distribution.

I always enjoy speaking with Stacey’s following since they usually pose the best questions and almost all filmmaker-members who subscribe to her updates and pay her dues are serious about the indie craft. Almost everyone – to a woman — is caught up in the roiling throes of producing their own feature or doc, so questions take on a particular poignancy that other chats I’ve conducted simply don’t have.

One of callers — Mark Shields — raised the perplexing issue of having too much time before the start of principal photography. Stacey’s response was that this was quite the fortune scenario to find oneself in. As for me, I had a few suggestions on how best to spend it. (UPDATE: Mark wishes to clarify…he didn’t personally suggest he had too much time before production, but I used his case as a departure point for today’s blog).

Rather than direct you to Film Specific and get you digging, I’ll hammer out of a few suggestions of my own how best to leverage this period so you’re in a much better production position say 3, 6, or 12 months down the line as opposed to being caught with your pants down.

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Increasing the threshold for Facebook likes…

Facebook Like

Like me, like me, like me!

Requests for knee-jerk Facebook likes…they’ve become so ubiquitous. As a tethered, always-on, society we’ve become completely inured to them and the act of liking brands’ and films’ Fan Pages has become all but moot. Punching the old like button means very little today, especially when the costs of doing so are nil.

So what differentiates your “like” request from the legions of others? Nothing is the correct answer.

Your product, your service offering, or the manner by which you present your USP/unique sales proposition may very well be astoundingly novel, but your use of Facebook can’t be all that different from other companies’ approaches because, well, there are zero thresholds for users clicking “like.”

Have a gander at this 16m18s video I recently watched from the good folks at Amplify (h/t Jeremy Beale down in Auckland!) about fan culture and what it means to be a brand’s fan in 2012, plus how brands can do much more to cultivate robust fan cultures within their own organizations with the tools already at their disposal.

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