I'm a writer/director who attended AFM in Santa Monica for the first time. I came back with a head so full of information that I'm not sure which way is up. I learned a lot, and got to see first hand how the industry is scratching its head as it gets pulled kicking and screaming into new ways of thinking about sales and distribution, value, marketing and budgets. What works for one distributor is off limits for another. While one sales agent tells you that micro-budgets are the key, others won't touch a project budgeted under $3M. Right now could be the best and worst time ever to do what we do, but we won't know if we don't do it.
I have seven screenplays... three horror, two quirky comedies, a sci-fi comedy and a faith based story, and I'm about to write my eighth, a western. I've written and directed several shorts that have won awards in small festivals. We're @10RingFilms on the socials.
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Hello everyone. I'm a screenwriter!/Playwright here in Nigeria. How are you guys?
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Hi KC,
Did you gain any sense of direction or possibilities for your projects? Perhaps a bit of hope, or was it all a little too overwhelming?
Geoff Hall, it was an educational experience, for sure. As far as hope goes, I met with one distributor who says he'd be willing to fund my first feature, but it'd be less than a reasonable micro-budget and he'd own the film. The only thing I'd get out of it is experience, but at this stage in my career, that may not be a bad thing. The folks at AFM all wanted completed films with name actors/directors in them, and only a small percentage were willing to look at projects in development, even with attachments. So, I think at this point I'm going to use someone else's money to make a very inexpensive film, and then take it from there. Maybe it'll do well and the stars will align for me. Either that or it'll just get out there, give me something to show, and I'll keep limping along.
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KC Allen KC, yes we writers seldom own the rights to our stories. Unless you have a production company with a money tree planted in its garden, then invariably you have to sell the rights to the money men. I’ll be doing the same thing with ‘Seeing Rachel’. I’ve signed an option agreement for that and I’m waiting for the green light, but as part of the agreement I will be directing it.
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KC Allen, you're not the first one I've heard say that about the AFM -- it sounds like an intense experience! (I'm slowly making my way into the film business world -- I prefer the artistic corner of it, and It's hard to leave my comfort zone). What's one thing you picked up that you think most emerging filmmakers probably don't know but would greatly benefit from?
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Geoff Hall Congratulations!
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Jerrod D. Brito The AFV pretty much exists for people who have finished feature films with name actors in them. That said, I had several show veterans tell me that the AFM was a lot slower this year, and that's a trend I expect to continue considering many distribution companies are opting for online submissions. Film will always be a face to face business, but the world is too big, too expensive and the need for content is growing, not receding.
I think the one negative thing I picked up is that there are no managers, agents or sales agents there that are hungry for screenwriting pitches and estimates of potential, and therefore nobody interested in acquisitions or development. Companies are there to sell what they have in their catalogs already.
The positive thing I picked up is that the need for content is massive and there are more ways to monetize content now than ever before. AVOD, TVOD, SVOD... it's growing. But names are beyond important when you're competing for eyeballs, and of course, the story has to be great too.
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KC Allen thank you. From what I’ve heard on Stage 32, being optioned is the first rung on the ladder. We’ll see how the Production Company fares. It seems that demand is pushing us down the streaming track and not feature film. In America is there an equivalent to the AFM for streaming companies? It would certainly make it ‘easier’ for those trying to make their way in the market today.
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Geoff Hall I think that before too long it'll all be the same thing as far as indie movies go. If you're talking about series TV, that's a whole different ball of wax. VOD was a huge topic of discussion this year at AFM.
KC Allen Interesting. I suppose they can’t duck the issue, but we are told that many directors are wanting to move into the streaming economy , because of the storytelling possibilities of things like a limited series. I must admit it is appealing to me as well, it’s just about finding a way in. I’ve started writing limited series stories and it’s great not to be squeezed into an hour and forty minutes storyline. I have the time to develop characters and plot lines. It’s a bit like moving out of my garden and going for a walk in the local park.