Film as a Business: The Business of Film

You’ll hear freshly hatched film students and budding filmmakers say their creation is out of love for the work.  But many would, at best, like to make a living at it.  Still, few view filmmaking as the monetization of a high-demand commodity.  I say high-demand because of the proliferation of Video On Demand and other streaming channels.   The increasing numbers alone indicate a growing desire and/or need for fresh cinema.  Cinema is the number one export in the United States, and now with Federal recognition as a viable business entity, a filmmaker can and should approach the long-term track of their work with more precision and direction.  But it’s less about planning the route of their commodity than the importance of managing a ‘corporate structure’ surrounding the commodity.  Focusing solely on the object leads to, what Michael E. Gerber says in The E-Myth Revisited, an Entrepreneurial Seizure.  He continues in saying even though a product may be phenomenal and, in the context of movies, a beautiful example of cinematic expertise, weak support structures will burrow the product into obscurity.  “Indeed, the problem is not that the owners of small businesses in this country don’t work; the problem is that they’re doing the wrong work.  As a result, most of their businesses end up in chaos – unmanageable, unpredictable, and unrewarding.” Louise Levison, author of Filmmaker’s & Financing: Business Plans for Independents says, “many filmmakers lose interest when they realize that writing a business plan takes work.  The impulse is to think, ‘I have a good script, just give me the money.’”  But doesn’t work like that anymore.

In film production, the business plan is an extension and articulation of the producer’s package, while the producer’s package itself is primarily used to seek for distribution and industry support.  Many experts believe creating business plans around a film attracts not only serious investors, but also, as John Cones writes, may useful in “identifying founding shareholders for the initial corporation.” A successfully positioned film will lead to greater monetization, thus creating momentum towards the making of another film.  Isn’t this the goal independent filmmakers have in mind?  Then forward-thinking ambition is required.

Business owners turned investors will view incorporated films with business plans as focused and professional.  Investors will appreciate the respect this extends, and will respect the forethought of a filmmaker as well. “Your business plan is your first impression,” says Cindy Freeman of the Film Method.  “Make sure it reflects you, your project, your passion and your professionalism.” It’s a paradigm shift for filmmakers, I know.  But if you think about it, incorporating a film as an LCC (or other) makes sense for many reasons.  The film becomes an entity entitled to legal protection; crew positioned as employees or individual contractors will increase validity; and doing so will help a film acquire clout and reputation beneficial to the marketing of the film.  The moviemaking climate in the industry has progressed in ways very different from the past.  Independent filmmakers are more empowered with control over their work, and therefore their future.  For indie filmmakers, the industry is ripe for harvesting.  Make sure the seeds of your “small business film” are planted well.

 

                                Scott DuPont: How to Create a Business Plan for Filmmaking

Specific business plan resources for filmmakers:

John W. Cones: How Filmmakers Can Avoid the Business Plan Scam

Louise Levison: Business Strategies blog

Jason Brubaker: Filmmaking As Your Small Business

Needle In a Haystack

Smaller than a Big Mac

Right now I’m sitting in my living room with my friend as she clicks through the channels of my Roku 2 XS.  It’s a wireless unit the size of a small box of Whitman’s chocolate, and I think it’s the best thing since sliced bread.  Ten minutes after opening the box I had access to an almost cable repertoire of Internet content – on my TV.   The biggest selling point for me was the impressive amount of access to independent films and online video content (i.e. Hulu, Netflix, SnagFilms AND Vimeo!).  But how did those channels even acquire said content?  Digital distribution.  

Still, even if a filmmaker has their work available through these channels, it doesn’t mean instant audience gain.  Awareness has to be built; campaigns have to run; and viewer relationships have to be fostered if filmmakers want to attract an audience, and therefore, a profit.  One may argue that since it’s hard enough to land a theatrical release, campaigning for Internet viewership must be harder – especially with the sheer amount of content on the Net.  On the contrary, as Dustin Woodward, ‘WebConnoisure’ blogger and freelance SEO professional says, “People that are passionate about your film’s topic are out there and want to find you. And it is a level playing field—Hollywood studios have trouble ranking #1 for their own film titles!” With the Web and the power of social media, filmmakers without deep pockets can quickly spread the word about and exhibit their work before it even sees a theater.  And, should a filmmaker get the privilege of showing their film in a theater, a solid support system may have already been built under their work.  Which comes first, the horse or the cart?  I opine that, for the film industry, the Web is now the horse and the theater is the cart – not the other way around.  

Ben Hur, 1959 

As far as churning your film through the glut of content like cream to the top of milk, this is where SEO, or search engine optimization comes in.  But it’s not just about the film’s brand.  Brand building also centers on the filmmaker him or her self.  Sheri Candler, marketing expert and publicist for independent filmmakers, specifically, says SEO is key to building a personal brand.  “Your Personal Brand. Your online reputation. It’s the same thing.”  Know your professional name and how that translates, or doesn’t translate, across the web.  Consistency builds relevance, and relevance builds trust.   The filmmaker is the representation of the work.  As a unique representative, are you ranking positively with search engines? Sheri continues,  “Filmmakers interested in building a personal brand on the web do not have the luxury of anonymity.”  SEO and brand building is not simply a nicety.  For filmmakers, they are essential. 

However, the seriousness of SEO should not overshadow content.  Buzz will fall flat without any substance behind it.  If you have a choice between spending time on your blog and producing creative works, produce creative works.  Nobody wants to be considered a poseur.  Talk is cheap, and it’s bad for business.  Even still, try to find a balance.  From my end of the Roku, I won’t get the pleasure of seeing your works if my channels can’t find them. Get your stuff found. I’m sure I’m missing out.  

** For kicks and giggles, watch this Shakespearian work on SEO.  As serious as having a robust web presence is, it’s always good to keep it real: