DiscoverFilmtrepreneur™ - The Entrepreneurial Filmmaking Podcast with Alex Ferrari
Filmtrepreneur™ - The Entrepreneurial Filmmaking Podcast with Alex Ferrari

Filmtrepreneur™ - The Entrepreneurial Filmmaking Podcast with Alex Ferrari

Author: Alex Ferrari

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The Filmtrepreneur® - A Entrepreneurial Filmmaking Podcast shows you how to turn your filmmaking into a viable business. We do a deep dive into marketing, branding, growth hacking, micro-budget filmmaking, and creating revenue streams from your indie films. They don't teach you this in film school. Host Alex Ferrari interviews some of the film industry's most successful and prolific filmmakers, industry professionals and Filmtreprenuers. If you want to learn how to make money with your independent films then take a listen. Start thinking like a Filmtrepreneur today!
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Today on the show we have Filmtrepreneur Mark Harris. Mark is a self-taught filmmaker. His movies have been distributed by major distributors and he's self-distributed many of his earlier films and sold hundreds of thousands of copies in the US and overseas. Mark was born and raised in the Englewood community of Chicago.The same community Bermic Mac, Jennifer Hudson, Lorraine Hansberry, Janet Hubert, and Derek Rose are from. Mark is the Founder of 1555Filmworks a film production company that produces feature films and he's the Founder of the Englewood International Film Festival. Englewood is known as one of the most dangerous places to live in the United States. The crime rate, although reported most frequently, can not overshadow the hope for the future of this Chicago area. The goal of The Englewood International Film Festival is to change the imaging and condition of the people in Englewood.I had a ball talking shop with Mark. Without a doubt, he is an Indie Film Hustler and the living embodiment of a Filmtrepreneur.Enjoy my inspiring conversation with Mark Harris.
I have an inspirational treat for you today. On the show, we have writer/producer/director Elizabeth Blake-Thomas. She has recently financed, written, directed and sold six feature films in the past two years, with no professional film school training. Elizabeth has been involved in the creative industries for over 30 years. Studying drama from a young age led her to run theatre schools, train other students and companies and work in various creative industries, culminating in where she is now, a director and writer.When I heard her story I had to hunt her down and find out how she did it. BTW, she's not stopping, Elizabeth is currently in prep for three more feature films. Talk about hustle. She is the definition of the phrase "INDIE FILM HUSTLE."She is proof that no film school is needed. Enjoy my conversation with Elizabeth Blake-Thomas.
This week we have Rafael Diaz Wagner, co-writer, and producer of the new Cult Classic "Attack of the Killer Donuts." Yes, that is really the name of the film and it's glorious."Ever said you’d die for a Krispy Kreme? Here’s the movie to prove that arterial clogging isn’t the only risk of these sweet treats. In fact, it may be an artfully disguised public health broadcast."He started making films with a Beta Camera when he was 10 years old. Since then Rafael has written or co-written over 15 screenplays.I wanted to find out how this film was made, marketed and sold. It's a wonderful case study. Enjoy my conversation with cult classic writer/producer Rafael Diaz Wagner.
Partnering with an honest film distributor can be a great part of any Filmtrepreneurial Blueprint. The problem is finding said "honest" distributor can be challenging. Finding an honest film distributor is like finding a unicorn, I know they are out there but they are rare. Yes, I know unicorns don't exist but you get what I'm trying to say.By design, the world of film distribution is shrouded in mystery. The key to the continued success of predatory film distributors is the silence of filmmakers and keeping "real" numbers behind lock and key. Today on the show we have two filmmakers who decided to come forward to break the silence.Kerry Carlock & Nick Lund-Ulrich are the filmmakers behind ARMSTRONG, which is about a rookie EMT and her partner pick up a wounded superhero and are pulled into his mission to save Los Angeles from a sinister organization.These brave filmmakers break down the numbers, the creative challenges of working with a distributor and much more. You can see a major difference in the artwork the filmmakers designed above to the way the company decided to market the film in the trailer artwork. Unless you have it stated in the contract you will lose the way your film is marketed and sold to the public.If you ever wanted to take a peek behind the curtain on a bad distribution experience get ready to take some notes. Enjoy my conversation with Kerry Carlock & Nick Lund-Ulrich.
In today's new film economy it is getting tougher and tougher for independent filmmakers to make a living with their films. The entire industry is changing faster than anyone can keep track of. Even film distribution companies are struggling to make sense of the new world. The traditional golden gooses of DVD, Blu-Ray, foreign sales, and big upfront guarantees are dying a slow and miserable death.And if that wasn't tough enough internet pirates are bootlegging indie films as fast as they are released. My latest film On the Corner of Ego and Desire was on the pirate boards within hours of its release. I didn't even think of looking for this because I never thought in a million years pirates would be interested in an indie film that cost $3000, was extremely niche and had no star power at all. I was very wrong. Here's what I learned.
So what is a Scriptment? I found it to be a liberating form of prepping a story to be filmed? When I was in pre-production on my first feature film This is Meg, I wanted to get into production as fast as I could without waiting to develop a full screenplay.I've written a few screenplays in the past and as any screenwriter will tell you, it ain't easy. So I found inspiration from filmmakers like Mark Duplass, Joe Swanberg, Lynn Shelton, and the Godfather of independent film John Cassavetes. According to Justin Ladar (writer of Mark Duplass' The One I Love), he defines a scriptment as follows:“Basically a full script minus a lot of the dialogue…If you take away exterior or interior sluglines, it reads like a short story.”He explains what it was like working with Mark on The One I Love:“What would happen is that I would script [the dialogue in] a scene the night before or while the crew was prepping. [The cast] would get the pages and they would see just from a pacing standpoint [what needs to happen and when].”When I was working with Jill-Michele Meleán on This is Meg we came up with a style that would work for the budget and time we had. It was the most freeing experience of my creative life.No pressure, no hitting your marks, and no drama (except in the story of course). As the director, I was there to capture the lighting. The remarkable actors that were cast in Meg brought themselves to the project.Jill and I would discuss the scenes with each actor prior to the shoot day. We would have plot points in each scene that need to be hit for the story to move forward, how the actors got to those points was up to them. They would improv the dialog and flow at the moment. It was amazing to watch.That energy spills off the screen when you watch my two feature films This is Meg & On the Corner of Ego and Desire.The term "scriptment" was coined by the legendary filmmaker James Cameron, during his involvement in bringing SpiderMan to the big screen. Cameron wrote a lengthy 57-page scriptment for the first proposed Spider-Man film.According to Wikipedia,"Cameron's scriptment for Titanic (1997) was 131 pages. The term became more widely known when Cameron's 1994 scriptment for the 2009 film Avatar was leaked on the internet during pre-production, although other directors, such as John Hughes and Zak Penn, had written scriptments before. The scriptment for Avatar (2009) and its notoriety caused the spread of the term."Though James Cameron used a scriptment as the starting point of the screenplay, Mark Duplass, Joe Swanberg, and Lynn Shelton used the scriptment as the blueprint of the film. Take a listen to my explanation of what a scriptment is to me and how it can jump-start your first feature film.
I've been working on this for a long time guys and here it is. The Make Your Movie Bootcamp! I wanted to bring my 25+ years of experience to a live Bootcamp experience. This Two-Day Bootcamp will be held March 28-29, 2020 in Burbank, CA at the Hilton Garden Suites in Downtown Burbank.Who is the Make Your Movie Bootcamp for?A filmmaker wanting to make the leap to making their first feature filmAn established filmmaker who wants to learn the "Dark Arts" of micro-budget filmmakingScreenwriters who want to finally produce that screenplay that has been sitting on their desktopAny filmmaker who wants to learn how to generate revenue with their feature film or video contentHere are some of the things you will learn at the Make Your Movie Bootcamp>> Ideas:Learn how to flesh out your ideas into a marketable film project.>> Screenwriting Process:We go over the basics of screenwriting and discuss alternative methods of writing like scriptments and improv.>> Finding Money:Alternate ways to raise money for your film.>> Directing Your Film:I breakdown methods and techniques that will jump-start your directing journey.>> Post Production Workflows:Where many indie films die. This won't happen to you. I'll teach you the proper way to set up your workflow and get you and your film to the finish line.>> Filmtrepreneur® Training:On day two I will breakdown the concepts and case studies presented in my book Rise of the Filmtrepreneur®. We will go over creating revenue streams from your indie film, thinking outside the box when it comes to how you prep for your film and much more.>> Marketing and Building an Audience:Once you have your film done you need to get it out into the world. I will go over proven techniques that will help you build and target an audience.>> Submitting to Film Festivals:Tricks and techniques on what to do and definitely what not to do when taking your film on the festival circuit. This one section that will save you thousands of dollars and years of your life.>> Self Distribution Models:I'll teach you how to run a successful self-distribution campaign by using multiple case studies on how it is done correctly.>> Avoid Predatory Film Distributors:It is shark-infested waters out there. We go over what to look out for when dealing with traditional and predatory film distributors.>> Revenue Streams:I do a deep dive into how to create multiple revenue streams from your indie film.>> Breaking Through Your Fear:I show you techniques to break through your own creative fears and finally make the feature film you have always wanted to.>> PLUS:Surprise film industry heavy hitters will come in to Guest Speak and answer questions. I've made it easy for you to choose your adventure.DAY 1: I will be breaking down my micro-budget filmmaking method and help you jump start your feature film. DAY 2: I will be training you in the Filmtrepreneur® Method. Showing you how to generate revenue with your feature film.  You can purchase a ticket to just day 1 or day 2 or purchase a weekend pass and unlock all the BONUSES like a FREE year membership to Indie Film Hustle TV and much more.Spaces are limited so it will first come, first serve. If you are interested act now. Go to www.mymbootcamp.com to sign up!Make 2020 the year you make it happen for yourself! I hope to see you all there!
Today's guest is filmmaker Brad Olsen, director of the documentary Off the Tracks. We discuss his misadventure in distribution. After meeting over 40 traditional distributors Brad decided the best path for his film was self-distribution. I've always said that self-distribution is not for everyone but with Off the Tracks it makes perfect sense.We discuss how he got the word out of his film, got in the press that was in his niche and how he engaged with the audience he was trying to reach. We talk numbers, successes, and failures. It's a pretty eye-opening interview. So if you are thinking of self-distributing your indie film takes a listen to this episode first.Enjoy my conversation with Brad Olsen.
Today's guest is writer/director/actor/producer Claudia Pickering. She recently wrote and directed the feature film "Frisky" for just $5000. I wanted to have her on the show to discuss the tricks of the trade when making a feature for such a low budget. The film has also played at countless film festivals and won a ton of awards. Two twenty-somethings move to San Francisco to chase their career but end up chasing tail instead.When two twenty-something women move back to San Francisco, where they had met on exchange years earlier, their high career aspirations quickly become sidelined by their sexual interests. While wildly crass and charismatic in their public personas, they are in fact fundamentally at odds on many levels. Their opposing beliefs surrounding responsibility and romance, combined with their close quarters while crashing in an acquaintance's living room, find them thrust onto a fast track to discovering what their friendship is really made of. Based on true events, Frisky is an honest, tongue-in-cheek look at what it is to be a woman in the limbo years between college and "the real world".★★★★  "This fearless, fun comedy offers a welcome female take on twentysomethings finding themselves amid aimless drifting, partying and hook-ups, its simple story bolstered by a sharp script and charismatic comedic turn from writer/director Claudia Pickering." - Empire MagazineEnjoy my conversation with Claudia Pickering.
I can't believe another year has gone by. 2019 was one for the record books. So many things happened to me and to the IFH Tribe this year. In this episode, I breakdown this past year IFH style and also give you a large dose of TOUGH LOVE to get you revved up for 2020.Don’t wake up Dec 31, 2020, and say"Damn I just lost another year."Don’t let anything stop you from making your dream come true. Don’t let people tell you you can’t do it. People told me I was crazy for jumping into this business. Be smart, educate yourself as much as humanly possible and go for it. Don’t be that angry and bitter filmmaker. Don’t wake up when you are 70 and wished you would’ve taken a shot and your dream. Why haven’t you taken the steps needed to make your dream come true? Let 2020 be the YEAR OF THE FILMTREPRENEUR. Take the power back. Take control of your own destiny and make it happen for yourself.I also go over what to expect from all the companies from IFH Industries. IFH, IFHTV, Bulletproof Screenwriting, and Filmtrepreneur. If you thought I did a lot in 2019 you ain't seen nothing yet. Strap in for the episode you need to listen to get your 2020 off to a great start.Happy New Year to the entire IFH Tribe.
Imagine shooting an entire feature film in 24 hours. How could you do something like that and not make it a bad stage play? Today's guest was not only able to do that but made a damn good film in the process. Ivan Malekinand his partner Sarah Jayne directed the feature film Friends, Foes & Fireworks in just one night (24 hours). Here's some info on the film.An intimate New Year's Eve reunion of five female friends in the independent acting scene becomes a test of relationships when old tensions spark, truths are told, and rivalries are reignited. Will the group make it through the night together or will their friendship fizzle out like an overzealous fireworks display?Filmed in a single night, the craziest and most chaotic night of the year - NYE - and relying entirely on improvisation, Friends, Foes & Fireworks is an ambitious Australian drama exploring relationships, love, friendship and the truths we try and fail to keep to ourselves.Ivan, Sarah and I develop a course on how they wrote, shot, edited and sold Friends, Foes, and Fireworks. We dive into what it took to make a film in 24 hours, did they use a script or scriptment? How many cameras? How many crews and much more. Get ready to be inspired and enjoy my conversation with Ivan Malekin.
Today's guest is Kia Kiso, co-producer of the hugely successful indie film Mile… Mile & A Half. Kia and her team were case studies in former guest RB Botto's book Crowdsourcing for Filmmakers: Indie Film and the Power of the Crowd because of the amazing job they did crowdsourcing.In an epic snow year, five friends leave their daily lives behind to hike California’s historic John Muir Trail, a 211-mile stretch from Yosemite to Mt. Whitney (the highest peak in the contiguous U.S.).  Their goal — complete the journey in 25 days while capturing the amazing sights & sounds they encounter along the way.  Inspired by their bond, humor, artistry & dedication, the group continues to grow: to include other artists, musicians & adventure seekers.  Before they all reach the summit, hikers and viewers alike affirm the old adage — it’s about the journey, not the destination. Mile… Mile & A Half is the feature-length documentary of that journey…Kia Kiso discusses how they identify, reach out and engage your audience before and after the production of her film. This episode is a PERFECT companion to lasts weeks. Get ready to be inspired and take notes! Enjoy my conversation with Kia Kiso.
Every once in awhile, I get sent a story that blows my mind. The story is a 17-year-old 1st-time director shoot and sells her first feature film (that was shot on 16mm Film) right out of the gate.How that hell does that happen? Well, may I introduce you to Kansas Bowling, the director of the feature film B.C. Butcher. Inspired by the likes of Russ Meyer, Annette Funicello, and Roger Corman, Kansas and her friend Kenzie began writing a script in high school about a tribe of cavewomen being stalked by a prehistoric monster.The film is unique in many ways, being a horror flick and a comedy, featuring live music, gore, gags, and campy historical inaccuracy. Because of this, immediately after shooting, “B.C. Butcher” caught the eye of Lloyd Kaufman (see Lloyd’s interview here), legendary producer/director and founder of Troma Entertainment Inc. Troma acquired the film for distribution and is now slated for a 2016 release.Kansas remains fully committed to shooting 16mm film, Super 8mm film or 35mm film and making features and videos for the cult genre. Sit back and enjoy this wonderfully inspiring interview with Ms. Kansas Bowling.
Today on the show we have writer/director Daedalus Howell. Daedalus' film Pill Head is the definition of being a Filmtrepreneur. So much, in fact,​ I used his film as a case study in my book Rise of the Filmtrepreneur®: How to Turn Your Indie Film into a Moneymaking Business. The method he used was the "regional cinema model." This mode; is based around developing, producing and distributing a film project targeted to the niche audience of a geograhic area. He essentially made an Art House film for his hometown.Pill Head was entirely a hometown affair — from discounted permits to merchant buy-in and a recent theatrical release through a consortium of local exhibitors (no four-walling!) accompanied by tons of local press.In this interview, we go deep into the regional cinema model, how he creates multiple revenue streams and how he got that group of local theater owners to four wall his film for free. Enjoy my inspirational conversation with Daedalus Howell.
I know the title of this show is bold but in the course of this podcast I will explain what I see happening in the traditional film distribution model. My trip to this year to the American Film Market was extremely educational. I met some amazing people, industry insiders, and tribe members. I did, however, spoke to many film distributors and sales agents and discover a truth that I had suspected for a long time now, traditional film distribution is dying.Film distributors are having as hard of a time trying to generate revenue with their film libraries as filmmakers are getting their films sold. The world is changing. Many filmmakers are producing films for the 90’s and early 2000’s marketplace. Both filmmakers and distributors have little or no understanding of what today’s customer wants or how to get it to them while still making money.In this episode I discuss:• The DVD/Home Video Crash• The Streaming Wars• AVOD• How film distributors are becoming more predatory out of desperation• The world of data/niche driven cinema• Cutting out the middlemen• The Googlfication of the movie industry• Foreign markets• The shortage of talent in the film industry, according to the streaming platforms• Why Netflix paid $200 million for The Irishman• How the indie filmmaker can survive and thrive in the new world of filmmaking• and much moreWarning: This episode will be mind-blowing so please brace yourself. Enjoy!
The day is finally here. My new book Rise of the Filmtrepreneur®: How to Turn Your Indie Film into a Moneymaking Business is finally out. I'm so excited to share this with you, the IFH Tribe. I've been working for months to make this happen. I wanted to give you a sneak peek at the book so in this episode, I'll be releasing the first two chapters of the audiobook for your listening pleasure. These two chapters set the tone for the book. In the episode, I even show you a way to download the entire book for free.Here's a bit of what Rise of the Filmtrepreneur has to offerIt’s harder today than ever before for independent filmmakers to make money with their films. From predatory film distributors ripping them off to huckster film aggregators who prey upon them, the odds are stacked against the indie filmmaker. The old distribution model for making money with indie film is broken and there needs to be a change. The future of independent filmmaking is the entrepreneurial filmmaker or the Filmtrepreneur®. In Rise of the Filmtrepreneur® author and filmmaker Alex Ferrari breaks down how to actually make money with independent film projects and shows filmmakers how to turn their indie films into profitable businesses. This is not all theory, Alex uses multiple real-world case studies to illustrate each part of his method. This book shows you the step by step way to turn your filmmaking passion into a profitable career. If you are making a feature film, series or any kind of video content, The Filmtrepreneur® Method will set you up for success.I really hope you enjoy Rise of the Filmtrepreneur. I truly believe that the only way indie filmmakers will be able to survive the new film economy is by becoming Filmtrepreneurs. My goal for this book is to show filmmakers and creatives that they have to think differently. The old film economy is DEAD. Traditional film distribution is not set up to benefit the indie filmmaker. The cards are stacked against the creative and things need to change.Filmmakers need to take back control of their films and how they generate revenue from them. The day of handing over your film to a predatory film distributor because you believe there is no other choice is over! There is another way and the Filmtrepreneur Method is that way. Let me know what you think of the book. Enjoy and VIVA LA REVOLUTION!
Today's episode is a big one guys. You need to brace yourself. The film economy is going through a major shift. It is as big as when we went from Black and white films to color or adding sound to movies. Movies industry is changing from a product-based business (DVDs, Blu-Rays) to a service-based business (streaming services). Spotify and other music streaming services have devalued music down to basically worthless. What used to cost you $17.99 for one album of 1 or 2 hits and a bunch of songs you didn’t want now cost fractions of a penny from your monthly membership.On Spotify, an artist needs around 337,000 plays to earn $1472 a month (the monthly minimum wage. Amazon Prime pays .6¢ per hour viewed. Streaming platforms are paying less and less and the indie budget seems to be going up and up. This business model is not sustainable.Companies like Disney, Amazon, and Apple have a business model that will ensure their survival in the new film economy. Because their main business is not making movies. They use media as marketing vehicles selling other products and services. Disney’s revenue is broken down like this 42% is Media Networks (licensing ESPN, Disney Channel, FX Networks, etc to cable and streaming platforms. 28% is Parks and resorts. 15% is studio entertainment and 9% is consumer goods and interactive entertainment. Disney generates $36,220,000 a day. Disney+ is a HUGE sign on where the film industry is going. It has 10,000,000 subscribers so far. The direct to consumer model, killing the middle man (DVD manufactures, Cable channels, movie theater chains). The old way is dying and entire sub-industries are trying to hold on for dear life to the status quo. Movies theaters are struggling. At the American Film Market. I heard many distributors tell me the theatrical was not a growth industry anymore. The devaluation of movies and series began with YouTube (the FREE version of Spotify for videos). A generation was raised on getting video content for free whenever they want. Movies and series fell into that well. Then Netflix gave us the ability to watch films and series as part of a small monthly fee. We no longer had to wait for weeks to watch the full seasons of our favorite show and suffer through commercials, we could binge an entire show in a few days, commercial-free. Now with so many streaming services available why would you buy or rent a film if it will be available on a streaming service in a few weeks. The other big problem is the volume of content. Indie films (along with studio films) are being dumped into a marketplace in an ocean of content. It’s basic economics, the more quantity of a product that is on a shelf the shelf, the cheaper it is. It’s supply and demand. How can an indie filmmaker survive in this new film economy?Niche down and focus your work on a specific audience that you can reach or cultivate. Become a filmtrepreneur. Musicians have begun focusing on building themselves as a brand and using their music as advertising to sell ancillary products and get sponsorships. Indie filmmakers can do this as well when focusing on a niche audience. Piracy is a HUGE problem for all media industries, books, music, and movies. Steve Jobs said“You can’t stop piracy, you can only compete with it.”It’s much harder to pirate a t-shirt, course, niche service or sponsorship. You need to think outside the box. The business is changing whether you like it or not. If you do not change the way you think about filmmaking you will not survive. You can sit there and complain. You can sit there and try to hold on to the good ol days. You can sit there and talk about how things should be or you can adjust and pivot your approach to making and selling your films or end up like Blockbuster Video, Toys R Us, Circuit City, Virgin Records, and a many other corporation corpses of companies and people who did not change with the times. I do a deep dive and go farther into this in the podcast and share ways to make your film projects thrive in this new world. I hope this episode opens your eyes to the current marketplace for indie films.
Today’s guests are Oscar® Nominated writer/director Paola di Florio & and producer Peter Rader. They worked on one of my favorite documentaries in recent years called AWAKE: The Life of Yogananda.The film is an unconventional biography about the Hindu Swami who brought yoga and meditation to the West in the 1920s. Paramahansa Yogananda authored the spiritual classic Autobiography of a Yogi,” which has sold millions of copies worldwide and is a go-to book for seekers, philosophers, and yoga enthusiasts today. (Apparently, it was the only book that Steve Jobs had on his iPad.) By personalizing his own quest for enlightenment and sharing his struggles along the path, Yogananda made ancient Vedic teachings accessible to a modern audience, attracting many followers and inspiring the millions who practice yoga today.Filmed over three years with the participation of 30 countries around the world, the documentary examines the world of yoga, modern and ancient, east and west and explores why millions today have turned their attention inwards, bucking the limitations of the material world in pursuit of self-realization.Archival material from the life of Yogananda (who died in 1952) creates a spine for the narrative, but the film stretches the dimensions of a standard biography. The footage includes stylized interviews, metaphoric imagery, and recreations, taking us from holy pilgrimages in India to Harvard’s Divinity School and its cutting-edge physics labs, from the Center for Science and Spirituality at the University of Pennsylvania to the Chopra Center in Carlsbad, California. By evoking the journey of the soul as it pushes its way through the oppression of the human ego and delusion of the material world, the film creates an experiential immersion into the unseen realms. AWAKE is ultimately the story of humanity itself: the universal struggle of all beings to free themselves from suffering and to seek lasting happiness.The story of how they self-distributed the film, to the niche audiences they tapped into, from booking theaters to SVOD is remarkable. They did it all on their own and the film has been viewed by millions. I wanted to bring them on the show to discuss their methods for audience building, social media marketing, release strategy and much more. If you want to the IFH Video Podcast version of this interview go to IFHTV Video Podcast – Building an Audience for Your Indie Film with Paola di Florio & Peter Rader. Enjoy!
I know it's most Filmtrepreneur's dream to have their film screen theatrically around the world. I know I always love seeing my work on the big screen. There's a magical thing about the silver screen but alas that dream was out of reach for most indie filmmakers until now.If you haven't heard of the remarkable "game-changing" company TUGG, you are in for a treat. TUGG is cinema on-demand for indie films. The web-based platform allows you to self distribute your feature film around the country with no money upfront.That's right no upfront costs. You only pay when you have a screening booked.TUGG has created a remarkable way for moviegoers to experience the films they love in a theatrical setting. Through this platform, indie filmmakers are empowered to submit a film, create a screening time and find a nearby movie theater, then spread the word to their local and online community.Once a necessary amount of people commit to attending, the event will be confirmed, and TUGG will reserve the theater, manage to ticket and ensure delivery of the film; allowing the audience to sit back and enjoy the show while the indie filmmaker counts the cash."Every film speaks to a different person, and the most exciting thing about TUGG is that it allows for audiences to find their films and films to find their audiences. We are eager to offer a platform that enables studios, filmmakers and exhibitors to have unprecedented interaction with communities and influencers,"...said co-founders Gonda and Gonzalez. You might ask:"What kind of  movie theaters does TUGG have in its network?"TUGG has access to over 90% of ALL the screens in the United States. Theater chains like:Alamo Drafthouse CinemaAMC TheatresBow Tie CinemasCinemark TheatresGoodrich Quality CinemasRave CinemasRegal CinemasJust listen to this what Alamo Drafthouse CEO/Founder Tim League had to say about TUGG:"As the creators were first showing me TUGG, I had the same sensation I had when I first started using Facebook.  This was a brilliant, well-executed concept that could really change things for our business in a significant way,"In this episode, we speak to Felicia Pride, Director of Independent Film LA at TUGG. She sits down with us and discusses all things TUGG, theatrical distribution, and indie film. Be prepared to have your mind ROCKED!
I've been at a fair share of film festivals in my life and I've submitted to many more than I've been accepted to. With that said I have seen many less than honorable film festival organizers throughout the process or outright film festival scams.Now not all film festivals are run by grifters and con men but you need to be aware of the signs that a film festival you are submitting to may just be in existence to remove you from you hard-earned cash and not to celebrate amazing independent film and filmmakers.I put together a few warning signs you should look out for when submitting to film festivals. Stay safe out there everyone!
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