My 2 main pre-occupations are the Raindance Film Festival and the British Indepednent Film Awards.
Every waking moment I, and the fabulous Raindance team, do nothing except watch films, read scripts and talk to filmmakers, agents, financiers and distributors
Here are the key things we think matter to the world of independent film, in no particular order:
1. Alternative Content in Cinema
Digital screens are being installed in many British cinemas in a trend which will sweep the world. Digital screens allow cinemas to show alternative content. In the UK we are already able to watch sporting matches and opera in cinemas. Cinema goers in certain countries were able to watch the Michael Jackson tributes live in cinema screens too.
What does that mean for independent shorts, features and documentaries? Speak to your local cinema manager and find out! Perhaps your local cinema will end up more like the traditional British pub, with drinks, networking and movies.
2. Self Distribution
It used to be that self-distribution meant getting a van, a bunch of fly posters, and hitting the road. A few days before you pulled up into a town, an advance person would leaflet the place, and when you arrived, you would do some local radio, screen your film at the local rep cinema, collect the box office (minus the venue's share) sell T-shirts, posters, CD's and whatever else you thought you could sell, collect all the nickels and dimes, tank up the van with fuel and hit the road again.
It's all changing thanks to crowd sourcing websites, and the advantages offered by internet distribution.
3. Social Networking
If you don't have a Twitter and Facebook account, get one now. Drop the reluctance to join the 21st century. Social media is the way forward in terms of news, entertainment, advertising and blatant self promotion.
4. Lo Fidelity Filmmaking
Movies on the web don't need to be the same resolution as movies in cinemas. You can shoot films using mobile telephones with video capacity, or with the awesome FLIP camera (pictured)
Paramount Studios thinks that Low Budget is the name of the game and has launched a low budget division.
5, Increased Role of Festivals
Film distributors are increasingly using festival screenings to promote new releases of films. Under the guise of cultural activity and the supposed kudos of playing at big-name festivals, distributors can leverage their marketing budgets to the maximum.
For filmmakers seeking distribution, creating a buzz on the festival circuit is a must. It's the best way to attract distribution.
Here are the 4 Reasons Filmmakers Attend Film Festivals
6. Micro Niche Marketing
Finding an audience for your film most likely means finding a small and loyal following. In the realm of on-line marketing through social media sites like Facebook, Bebo and Twitter it means creating a following of people genuinely interested in your film and your career.
Probably the most important tool filmmakers have in marketing to a niche audience is the understanding and use of key words and Search Engine Optimisation (SEO)
The bad news is that this is a really time consuming excercise. The good news is that if you are good at it, or become adept at it, you will be able to charge good money for your expert advice - and sell your film.
7. Role of Remakes and Adaptations
Hollywood ran out of good ideas zonks ago. Now they rely on remakes and adaptations of successful comic books and novels. The 2009 example of Twilight is a shining example.
8. The Future of DRM
The movie industry is in trouble, everyone knows that. People all over the world are downloading films as soon as (or even before) they are released. Do they also go to the cinema or buy the DVD? Hollywood says no, and that they are losing crucial revenue because their digital rights are being compromised. Should they change their policy on Digital Rights Management then? Apparently not.
In response they seem to be following the first footsteps of the music industry, cracking down hard on the pirates and not changing their system. Bittorrent site PirateBay was closed down earlier this year, and its founders sent to jail. And yet it wasn't until iTunes came along that the music industry really started stopping the flood of piracy. Giving users what they wanted at a reasonable price seemed enough to stop many "pirates" - normal everyday people. The movie industry will need to learn to do the same.
Pirates will always be one step ahead, technologically speaking, and simply shouting angrily at people won't help. Modern audiences want to watch films when they want, not hear about their amazing release in America and then see nothing for three months. They want to watch them where they want, on their telly or computer, not having to trudge through rain to a crummy cinema full of screaming kids or talking teenagers. As long as their demands are met they do not care about the source of the movie. At the moment pirate copies are all that fill that gap - but provide people with simultaneous DVD, download and theatrical release on a with scaled pricing and you will get happy, legal audiences. This is the future of Digital Rights Managment
9. Multi Format Simultaneous Releasing
Cinema releases combined with DVD and internet releases on the same date will start to become more and more the norm. The Age Of Stupid was an example of such a release in the UK in 2009. Raindance Film Festival has had Day/Date screenigns at the festival and on IPTV platforms like raindance.tv since 2005.
10. Archive Values
Filmmakers who make a number of films over the careers (and hopefully that is you!) will see the value of their back catalogue increase over time as different distribution windows open up. Remember that the new platforms of mobile telephony and IPTV will require different technical requirements than traditional television and cinema, so plan for segments or chapters of your story so they can be more readily adapted to new distribution platforms
Elliot Grove has worked intensively with writers at Raindance in London England since 1992. He founded Raindance Film Festival in 1993, the British Independent Film Awards in 1998, and Raindance.TV in 2007. He has produced over 150 short films, and 5 feature films. He has written eight scripts, one of which is currently in pre-production. His first feature film, TABLE 5 was shot on 35mm and completed for a total of £278.38. He teaches writers and producers in the UK, Europe. Japan and America. He has written three books which have become industry standards: RAINDANCE WRITERS LAB 2nd Edition (Focal Press 2008), RAINDANCE PRODUCERS LAB (Focal Press 2004) and 130 PROJECTS TO GET YOU INTO FILMMAKING (Barrons 2009). His first novel THE BANDIT QUEEN is scheduled for publication in 2010.
Open University awarded Elliot and Honourary Doctorate for services to film education in 2009.