Film Strategy

The overabundance of sequels is nothing new. But why are they in theaters instead of in the secondary markets of Direct-to-DVD or VOD? Nico Lang from Salon attempts an answer: Part of that is due to a studio system that’s grown more cautious in recent years, banking on pre-existing properties that seem like safe bets in an uncertain film market. “We have projects at six studios, and ninety per cent of their attention goes to the ones that are superhero or obviously franchisable,” director Shawn Levy (“Night at the Museum”) told the  New Yorker . “And every single first meeting I have on a movie, in the past two years, is not about the movie itself but about the franchise it would be starting.” The other reason, though, that so many theatrical sequels are being greenlit is because of the erosion of the home video market. With the disappearance of video stores, the rapid decline in DVD sales, and sluggish VOD numbers, movies are being pushed into theaters that have no busines

The good people at  Script Reader Pro  have just made your life easier.  Why is that you say?  Because they've made your filmmaking life easier to manage this year with their  calendar of  all the major upcoming screenwriting contests  (orange) , awards   (blue) , festivals  (green) , fellowships and labs  (yellow)  in 2016. Like Yogi Berra says, “If you don't know where you are going, you'll end up someplace else.”  Thursday, September 1   Venice International Film Festival   American Zoetrope Screenplay Contest Deadline (TBC)   Berlinale Talents Competition Deadline (TBC) Friday, September 2   Venice International Film Festival   Telluride Film Festival   London Screenwriters Festival Saturday, September 3   Venice International Film Festival   Telluride Film Festival   London Screenwriters Festival Sunday, September 4   Venice International Film Festival   Tellurid

Check out Filmmaker James Cawley 's review of some Zacuto Gear (including the Cinema Recoil Rig, Gratical HD and more).

Here's an excerpt of some advice I posted on Avvo , recently, in response to a filmmaker asking whether they should form a production company or continue working under their own name as a sole proprietor. It seems like a no-brainer and that the answer is yes but I would only say yes, it's worth the time and money if it meets your goals. Check it out: Basically, whether to form a business entity like an LLC, partnership or corporation or remain as a sole proprietor (which is what you are when you do business "just as yourself") comes down to what kind of goals your production is trying to meet.  You should form an LLC, partnership or corporation if your goals are any or all of the following:  1. raise funds from investors,  2. hire a team of independent contractors or employees,  3. work with business partners and co-producers, writers and directors,  4. avoid risky liabilities that can personally bankrupt you (especially if you are shooting a picture with actio

Original Title:  Highly prominent product placements tend to benefit from 3D movies, while placements with low prominence lose out   The results, recently published in the journal  Media Psychology , are based on two studies, which investigated product placements in two Hollywood movies. Volunteers watched the Hollywood movies as either a 2D, a 3D, or a 4D version (the 3D movie with added scent). Researchers subsequently recorded the extent to which the volunteers were able to recall and recognize the brands placed in the movies. In doing so, they distinguished between products placed in a prominent and those placed in a subtle manner. Ralf Terlutter (Department of Marketing and International Management at the Alpen-Adria-Universität, AAU), who conducted the studies together with his AAU colleagues Sandra Diehl und Isabell Koinig (Department of Media and Communications Science), as well as Martin K.J. Waiguny (IMC Krems), elaborates: "Our results indicate that those comp

RIP to the legendary Iranian filmmaker, Abbas Kiarostami . I can only think of two ways to honor the man; by watching his films and studying his filmmaking philosophy and methods. Here are some of his movies that I recommend: Taste of Cherry , Close-up , and The Wind Will Carry Us . In the meantime, here's a quick glimpse into Kiarostami's filmmaking philosophy and methods courtesy of Martin Snyders' article, " Here’s What It’s Like to Make A Short Film with Abbas Kiarostami in 10 Days ": After graduating from Columbia University and toiling for years as a screenwriter, I finally made my feature film debut in 2013 with an independent, romantic comedy called "Missed Connections." The film won multiple audience awards at festivals, reached number one on iTunes’ independent sales charts and The Playlist  even suggested  me as a "filmmaker to keep an eye on." Things were looking up. I went to Hollywood, represented by a major talent a

A snapshot of what these 2015 low-budget films did to make a profit. Deadline just published a good article with breakdowns of the numbers of 5 "small" films (by Hollywood standards) that had big profits . I was curious to probe a bit more into why these films were able to make a profit and came across a couple of recurring themes which I elaborate on in the FILM STRATEGY TAKEAWAY : their use of the horror genre, that the films are based on a well-known novel or sequel, their exploitation of production incentives, their release on a day with no competition and more. Check it out: +++++++ Each year when Deadline runs its film profitability countdown , readers understandably ask about wildly profitable films, usually genre pictures, that don’t merit inclusion on the basis of highest domestic gross. But that doesn’t mean these films don’t tell compelling stories in their own right. So this time, we included snapshots of five overachieving pictures. The final four film