Filmmakers always want to know what goes down at the American Film Market. As I probably mentioned a few times, Death Grip attended AFM in 2011, and while the price of admission was steep, the learning experience more than paid for it. Stacey Parks of Film Specific recently interviewed us for her latest case study on AFM, and Death Grip‘s producer and co-star Rebecca Ahn gave a lot of insight into the current film market and how it impacts independent action films.
Today I’m going to introduce you to Rebecca Ahn and Eric Jacobus whom I worked with as private clients on their film Death Grip. As you’ll see, even though Death Grip wasn’t finished by the time AFM rolled around, Rebecca and Eric decided to make the trip anyway (from San Francisco where they’re based) and see if they could start drumming up interest for their film.
Every year, hundreds of filmmakers show up on the AFM doorsteps with films in the post production stage in hopes of finding distribution interest for their films. But where I see most filmmakers fail is when they show up grossly unprepared – without the proper presentation materials and without any meetings set up… and as a result, most of them go home frustrated.
In this case study, you’ll see how Rebecca and Eric did things a bit differently by going in prepared…yet learned some very valuable lessons of what they could have even done better.
Enter Rebecca and Eric…
What is the name and log line of your film?
Death Grip
An Action Kickback film by Eric Jacobus, which takes Kenny Zemacus and his autistic brother Mark deep into the deadly world of the mysterious Coin of Judas and the murderous cult that will stop at nothing to get their hands on it.
What is the website for your film (if you have one)?
What is the budget (or budget range) of your film?
In the end, we will have spent just over $100,000 to produce Death Grip.
What stage were you at with your film for AFM and what was your strategy and overall goal going in?
We were in post-production on Death Grip when we attended AFM last year, so our goal going in was to find either interested distributors or at least a reputable sales agent to take on our film.
What did you do most to prepare for AFM?
We did our research and identified several distributors and sales agents we thought would be a good fit for us and our film, then reached out and set up several meetings throughout the market. We then worked hard to put together a solid sales one-sheet with great cover art on one side, and cast & other important production info on the other. Since Death Grip was still in post-production, we didn’t have a final screener to take with us. So instead we took DVDs with the trailer and a few rough scenes from the film to show prospective distributors.
What were some of the obstacles you encountered (if any) and how did you overcome them?
Our biggest obstacles came from the marketability and timing of our film. While the sales agents we met with at AFM seemed satisfied with our content, they continually expressed concern over whether we had adequate name talent. We hadn’t fully understood how singularly essential this one element can be to distributors, pretty much above all others, and this limited our ability to connect with some of the more established sales agents. In addition to that, we went to AFM while still in the early stages of post-production on Death Grip, which meant we didn’t have a polished looking product and our trailer wasn’t as strong as it could have been. This also hurt us in our AFM meetings, and though some sales agents were able to see past that to the film’s potential, we definitely would have made a stronger impression if we’d brought a completed screener, or at least an extremely solid trailer.
What were some of your biggest mistakes or wastes of time with regards to AFM?
Going into AFM, we were still a bit fuzzy on the difference between a distributor and a sales agent. We realize now, looking back, that it was not as realistic to pursue deals directly from distributors there (especially not foreign) given the package of our particular film. So I do feel we wasted some of our time in contacting and pursuing distributors who would rarely give a film of our level their precious time. In the end, our conversations with sales agents were far more rewarding than those with direct distributors, so that is an area where we could have used our time more wisely.
What resources or tools did you find most helpful in preparing for and attending AFM?
FilmSpecific.com was by far the most valuable resource for our AFM preparation, as well as for producing Death Grip in general. We were also fortunate to work with Stacey Parks on our marketing and distribution strategy. Beyond that, we just researched every site and resource on film markets and distribution we could find, and talked to everyone we knew who had been through it before. So we felt very well prepared going into AFM.
What was the outcome of your trip to AFM and did you accomplish your goals?
At the end of the market, we left with a good number of positive leads from sales agents, which later developed into several full offers. Our hard work at AFM was rewarded, and we were able to compare and negotiate these offers and select the very best one for us. So in the end, we did indeed accomplish our goal, and now have our ideal sales agent WonderPhil representing Death Grip.
If you had to do it all over again what would you do differently?
How you brand yourself is just as important as how you brand your film. Although we had prepared solid materials for our film, we didn’t focus enough on materials about ourselves – namely our business cards. We did have some on us, but they were hard to read and a bit outdated, since we made them for an older company. I sometimes wonder if we would have had more success had we brought more professional business cards with our current production company and roles.
Armed with these, we also might have had more courage to make more frequent introductions. We didn’t quite realize the importance of impromptu introductions until the end of the market, and therefore missed out on a good many additional opportunities. We had our schedule of meetings, but didn’t take as much initiative between them to pop in and introduce ourselves at other companies we hadn’t reached out to yet, but were still a potentially good fit. The few times we did do this, it lead to something more. So we left feeling like we could have done more there.
What are your next steps from here?
We are proud to say we finally released Death Grip a few weeks ago with our own theatrical premiere, which was extremely well received and has already been earning numerous glowing reviews (http://deathgripmovie.com/press). It is also now available on DVD and Blu-Ray at our online store (http://stuntpeoplestore.bigcartel.com), where sales have really been taking off! So next, we will be working on building up more press, trying to get into a film festival or two, and helping our sales agent sell rights to more territories around the world. At the same time, we are also developing our next two projects, which we’ve gotten to the script stage and are now packaging with financing and cast. So it’s onward and upward for us!