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?
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!
Fugu Talk saw our preview at Comic-Con 2012:
There was one Donny Yuen film, some awful stuff that ranged from fun to unwatchable, and a really impressive indie effort from The Stunt People that reminded me of the old Jackie Chan films, both in terms of action and physical humor. I liked the clips so much that I searched out their booth on the exhibit floor (turns out they were adjacent to Troma) to buy the DVD, which has a lot of interesting and inspiring special feature bits on the history of The Stunt People and the development of Death Grip (the star/writer spent six years on the script!)
Martial Arts Movie Junkie Kelly Miller:
The fights are fast and intense. I absolutely loved some of the longer takes and little stunts that were sprinkled in. What make the fights truly shine, though, are the situations that are created. Each fight has its own personality and feel, and it’s apparent that a lot of thought went into these. One of my favorite fights is one that takes the term “toilet humor” to a whole new level. If you like fights, you won’t be disappointed.
UMUSTBEBORED – DEATH GRIP: A must watch for kung-fu movie lovers!
The fights are phenomenal. Eric Jacobus not only stars but also directs DEATH GRIP. He and his Stunt People crew understand how to perfectly shoot and execute a fighting scene. These guys have it down to a science. There are no wires or fast edits mixed with excessive shaky cam. We see everything in sometimes long continuous takes. The fights are fast and they leave a lasting impact. You can tell what is happening. … They are way better than the fights you would see in a Bourne film or any other big budgeted mainstream film.
Sound good? Buy the DVD or Blu-Ray (both are all-region!) today. Domestic orders ship almost daily, and international orders (we ship everywhere) ship twice a week. All funds go straight back to us to pay for making the film. This way, we can get started on our next projects that are currently underway.
DEATH GRIP: A must watch for kung-fu movie lovers!
This latest offering from Eric Jacobus and The Stunt People is nothing short of amazing, and the groundwork laid by their previous films is finally bearing fruit. Eric has grown and matured as a filmmaker, writer, and actor, and the entire production is first rate. Excellent cinematography and a complimentary musical score mask the film’s impressively lean $100k budget, and you can tell that all of the money is on the screen. Nearly everything is shot in camera in real time, which adds an extra sense of authenticity to the production. The acting is surprisingly good, and bolstered by a script that allows for character development through body language and minimal exposition. And being that the cast is made up almost entirely of stunt people, body language is what they excel at. The fight scenes in the film are excellently realized and hard hitting, evoking the look and feel of classic Hong Kong action cinema. Shot in chronological order one angle at a time, the rhythm and cadence are perfect and the give-and-take progression creates an excellent sense of dramatic tension. The speed, precision, and complexity of the knife fight between Eric and Alvin Hsing is so intense that you almost wish it were slowed down a bit so you could see more of the individual moves. The final showdown between Eric and Johnny Yong Bosch is also extremely satisfying for those who appreciate the skill and craft of thoughtful fight choreography and editing.
Jackie Chan’s “Heart Of Dragon” (1985) immediately comes to mind when watching the film, but it wisely stays away from the melodrama and overwrought sentimentality that weighed that movie down. While the story maintains an appropriately sober and serious tone throughout, brief moments of humor help to alleviate the tension here and there, including a wonderfully realized showdown involving an auto-flush toilet. What’s brilliant about this sequence is that it’s not treated as a gag, but rather an unusual (and absurd) situation that requires a unique solution (another nod to Chan’s genius). The minimalistic dialog does an excellent job of establishing the characters, keeping them self consistent, and maintaining a good pace, but at the expense of not fleshing out the larger world. You leave the film wanting to know more, which I suppose is ultimately a very good thing. Especially in American films, which nearly always tend to divulge too much information. … Definitely worth checking out if you enjoy and appreciate the cinematic flair of 1980’s action cinema.
Dan’s Movie Report … uh, reports:
Leave it to Eric Jacobus and his fantastic Stunt People crew to come up with a highly original film concept, the theft of a magical coin with a biblical connection, and wrap it around the backdrop of some of the finest fight sequences ever recorded.
… [A]ll of the actors are rather intense and obviously Eric took time with the actors and himself to get the facial and body actions to belay their respective characters’ emotions.
The plot is rather complex for a lower budget film, and requires careful attention from the viewer, there are religious and demonic undertones, but by the end of the film things become quite clear. Follow the coin, and see where it goes!
I hate when reviewers spoil the plot of films, and the events occur in Death Grip, should not be revealed, but I will reveal the action. Eric and his crew have made an epic action film, the fights are stunning, well lit and expertly filmed.
I was almost immediately pulled into the story. The film opens with a serious scene with Kenny (Eric Jacobus) about to get his brother Mark out of a mental institution. Nathan Hoskins plays the roll of Mark and was nothing short of amazing. They both tell a story with their facial expressions and simple, not over the top dialogue. Which I feel can be a fatal flaw in low budget films with untrained actors.
There is immediate character investment with Mark and Kenny and their relationship and there is a desire to learn what happened to them to bring them to this point in time. Along with a great score which reached into your heart during the serious moments and made you laugh at the jokes, it seems like they had re-written the book on action movies with a good story.
The film continued to amaze with great locations, extremely well choreographed fight scenes, heart stopping action and several well timed laughs.
The end fight with Johnny Yong Bosch and Eric Jacobus was memorable, but more importantly it kept you on the edge of your seat. It was fast, well thought out and well shot. It is what we have come to expect from The Stunt People, yet so much more. I wanted to include, that what you seen on screen for all of their fight scenes isn’t sped up or cut and reassembled. It’s shot in sequence at speed with a single camera which is very impressive.
Lastly, Fictonia raves:
Holy crap, there is so much I can say here. The fighting was intense and exciting, and genuinely felt real.
The cinematography was beautiful and the picture was sharp and clear, with fantastic use of color and lighting.
The sets and environments were interesting and it was fun and satisfying watching them get destroyed over the course of the many fights.
The story was engaging, and easily bounced around between being funny, touching, dramatic, and exciting.
The acting. Holy crap, the acting. I never thought I would say this about a Stunt People movie, but the acting was fantastic. Nathan Hoskins in particular had an amazing performance as Mark, the main character’s developmentally disabled brother. With only a few minor exceptions, the entire cast did a fantastic job bringing their characters to life.
… It feels like a long time since I’ve had this much fun watching a movie. Death Grip was genuine entertainment from start to finish, and one I will be watching over and over. It’s exciting, it’s brutal, it’s dramatic, and it’s really, really funny. But most of all, it’s an engaging story with characters you actually care about, which is something you don’t often get to say about an action movie. The DVD and Blu Ray are on sale now in their store, and you should go buy it. Seriously. Right now. Go.
Scott Brown of the Shortz! Film Fest comments:
If you are into martial arts action flicks, this one should be on your list of “must sees” Eric Jacobus and The Stunt People have reached a new pinnacle that all other independent action flicks will now be forced to live up to.
Often I’m asked, “What can we do to help your films?” The best thing you can do is buy Death Grip (Blu Ray also available) and write a review on your blog or whatever your preferred online publishing tool is. If you write for a print magazine or a major website, contact me for a reviewer’s screener copy. You can also review it at the Death Grip IMDB page. I’d link it directly, but if a bunch of reviews come directly from my blog to the IMDB page, the review aggregator will suspect foul play and won’t count the reviews, so just go to IMDB.com and search “death grip”.
Thanks everyone for the glowing reviews. These kinds of things really help us jump into the next one.
The premiere for Death Grip on June 30th, 2012 was a night I’ll never forget. Two years of solid labor suddenly morphed into something real and alive. The audience reaction was incredible. They got every joke (and a bunch of others, which I didn’t expect), screamed at the gore, and cheered after every fight scene. They ate up the DVDs and shirts, people said they wanted to invest, and we’re expecting a bunch of reviews to flow in soon.
And now I’d like to extend a thank you to everyone for making Death Grip happen.
Cast – The overwhelming response was that while the action still beat everyone’s expectations, the acting was the ultimate surprise. The most frequent comment I received was, “I came in expecting just some action movie, but it was like a real movie.” The cast did an incredible job at taking Death Grip far and above the schlocky action film genre and into a new ballpark. Johnny, Nathan, Chelsea, Shaun, Amberly, LaChe, Cynthia, and Sean, I wish you could have made it for the show, but due to a combination of prior engagements and leaky car batteries weren’t able to attend, and the audience missed you all.
Crew – The audience was convinced that Death Grip was made for a few million dollars. This is largely thanks to the efforts of our amazing crew that squeezed every bit of production value out of our budget as they could thanks to their superb grasp of the art form. Drew Daniels (DP), Brett Perry (composer), Brad Wagner (sound recordist), Phil Gorn (sales agent), Justine Jacob (legal), and Matteo Grilli (sound designer and mixer), we missed you all.
Donors – The overwhelming support of our donors helped us meet our budgetary needs and showed us that there’s plenty of hope for the independent genre film. Thank you all. We’ll be sending out donor packages this week, with a short delay for those who requested the Blu Ray upgrade.
Family – Our families gave us extra support when we needed it the most. From financial help to location services, the Jacobus, DeGregorio, and Ahn families were invaluable to the production.
Fans – To readers of this blog, members of The Stunt People Forum who have pushed me since day one, the Facebook community, our Press contacts, and all the other forums and blogs out there putting the word out, we couldn’t make a splash without your support. Many of you came from a long distance to see the show and it as a pleasure to see you all!
Friends – To all the good people who lent support whenever it was needed, from handing out fliers to pushing us on social networks to just bringing people to the show, we thank you!
Investors – To the executive producers who truly believed the independent action film could hold its own in the market, we hope (and expect) to make it worth your while in spades, setting a precedent with Death Grip.
Local Businesses – Flips N Flops Gymnastics, Tiger Claw, Arthur Freyer Lighting, Jonah Hendrickson, Petaluma Historical Museum, The Seasteading Institute, Ongaro & Sons, Sunnyvale Presbyterian Church, Yusan Sushi, Arizmendi Bakery, Historic Bal Theatre, and Victory Warehouse were all instrumental in the making of this film. We feel an even stronger sense of community after your help, so thank you for making the Bay Area the perfect location for Death Grip.
Thanks to all of you, Death Grip is sure to make an impact. Now let’s see some reviews 😀
This weekend I spent about 48 hours finishing up the Death Grip behind-the-scenes featurette The Life of Death Grip, which clocked in at 75 minutes. I also finished authoring the DVD and the Blu Ray masters and shipped them off to Signature Media this morning. If all goes as planned, we’ll have 2000 DVDs and 1000 Blu Rays to sell at our June 30th Theatrical Premiere. We’ll also have shirts. And if you’re in California, please come to the premiere. You’ll like this film, I promise.
I made the cover art after I finished the BD and DVD masters, so I ended up squeezing more onto the discs than it actually says on the artwork itself! So here’s an updated list of special features:
Blu-Ray: Even though the printing company will only burn a single-layer Blu Ray disc, which limited us to about 2 hours of videos, this version still has its share of special features and I loaded it to the brim, utilizing almost all of the disc. All special features are in 1080p HD.
- Full film in 1080p HD
- Commentary with me and producer/co-star Rebecca Ahn
- The Compound – a 13-minute short action film, from which we cut the old teaser for our IndieGOGO campaign to raise funds early on
- A deleted fight with Johnny Yong Bosch, which was part of our IndieGOGO campaign
- A deleted fight with Yun, which was reshot in favor of a longer fight
- Bullet Time
- Outtake Reel – 14 minutes of outtakes
- Paper Pushers short film
- 2 small Easter eggs
DVD: This one’s a dual-layer disc, meaning it holds twice as much information as a regular DVD, but like any DVD it’s in standard resolution instead of the ultra-crisp 1080p you get in the Blu-Ray version. I used 5mbps VBR 2-pass encoding, and the film codec we shot on has a lot of bit depth, so it still looks damned good. I loaded this disc to the brim and had almost no space to spare from the 8.5 gigabytes available.
- The Life of Death Grip – This will be the reason people might choose the DVD over or in addition to the Blu Ray. It’s a 75-minute behind the scenes look at all aspects ofDeath Grip, from casting Johnny Yong Bosch to budgeting, location scouting, and tons of making-of footage for the fight scenes in the film. Includes interviews with Johnny and two more industry pros, J. J. Perry and Shahar Sorek.
- The Compound (same as above)
- Outtakes (same as above)
- The Art of Throwing – All the throwing outtakes from the film
- Commentary with me and Rebecca (same as above)
- Deleted fight with Johnny (same as above)
- Deleted fight with Yun (same as above)
- Deleted scene at a sushi restaurant
- Deleted scene with Mark
- Deleted segment of the end fight, which made Kenny out to be a little too ruthless
- Deleted segment of the care home, which gives away too much of the film
- Alternate car scene, which was funnier than we wanted at that point in the movie
- Paper Pushers
- Easter egg
Now we wait for the printers to get the shrink-wrapped units to us while we make the soundtrack CD for the donors, print Death Grip shirts, print new retro SP shirts (the “Our Pain Is Your Pleasure” ones), and attempt to get 800 people to our premiere.
The DVDs and BDs will be for sale at The Stunt People Store on or around July 1st.
Color: 98% – Finish on Friday.
Sound: 95% – Finish next week.
Behind the scenes featurette: 40%. Finish by June 13th. This is taking the bulk of my time right now.
DVD and BD authoring: 10% (art only). Finish by June 15th.
Commentary: 0%, but will only take a total of 4 hours. I’d like to do a more technical track with Rebecca while Drew is in town, and the track with my mom should be done in 10 days or so. I promise it will be hilarious.
Other special features: 90%. Just need to tweak the outtakes and export some deleted scenes. Original compound scene should be a nice feature, since it’s a big action scene that’s completely different from the final version. Plus there’s the extra fight with Johnny Yong Bosch that’s not in the final film.
There’s a chance the Blu-Ray version will have fewer features since it’s going to be single-layer, with the upside being it’ll have a gorgeous print of Death Grip. I’ll favor image quality over special features for that version. If you’re a special features junkie, the dual-layer DVD will be a good option. Or you can buy both!
I’ve been knee-deep in editing the Death Grip making-of video. Like the Tour of Contour video, I opted for talking heads-style interviews with cutaways to behind-the-scenes video and film footage.
While shooting Death Grip I had at least one extra video camera on hand, one that was easy to use. We used a Flip Video camera, Flip HD, whoever’s DSLR we had that day, even crappy cell phone cameras. Some days Alex Ng would do very intense behind-the-scenes shooting, but when he wasn’t there I would just entrust someone with the extra camera to shoot stuff. We’ve done all the talking heads interviews, including one with J.J. Perry, so what I’ve got is something like 40 hours of footage. So I’m basically editing another feature-length film!
The first edit is going to be long, probably on the order of 3 hours in length, and I’ll pare it down to an hour or so. Then I’ll do some pop-up-video-style titles, overlay tons of behind the scenes and film footage, and package the thing up in time to get the DVD and BD authored, sent to press, and ready to sell by the June 30th premiere. The next month is going to be insane. Maybe I’ll take an actual vacation after that.
Here are a couple BTS videos I exported last night while taking a break from editing. That’s right, I consider exporting and uploading videos a “break”.
Painting the “Lair”, Benny Hill-style.
A stuntman is always a stuntman, even in his sleep.
Tuesday, May 22 – Our time in Italy was short but sweet, punctuated with our sound designer Matteo and a stunt team called D-Unit. We went into the fashion capital of Milano, where we went to the only coffee place that resembled Starbucks called Arnold Coffee. Italy is the only European country that doesn’t have Starbucks, so instead they have Arnold Coffee, where they sell huge drinks and pancakes and all that crap. Like France, Italy doesn’t seem to offer “large” coffee sizes, or any sizes for that matter, but rather those tiny cups you drink at the bar, so it was a relief for two Americans to get a big drink for once.
The galleria was massive, with chairs lining the sides that cost 20 € to sit in. The whole place was a tourist trap, a gorgeous tourist trap, and we got out before the twentieth Senegalian tried to sell us another bracelet. There was the Duomo, a massive Catholic church which was like a step up from a “Cathedral”. The outside was tiled entirely with marble, which is incredible if you think about how much a marble countertop costs these days. Police and a Father were teamed up at the front door, making sure nobody desecrated the Duomo by wearing revealing clothes inside. One woman was wearing a low tanktop, and the father shook his head and cast her away. The inside was lined with gigantic paintings and confession booths, some multilingual, carved from wood. Something like the Duomo simply couldn’t be built today. America never even had these kinds of things because it just wasn’t around before 300 years ago. And it never will. So I did what any intelligent person would do and took a bunch of pictures.
Matteo talked about Apple stores in Milan. I brought it up because it’s a hip town, but I didn’t see one. Apparently the nearest Apple store is dozens of miles away, they just don’t have many of them, but when the iPad 3 came out, eager artists and students all flocked to that Apple store to buy it. A critical thinking citizen said, “But the other electronics shops all have it too, and there’s no line! Let’s go there!” and the people responded, “We want to get it in the true Apple way!” Like Americans, Italians crave an experience, however banal it may be. They also seek the prestige not just of owning an Apple product, of but associating with other Apple customers, lined up for hours with equally fanatical consumers to get the latest and coolest. Buckingham said that modern audiences don’t just want what they pay for now. It’s all about the “added experience”. Anything a company can do, be they a production company or an electronics manufacturer, to give the audience more than just a product, makes them that much more marketable. Plus, Apple doesn’t just sell a product, they sell “creativity”. If you buy Apple, you’re buying into a cool marketplace that sets you apart. If as filmmakers we can tap into that extra selling point, in the form of a “movement” on top of the film’s basic premise, it’ll really set us apart. Seems to work for Apple, even when there are almost no Apple stores.
After a lunch of mozzerella and prociutto, we passed through a castle, which was another tourist trap. We made our way to Monza to meet with Loris Rippamonti of D-Unit. There were signs for Monza everywhere, so we assumed it was close. Big mistake. We ended up on the freeway, walking for what felt like miles trying to navigate the Italian bus system. My broken Italian got us to a train, which turned out not to go to Monza anyway. Loris told us where to find a McDonald’s, where we waited for him. McDonald’s in Italy, obviously, looks nothing like a McDonald’s in Oakland. There aren’t even trash cans in the bathroom. I bought another tiny but super-strong coffee (at this point I had really started to hate these) and Loris arrived.
It felt as if I had met a long-lost brother. Loris, Mirco, and Ivan of D-Unit have been taking gigs in Italy for years, trying to break into the action scene like any of us, except of course with the added disadvantage that the independent film market in Italy is skewed toward certain films that get government funding, and D-Unit, God bless them, don’t turn to dramas and documentaries to take advantage of that. They’re action people, and Rebecca and I joined them for their stunt practice session at a big gym in Monza. Loris gave us some D-Unit shirts, we practiced tricks and taught each other new stuff that I’m excited to take back with me to SP practice, and shot a little fight scene, which I’ll post here soon along with photos.
At a pub we got a better handle on D-Unit’s situation in Italy. Apparently the Italian action film market is embarrassingly bad, and I started feeling guilty for my frequent thrashing of America’s market. Differing standards aside, they are face with an action film market that, like all the others, requires a name actor. They have the writing, directing, editing, and action, all key elements of the Action Kickback model, but they don’t have the name, which means they don’t have the complete marketing parkage, therefore they don’t have the funding. It’s the catch-22 we all know: to get a star, you need money, and to get money, you need a star. Meanwhile they all keep their day jobs and do stunt gigs, the latest of which had fallen through without their even being told. Hopefully on one of these gigs they can meet an actor who can bring them some financing, and Loris can become the Luc Besson of Italy.
We parted ways that night after they drove us back to Matteo’s. The next day was spent entirely on the train, traveling back to Cannes, where we’ll spend one more day checking out what we missed at the market and maybe catch another screening.
Visit http://tinyurl.com/DeathGripMoviePremiere to purchase tickets for the Death Grip Theatrical Premiere on Saturday, June 30 at 7:00 PM at the Bal Theatre in San Leandro. Tickets are $10 each and can be held for you at will call.
Hope to see you there!