KISS FILMS 💋’s Post

I’ve analyzed around 50 distribution reports from producers, and the findings are eye-opening: the average spent on actual advertising for these indie films was just $2,200 per film. Let me be clear, $2,200 won’t move the needle much toward profitability for a movie. If you want to avoid leaving your investors high and dry, you’d better plan to have your own marketing budget and plan in place.

This is very important data. Filmmakers need to take control of their film's destiny. Marketing and distribution need to be built into your budgets from the outset. Your movie isn't finished until somebody sees it. Filmmakers need to take as much care and concern with their fim's ultimate destination as they do with its creation. That is why my partners Jackie Brenneman and John Fithian and I are building an online marketplace and digital and data tools to connect filmmakers and theaters directly so filmmakers can take control over the distribution and marketing of their films. Their are no saviors, but there is hope. Transparency, data, connection and cooperation will let filmmakers and theaters control their own futures.

Lately, I've been in a lot of discussions about who should and shouldn't receive a PRODUCER credit on a movie. In my opinion, it's very simple, the person who actually did the job.So what does a Producer actually do? Here's an answer from the article I attached. "Identify and develop material, they nurture it, fine tune it, package it, find the money to make it, find the crew to execute it and the cast to act in it; they act as diplomats and peacekeepers between the “money” and the “art,” and they never let go from the day the lights are turned on to the day they’re turned off. " I completely agree with this, but I could also add at least twenty other things to this list, such as sitting on the set, overseeing budgets/ daily production, speaking with actors, giving notes, and even cleaning up trash, just to name a few. Yet, sadly producer credits are given out left and right to people who aren't doing any of these things. Yes, I completely understand that a lot of times it can be used as a negotiating tactic to get a certain actor attached. However, the truth is, it truly takes away from the person or persons who did the work. I'm curious what others think. https://lnkd.in/gwn2Qej3

The truth of the matter is... Bots don't watch films on Tubi folks. 1 second & 3 second views for your "boosting" dollars on Facebook, how are you going to get someone to buy your work if they don't know about. Horror filmmakers are realizing they've been scammed by social media advertising, they've been burned, they've been shut down by arbitrary censorship policies that HATE horror films... So.... I would advise artists to get out to shows, to advertise where they can show their uncut trailers without shadow banning, and yes... Advertise on American Horrors, the channel that has an activated WORLDWIDE audience of horror fans who actually buy products, who hunt down the films that excite them, who purchase & read books, comics, music, collectibles... DM me for rates, we're working WITH our advertisers instead of preying upon them & lying to them...

How Did Two Films Get Produced with Little Budgets? (7 Guidelines for Growth) I grew from short films to theatrical releases by following these 7 guidelines 1. Produce films using tech you have access to now.     2. The cost can be low, and you can keep the film quality high.     3. Speaking to the filmmakers and producers that have faith and want to produce a film - it's possible.     4. You have to be, "𝘍𝘢𝘪𝘵𝘩𝘧𝘶𝘭 𝘪𝘯 𝘵𝘩𝘦 𝘓𝘪𝘵𝘵𝘭𝘦, 𝘛𝘰 𝘣𝘦 𝘍𝘢𝘪𝘵𝘩𝘧𝘶𝘭 𝘖𝘷𝘦𝘳 𝘔𝘶𝘤𝘩"(and we hear this time and time again, right?)     5. Do what you DON'T want to do RIGHT now. (Unreliable doing small things- who will trust you over big goals?)     6. Take steps to create with what you have, because it's a building block.     7. Decision makers are watching you, with growth you'll be trustworthy - you'll trust yourself more, and so will others. (Confidence and competence grows through action, inaction breeds doubt) -- Remember, These Two Films Produced with Low Budgets? Film 1) Super Size Me (2004) Budget: Around $65,000. While examining the influence of the fast food industry, Morgan Spurlock personally explores the consequences on his health of a diet of solely McDonald's food for one month Result: Grossing $22.2 Million at the box office worldwide. -- Film 2) Spellbound (2002) Budget: Maxed our 14 Credit Cards (according to NPR) Spellbound follows eight teenagers on their quest to win the 1999 National Spelling Bee. Result: Gross $7.4Million Both of these films went on to secure distribution deals from streaming platforms But…. The industry is changing. Do you think low budget films under $250k can create the same box office results today?

How can you successfully develop & pitch long-form Brand Entertainment? ⚡ With the Producer Playbook: https://lnkd.in/g7QYAgnP #brandentertainment #tvdevelopment #filmdevelopment #producerplaybook #filmproduction #tvproduction #indieproduction #indiefilm #independent #productioncompany

We’ve all seen it a gazillion times 🤦♂️. Agency’s got a film, and boom—they blast it to every production house in their contacts list like they’re handing out free candy 🍬. The result? The same directors being pitched by almost all the production houses. Chaos ensues. Here’s the tea: The director will stick with whichever producer hits them up first. So, if a producer is stuck in a meeting, on a flight ✈️, or in a music session 🎵, they might miss out on the job entirely. And what happens next? Drama. The agency doesn’t even vibe with the production house that got the gig, and now there’s an awkward tug-of-war over the director. Messy, right? But wait, there’s more! 😩 If three producers are asking the same director to work on the same project, that director’s price just went up 🚀. Negotiation power? Gone. Agency’s left stuck working with a producer they’re meh about. The Fix? Simple AF: ✅ Step 1: Call only 3 production houses. Give them a heads-up like, “Yo fam, script’s landing tomorrow, be ready 👀.” ✅ Step 2: Pick producers you actually trust to deliver. No wildcards, please. If none of those three clicks, cool—call up 3 more, but be transparent. Tell them which directors you’ve already got so they don’t pitch the same ones and waste everyone’s time ⏳. And if you like the directors from the first round but they’re a lil pricey 💰, work with those producers to negotiate the cost down. Don’t go shopping for a cheaper producer for the same director—it’s shady AF 🕵️♂️. If someone says they’ll do it cheaper with the same director and crew, spoiler alert: it’s probably too good to be true. _____________________________________________________________________________ Tagging for reach. Will remove later :) Nabil Kureshi Jay Gaikwad Jeet kalra Dawa Lama Akshay Multani Akshay kamble Dhruti Ashar SUGATO ROY Shilpi Tyagi Ashish Singh Nandal Irfan Bukhari Taj Naqvi Chitiz Shandilya Madhuri Joshi Mansoor Akhtar Rahul kulkarni Revati Ahuja Jiggy Maru

Hollywood execs are wrapping up their year, and the window for “winter reading” submissions is closing. If you’ve got a script, now’s the time to get it into the pipeline. Here’s some areas for feature films producers want: 1) High-Concept Horror – Low cost, huge upside. Think the next “Talk To Me” or “Barbarian.” These films travel well overseas, aren’t cast-dependent, and offer an extremely attractive risk/reward ratio. 2) High-Concept Comedy – Audiences want something fresh, inventive, and escapist. If it can stand out in the pitch room, it can stand out in the marketplace. 3) Holiday Movies – They may not shoot this winter, but the appetite is there. The industry is feeling festive, so strike now while everyone’s in the holiday mood. 4) Thrillers (Erotic, Psychological, etc.) – Keep it intense, keep it surprising. Thrillers still command attention when they’re cleverly executed and fast-paced. 5) 4-Quadrant Films (e.g., ‘Jumanji’-style adventures) – Content that can captivate a broad audience is always in demand. Studios still want to bet on concepts that people can watch with their fams! —— Need a producer’s eye to refine your script or plan your outreach strategy? I’m here to help. Hit my bio to see if you’re right for a consultation. #hollywood #film #tv #screenplay #writers

"There’s a push for higher-caliber or elevated type of content. It can still be a thriller, but they want known talent or up-and-coming talent, as opposed to the usual characters.” #cannes #filmmarkets #independentfilm #indiefilmmakers #filmproducers #filmdirectors #filmmarketing #filmdistribution #filmfinancing

This is the result of: 1. Bad producers with wrong priorities, unwilling to take a stand & protect the ecosystem that feeds them. 2. Incompetent executives in studios, distribution & marketing who have no clue how to build a business model for films without a star on the poster, regardless of theatrical or streaming. If only stars sell films, why do we need generously paid marketing and distribution execs? When the odd film with minimal poster value and good quality content succeeds, (e.g. 12th Fail, Laapata Ladies), the decision makers in our industry applaud it and forget it, instead of learning from its success and in turn, taking more creative risks. Put the money in the script, spread the money across the people making the film, instead of concentrating the budget on the star. https://lnkd.in/gWEs2C4S