News Out of CES that you should care about...

Do any of you guys give a shit about CES?  If you don't, you really should...  and if you don't know what it is, it's the Consumer Electronics Show and it was in Las Vegas last week. Lots of celebrities hit it up and all the major technology and media companies make big announcements there.  For example, Tom Hanks was there announcing that he's partnered with Yahoo for his next creative venture, "Electric City".  He even went on to say that while feature films are "supposedly the top of the pyramid", the ecosystem is changing.  Since then, Hulu has announced that it's developing a series for online distribution, Netflix is already in the game with it's "Arrested Development" reboot and other big time online projects are popping up.  Online, as a distribution network, is just heating up... and I'm going to do a post on that soon.  Until then, there was some other news out of CES that I found interesting and it has to do with Ultra Violet and Blu-ray.

Everyone knows that the disc format is dying, right?  It's VHS, Beta and 8 tracks all over again, isn't it?  Well, apparently, Blu-ray boosted Hollywood's home video business in 2011, growing 20% and topping $2billion in sales.  That's pretty big news, considering that everyone keeps saying that the home entertainment business is in the dumper.  Sure, overall spending was down, but only slightly... 2%.  That's a far cry from what the studios would have you believe.  So, is home entertainment dead or is it just changing? This is interesting for us indie filmmakers because the theatrical market isn't an option for us... Online isn't going to be a viable option for at least a few years and with the DVD and home entertainment market dying, where are we supposed to turn?  Here's the thing...  I'd argue that a lot of Americans still put a disc into a player to watch movies and aren't going to stop soon... way more than you think, and that's good news for us.  Variety did an article on all the numbers, you can find that here.

The other thing that I found interesting, which they talked a lot about at CES, is Ultra Violet.  Have you heard of this?  Basically, there's a consortium of 70 businesses, called the Digital Entertainment Content Ecosystem, that back and are connected to Ultra Violet.  What is it?  Basically, the idea is, content (films, shows, whatever) is stored in the cloud and once you buy that piece of content, you get access to it on any device that you'd want... forever.  Read this article on CNET to read more about how it works.  What I like about this... and any online distribution format, is that, technically, if it catches on, the barriers for indie filmmakers to distribute their content should lessen.  Imagine being able to upload your film, make up a profile page and then it's up to you to market it.  You just collect on all the people who access it.  Think about what it would mean for the indie film festival market, too...  the future could be very bright.

We've got a few interviews with filmmakers to post this week, so stay tuned for that!

     

Louis CK snubs traditional distribution... and could pave the way for indie filmmakers?

I'm sure most of you know who Louis CK is...  if not, you should look into him.  He's a comedian that started out as a writer, he wrote, directed and produced a few projects, eventually broke out as a comedian, he has his own show on FX, which he created, writes, directs and edits and he's a big draw when he tours.  The show, "Louie", is awesome, by the way.  Anyhow, he's just done something that rattled the cages at a few big media companies... he self-distributed his latest show, "Louis CK - Live At The Beacon Theater", on his own.  It's only available on his site at a cost of $5, worldwide, paid via PayPal and you just download it and it's free of any restrictions.  Burn it to DVD, watch it on your computer, share it, pirate it, whatever... and how did it do?  Well, he gives a statement on his site, which I'll link to here.

This has drummed up a lot of press (CBS, mashable, mediabistro) and rightfully so, this is NOT what the big media companies and major distributors want to see.  However, is it the future of distribution?  Could something like this work for indie horror?  I think so...  In fact, I think this is exactly the direction that indie horror needs to go.  Drop the cost of the product and make it easily accessible, then cut out the middle man.  Less money overall, but a happier consumer and a happy filmmaker. 

Check out what he has to say and let us know what you think.  I think this is revolutionary.

Distribution Problems and Apprehensive Films

I totally forgot to put the Amazon links in with my last post... if you've been scrambling around for the last few days, desperate to find links to those two films... you can relax, I've added them. Now, since we're talking about my last post, I'd like to mention Apprehensive Films, which distributed the film "Colony of the Dark". I was on their site and came across something interesting...

Let's just preface what I found, though. Usually, while I'm perusing the latest indie horror titles, I check out who's distributing. That's partly because I'm interested in the whole distribution angle and partly because I want to pass my findings on to you, my dedicated reader, the indie horror filmmaker.

Maybe I should go back even further... Look, I've said it a thousand times and I'm going to be right... one day. I guess it's kind of like that old saying, even a broken clock is right once a day, but... I think that indie film, especially indie horror, is on the verge of breaking out. And I'll keep saying it until it does. However, there's a couple things that are holding it back, one is distribution and the other is awareness. If I win the lottery... or someone wants to pay me a handsome salary, I would dedicate my days to solving both problems and I could solve them... However, until that time, I'll have to keep my day job and do this on the side - fighting the good fight for indie film, a half hour here... a half hour there. Anyhow, awareness is something that is going to be an issue - how do you differentiate indie horror from mainstream horror and attract a new audience? Indie horror does have a dedicated audience, but right now... supply outweighs demand. There's just too much product. We need to build that audience. As usual, I have ideas on how to do it, but... I'm just a guy with a blog.

Distribution is the other thing. Currently, in most cases, the indie filmmaker is getting screwed by the distributor and if an indie filmmmaker wants to distribute himself, he doesn't have the weight or clout to really be successful. They don't know it, but the way that most distributors work is actually holding back the entire indie horror scene. They need to break out, try new things... what they're doing now isn't helping anything but their coffers. Anyhow, back to Apprehensive Films... when I was reading up on them, I couldn't help but notice a section on their site called "distribution options". So, I checked it out... and they do have a cool spin on it. Basically, they do have the weight and clout to get in to big retailers, but they want you to take on the risk by pressing your own DVD's and, well... paying them. I don't think it's THE answer and I won't get in to why, but I do think it's a good option for those that are having trouble dealing with distributors that don't want their film and don't want to do the hustle of distributing themselves... and, of course, you'll need to have a few extra thousand dollars to burn.

Here's a link to their "distribution options", check it out. It's a good little read, even if you're not currently looking to distribute your film.

Our Changing Industry - Something for Indie Filmmakers to Consider

I was just reading a white paper on something unrelated to indie horror, but it had some pretty startling stats on video content. Now, we all know we're living in a pivotal time in media consumption, but what we don't really know is where it's pivoting to. This white paper got me thinking and maybe some of these stats can light the way and show us something... I'll extract some of the highlights for you.

Overall viewership of traditional television networks, meaning ABC, NBC, FOX, CBS, etc... is down, although there's a 1% overall increase in television viewing. So, that means that people are watching far more cable and specialty programming. Also, time shifted television content via DVR's increased 26% and the consumption of video content via the internet increased by 24%. Now, here's the shocking stat, the consumption of video content via mobile technologies is increasing at a TRIPLE digit rate. According to Youtube, mobile viewership increased 160% from 2008 to 2009. Consider all this and know that, although theatrical revenues are up, theatrical attendance has been flat or declined every year for the last decade...

So, what's all this mean? Well, a lot... and there's a lot of reasons why this is happening. The main reason is, ten or twenty years ago, you, as a viewer, didn't have much choice. You had a handful of TV channels to choose from and they usually just aired your usual TV programming. If you wanted a movie, you went to the theater or you went to Blockbuster to rent one. Video on the internet? What's that? Fast forward to today... you have choice, a lot of it. You can choose what you watch, when you watch it and where you watch it. This creates a fragmented marketplace. There's hundreds of channels to choose from and they air everything from movies on demand to specialty networks to regular programming. Movies are available everywhere and in so many different formats via so many different ways, it's insane - on your phone, on your computer, on your tablet... and then there's there internet, it changed everything. Content doesn't fit a certain mould anymore, it's anything and it's delivered anywhere. The viewer gets to choose now. Not the networks. Not the studios. Not the theater chains. The viewer has the power and when the viewer has the power, things change. So, what's this mean for content creators?

When I say 'content creator', I mean you. We're no longer filmmakers. We're content makers... and our content will be distributed on everything from big screens to handheld mobile devices. Our content won't be defined by time. No more 90 minute features, 22 minute episodic TV. It can be anything and it can be any length. Personally, I think that, for the first time in the history of entertainment, talent will define success. If you make content that people will watch, they'll watch. It's easy to get it out there. Attract enough of an audience and you'll get sponsors, you'll get advertisers, you'll get people to pay and the networks, studios and executives will take notice. It's a revolutionary time and I think we're in the midst of massive change... but that's just me.

So, what do you think? I'm I wrong? Is this just a blip or an anomaly? How's all this going to effect you? ...or is it? How's this going to effect the whole industry? I'd love to hear your thoughts!

Getting Your Film Distributed - A Talk With Trevor Hirsch of Seminal Films

Hey, I know you... you're that indie filmmaker with that idea in your head and you want to get it out, right? Yeah, right now, you're wondering how in God's name you're going to get this thing done. You've come to the realization that there's going to be lot of hurdles between the point where you were drunk at the bar and an idea emerged and the point where you're going to see that idea in a box on a shelf at Blockbuster. Well, look, most hurdles pose questions that are easily answered: where do I get equipment, crew and actors? If you can't answer those questions, just go back to the bar and keep thinking or... drinking, whatever makes you happier. However, some questions aren't that easily answered: how am I going to afford this and how do I get it distributed when it's finished? Well, I can't help with financing, but I can help with distribution... sort of.

In our ongoing quest to bring you as much knowledge about the indie film world as possible, we've been talking with indie filmmakers, producers and distributors and sharing what they've learned with you. Today, we have a great interview with Trevor Hirsch of Seminal Films and if you're the guy that I was talking with in the first paragraph, you're going to want to give this a read. Seminal Films is LA based and they specialize in indie film acquisition and production and they have an exclusive DVD output distribution agreement with Entertainment 1, the world's largest indie CD/DVD distributor. They distribute various genres of films, but horror is one of their key genres, having distributed such indie horror films as "Ninjas vs Zombies", "Clownstrophobia" and "Mutant Vampire Zombies From the Hood". Trevor offers up a great interview and if you're interested in the distribution process from the eyes of the distributor or you're interested in making a film that's more easily acquired, you should give this a read.

Tell us about Seminal Films. How long have you guys been around and what do you guys do?

Seminal Films started in 2009. We are primarily an acquirer and distributor of independent films, with our aim being to maximize viewership of moving pictures and profits for filmmakers. Mathius Mack Gertz, the Vice President of Acquisitions, handles the majority of our film acquisitions and sees them through the entire process from screening the film all the way up until the film’s release. We have a strategic DVD output arrangement with the Entertainment 1, the world’s largest independent DVD/CD distributor in the world. Our films are subsequently released on DVD to a number of different media carrying outlets, and are available on Video On Demand through various internet and television outlets as well.

How about yourself? What got you into film and how did you end up with Seminal Films?

I personally just recently joined Seminal in February after the company relocated from Edmonton Alberta, Canada to its new offices located on The Culver Studios Lot in Culver City, California. I previously attended the University of California at Santa Barbara’s Film and Media Studies Program and worked in various production and development roles within the film and television industries. I now do the marketing and manage Seminal's various site - seminalfilms.com -youtube.com/seminalfilmspresents etc..

What made me want to work within the industry is film’s unique ability to inform, inspire, and entertain in ways no other medium is able to.

Mathius Gertz became Vice President of Acquisitions in 2009. A graduate of the USC School of Cinematic Arts, Mathius has produced a number of films and worked in nearly all aspects of the film industry.

Seminal distributes a wide variety of films, including: documentaries, comedies, dramas, family films, reality and, of course, thriller/horrors. From a financial standpoint, which films do best?

Much is dependent on the quality and marketing of the film. I wouldn't say one genre is vastly different from any other, however the horror genre has produced films for us that meet and in some instances exceed our expectations.

What are the different ways that Seminal acquires films?

We acquire directly from film makers, through sales agents, and in concert with other distributors.

When you're acquiring a film, what qualities are you looking for?

Quality, marketability, Theatrical distribution, a film’s success or entry into various festivals, and recognizable talent.

Briefly take us through the distribution process. You just acquired a low-budget horror, now what?

Our distribution is a hybrid. We collaborate with the film maker to design art work. They will send us screeners to send out to reviewers as well as buyers at Walmart, Blockbuster, Amazon, Netflix, etc.

We will design sell sheets to go in books that are sent to retailers and we will customize marketing to take advantage of psyco-specific niches in the market place. In addition, an on-line campaign will be drawn up and implemented by our IT department. If the film maker is inclined, we will help them do a limited theatrical release as well.

I'd assume that the process of distributing a film differs from genre to genre, talk about the differences in distributing, say... a drama versus a horror?

There are definitely differences in distributing different genres. The horror genre is unique and different from many genres in that it has such a cult following and there is a genuine fanfare amongst those in the horror community. With a drama there is usually more of a focus on who is in the movie, if the acting is solid, if the story comes together, and whether it has had success on the festival circuit. With a horror film, it is more about the film’s take on certain aspects of the horror genre, the aesthetics, its originality, and whether it produces an excitement amongst viewers.

What are some common mistakes that filmmakers make and, if you could pass one piece of advice on to filmmakers, what would that be?

If you want to make a film that is a passion project, don't worry about the distribution. Just make it, do the festival circuit and move on.

However, if your goal is to fill a niche in the marketplace, you would be advised to get advice from a number of people in the industry as to what the market needs. Then write your script and make your film with that in mind. Most people in this business will give nearly anyone fifteen minutes on the phone to help them in their career. You just have to have the confidence to ask. My one piece of advice is that once you find what the market needs and you have the script to fill it and you are putting a budget and funding together, make sure you budget for one or two actors with some marketing potential. Even if you have to raise the budget a little or knock something else out. Retailers want names that people know. It is a whole lot easier to sell a good horror film with Gary Busey in than without. Also, remember that this is a collaborative medium. Don't do everything. The film will probably turn out better if someone other than you shoots it and edits it. Lastly, the best kind of film to do for the home entertainment market is one that is evergreen. family films, Christmas movies and horror films with plots that incorporate Halloween or Valentines Day.

Talk about the state of indie horror. Where is it now and where do you see it going?

I think the state of indie horror is in a great position right now, thanks largely in part to the internet, social networking, and word of mouth within the horror community. People have a fascination and dedication to the horror community that is unlike that of any other genre. What is great for indie horror filmmakers is that it is possible to create great horror films on a limited budget if you are skilled in the filmmaking process and have a great idea.

Talk about the future of Seminal Films, what's your plan over the next few years?

Short term we want to distribute about fifty films a year for the next two or three years and then start making some of our own. We also want very much to put money in our filmmakers pockets. We believe that a hybrid distribution model like ours is the way of the future for indie film, Combining the best of traditional and self distribution models.

B-Side Closes It's Doors - A Tribute To B-Side

When you're an indie filmmaker, just a struggling artist trying to get noticed and make your way in the industry, you tend to see the entertainment world from that perspective. You against all those gatekeepers. However, you need to remember that some of those gatekeepers are struggling, too. In fact, the whole industry is filled with people are struggling. From small studios, to distributors, to festivals and everything in between. The truth is, the power and influence in this industry is held by so few, while the overwhelming majority of people in the industry are longing to move up that industry ladder. With that, I'd like to mourn the passing of indie film distributor, B-Side, who just announced that they'll be shutting their doors on March 1st.

B-Side was founded in 2005 and just had their best year ever, in 2009. That's why it was such a surprise to see them close their doors. They were an indie distribution company, based on leveraging the audiences and the festivals. They powered a lot of the festivals websites and connected audiences and gathered feedback on films. They had over 220 film festival partners, including Sundance, AFI and Fantastic Fest. Their platform created direct connections to audiences and used on-demand technology. They were a full service distribution company and they even provided research and marketing services to filmmakers and other distributors. I watched them closely and, personally, thought that their model could represent a bright future for indie film. So, what happened?

Here's some snippets from their release on the webpage... "On behalf of the entire B-Side team, I (Chris Hyams - B-Side Founder & CEO) am sad to announce that after 5 years in business B-Side is closing its doors on March 1." "In the face of the lingering economic crisis and ongoing upheaval in the film business, our investors decided to stop funding the company. Under extreme time pressure, we were unable to secure alternate financing, and are left with no choice other than to shut down." "I am sad to have reached the end of this chapter, but am incredibly proud of what we've achieved. I am confident that our efforts will have a lasting impact on this business. I am also confident that the B-Side team will bring their expectations to new ventures that will pick up where B-Side is leaving off."

What's the lesson here? Well, I'd like to talk with Chris Hyams and see what he has to say, but... I'd say the lesson is, this is a tough business. It's a tough business to turn a profit in and it's a tough business to try something new in. Also, when you're dealing with smaller, indie companies, you need to remember that they're in the same boat as you. There's a fight going on here and it's not filmmakers versus distributors... it's the indie world versus the studio world and everyone in the indie world, from the filmmakers to the festivals to the distributors, need to help and support each other. Otherwise, we'll be seeing more companies like B-Side close their doors.

It's definitely sad to see them go and if you'd like to check out the B-Side site and read the full release, you can click HERE.

Dead Harvey Nation, I ask you... what do YOU think the future of indie horror distribution will look like?

I'd like to throw something out there to Dead Harvey Nation.

Indie and micro-budget film, especially indie horror, has been much talked about over the last year or so. Most of that talk is thanks to the success of "Paranormal Activity", but that success came in the middle of the worst financial crisis that our generation has ever seen and at a time when all the studios were struggling for revenue. I do think that the big boys are at a point right now where they're willing to look at the indie and micro-budget business model, Paramount's promise to open a micro-budget division is a prime example, but I still don't think they really get it. The problem, as I see it, is that when it comes to low-budget films, the distributors and studios are trying to cram a square peg into a round hole. The problem is, what does that square hole look like... and are they using lube?


The round hole is what Hollywood's been doing forever... sexual innuendo understood and on purpose. You see, to simplify... you make or acquire a film, you market it and then release it into the wild. Aim for theatrical first, then DVD. After that, see if you can't get some revenue from TV or cable or whatever and, after that, it's part of the library. Own content, manage its distribution, try to make as much money as you can at every turn, screw as many people as you can along the way. So, when they deal with indie content, they pick up the rights and throw it into their grinder, which usually means that they barely market it and just throw it out there on DVD. Is that wrong? If it is, why would they think it is? With their existing distribution channels, they can usually turn an easy profit on that, especially since they screwed the desperate filmmaker out of his rights and they paid next to nothing for the content. My point is, I think that a new distribution and monetization system needs to be set up for indie content. Sure, they're turning a profit, but they could be making so much more and they could really create a win-win situation for everybody. Long and short, we need to create that square hole.

Problem is, what's that square hole look like? If we look at the average consumer of indie and micro-budget horror, we can make a few easy assumptions. One - they're horror fans. That means that they probably watch old, new, high-budget and low-budget horror movies, they probably read horror websites and they probably pick up Fangoria or Rue Morgue. Two - they probably spend quite a bit of time online. When you're into a specific niche like indie horror, the web is the best place to find out about new things going on. They probably listen to specific podcasts, read specific blogs and watch online video. Those are the easy assumptions, now let's make some more difficult ones. Three - I'm betting that indie horror fans are more likely to play video games than your average Joe. There just seems to be a connection there. Four - they're probably aware of, follow or have been to horror festivals. Five - they're probably more apt to buy merchandise based on the films that they watch. What horror fan doesn't have a few genre posters, t-shirts or action figures? I could go on and get more in-depth, but let's leave it at that. Now that we have a basic idea of who the indie horror fan is, how do they consume their media?

Knowing all that, if I were given the opportunity to be involved in the distribution and monetization of indie horror content, to start... I would be heavily involved with the indie festivals - support them, sponsor them, attend them, sell at them. Eat them up, make the festivals your cornerstone. I would also have a huge online presence where fans could watch shorts, read about the films and filmmakers and interact with indie horror content. I would try to get deals with PS3 and XBox to distribute content. I would strike deals with and get involved with the fan mags. I would constantly leverage the films against each other and sell related merchandise. After I've thrown the film through that entire process and monetized it as best I could, then and ONLY then, would I throw it out there on DVD through traditional distribution channels.

So, here's my question... and, please, think outside the box. Aside from DVD, how would you consume your indie horror? What distribution channels are out there that we haven't thought about? Long and short, what do YOU think? Am I crazy to think that there's a new distribution model out there?

The Economist Interviews Sony Pictures CEO, Michael Lynton, And What We Think About It

If you don't read it or check out their site every once in a while, I'm sure you're still aware of magazine called The Economist. I don't subscribe to it or anything, but I do peruse the site and download a podcast or two, every now and then. If you're interested in what The Economist is all about, it's a weekly news magazine that's done out of London. It's almost more like a newspaper, but it's got a glossy front, so I call that a magazine. They claim that it's "not a chronicle of economics". No, not even... The say they aim "to take part in a severe contest between intelligence, which presses forward, and an unworthy, timid ignorance obstructing our progress". Well, I'm not sure what that all means or if it's actually a complete sentence, but it hasn't kept me away from the content they produce. Now, what I really like about them is that every once in a while, they come up with something that ties all my worlds together. This interview with Michael Lynton, the current Chairman and CEO of Sony Pictures Entertainment is one such thing. It's about 15 minutes long and I've embedded it below, it's a great interview. Grab a coffee, sit back, and give it a watch. I have some thoughts on what he says below...



One of the most interesting things about this interview is how he looks at "Paranormal Activity" and low-budget films as 'phenomenon' and not a business model. I have to say, I both agree and disagree. Most certainly, "Paranormal Activity" was a phenomenon, and so was "Blair Witch", but there is a common thread between the two - they're low-budget horror. I guess studios can't see it, or maybe I'm just stupid, but I think horror lends itself so well to low-budget filmmaking, that an extremely well done low-budget horror film will always have the ability to break into the mainstream. Not only that, there's SO many low-budget horror films out there that are good, and COULD make a profit (but won't break through to the mainstream or move the needle for a company like Sony Pictures) that a small, niche company could consistently turn a profit by churning them out and then properly marketing and distributing them. That, my indie friends, IS a business model. It's just one that Sony wouldn't be interested in.

The other interesting point he makes is about piracy... There's obviously a dark side to piracy. More so, it's mostly a dark side, but there IS a good side that studios don't see. On one level, torrent sites are no different than a DVR. I download TV shows that I miss all the time. Hell, I'll download an entire season of something to get caught up. I don't see that as bad... why? Because people do that all the time, legally, with their DVR's and all I'm doing is getting caught up, so I can watch your programming at its regular time - and then you can show me your ads. It's called time-shifting and it's a problem that the networks and studios are going to have to deal with. I've also argued MANY times that the torrent sites and file sharing is GREAT for indie film. No one wants to distribute your film? Don't know how to get it out there and drum up interest? Well, put it out there for free. If it's good, people will spread the word, interest will build, then you'll be able to get screenings, distributors will come knocking and, all of a sudden, your film's a success. "Ink", which just came out, is a classic example of how that can work. Is it good for the studios? No, they have nothing to gain from it. Good for the indies? Absolutely...

Whatever side of the argument you're on, in the end, it's just always good to be up to date and understand how the studio system works. We all love our indie film and we're more than happy to toil away it, but... if the studio's came knocking, you know you'd answer the door. So, you better understand what makes them tick...

Have a great weekend, see you next week!

The Future of Indie Horror and How To Survive The Singularity

Okay, I have no idea on how we're going to survive the singularity, but I DO have some ideas on the future of indie horror... which should entertain us until the robots do take over in a few years. I mean, not only is it one of the most asked questions of us... it's also one of the questions we ask the most, "What is the future of indie horror?" We're unwavering in our belief - there's a big, bright shiny future for it. However, a lot of people think that the economics just aren't there. It's a big debate and only time will tell the answer, but keeping that in mind, I'm going to make a couple of not-so-bold statements...

1. The idea of full-motion as a format, whether it be animation, video or film, isn't going anywhere.

2. People aren't going to stop telling stories.

I think we can all agree on those two statements, right? So, what can we take away from that? Well, I think it's safe to say that, in one form or another, you will always see stories in a full-motion format... at least for the foreseeable future. All the other factors may change, though, like: how we watch it, where we watch it, what format it's in, how it's displayed, etc. But I do think it's safe to say that there will always be stories to be told... and film/video will always be a medium used to tell them. How it's distributed? Different story.

Really, if you think about it, at the root, we really just want to be storytellers and, right now, we're just using film as the medium to tell it. So, as the industry is being shaken to its knees and we wait to see what rises from the ashes, we need to keep telling our stories, in a full-motion format, one way or the other... which brings me to this article. The article goes through three different stories being told using three different formats, all of which use the web as their distribution format. Are they financially successful? Do they have big audiences? I don't know, but they're telling stories in innovative ways and innovating is something that we should all be doing... until the robots kill us all.

A little company called Amazon.com...

As you may or may not know, us Dead Harvey guys are working on a pilot for a show called Dead Harvey TV. You can check out our posts on its progress here, here and here. Anyhow, as much as I fantasize about it being the next "Three's Company" or "Alf" and that networks will crawl all over each other to take a look at it, I have to face facts... they've got bigger fish to fry and, well, we're more like a barnacle in the ocean that they play in. So, I've been thinking about alternate forms of distribution, outside of the mainstream, that may be viable options. I was thinking about XBox or PS3 and wondering if they would be interested in something like this for their online networks. Maybe Netflix or some VOD service would have a use for it? We could work with some web-based company and stream it, maybe? I mean, there's lots of options out there. Well, what if no one wanted to pay us for it and we just wanted to find an audience? Well, what about Amazon.com? So, I looked into it...

But first, check out this email that ended up in my inbox...

"Dear Reader,

We are excited to announce that Box Office Mojo has been acquired by IMDb.com, Inc., a subsidiary of Amazon.com, Inc. This is a major landmark in the nine year history of our company.

Box Office Mojo will continue to operate as a standalone business and produce analysis and the most comprehensive box office tracking freely available online. Our headquarters will also remain in the Los Angeles area.

We expect this change to allow us to expand our offering to readers like you by leveraging IMDb's comprehensive database of movies and those who make them. IMDb is committed to further developing the Box Office Mojo brand and building upon the success of the past nine years.

Our readers have been a vital component in our success, and we are grateful for your continuing support. Please feel free to email us with your questions or feedback at mail@boxofficemojo.com.
We realize this is important news for our community, and we are confident that this acquisition will benefit Box Office Mojo readers and provide us with many opportunities for future growth.

Regards..."

Okay, so... interesting, huh? Now, go to Withoutabox.com and tell me what it says at the bottom... you don't really have to go there, I'm going to quote it, but that's right, "A division of IMDB, an Amazon.com company". Alright, so what? So, let's tally this up. Amazon owns: IMDB, box office mojo and Withoutabox. That's a lot of film related stuff. So, where am I going with this? Well, check out what's at the bottom of an email I got from Withoutabox.com...

FILM MARKETING 101
1) Get an IMDb Title Page for your film. Most films now qualify as soon as their first Withoutabox submission is received by a festival.
2) Bring that Title Page alive by uploading video ASAP: Trailers, Clips, or even your Full Movie to build momentum and word-of-mouth.
3) Sell copies of your film on DVD and Video On Demand, on Amazon.com and other channels, all via CreateSpace. Setup is free, risk is none, and it works as well for selling 10 as 10,000.

Filmmakers who take charge EARLY in these ways see the benefits every day. You can, too. Your Withoutabox Account Home Page has complete step-by-step details to help you find your worldwide audience. So log in today, get with the program - and let us know how else we can help!

So, why would Amazon be promoting CreateSpace.com, an on-demand publishing company that allows you to make your own books, music and video's available to millions of customers? Oh, that's right... it's another Amazon.com company.

It looks like Amazon.com doesn't just own a lot of film related companies, they own a lot of INDIE film related companies. Really, if you've just finished a film, you can submit it to all the festivals, easily, through Withoutabox. Then you can get listed on IMDB.com and promote it. Then, you can submit it to CreateSpace.com and have it available on Amazon.com and Amazon VOD... and it can all be tracked and talked about on Box Office Mojo. ALL companies owned by Amazon.com... I don't even need to find a distributor. Amazon does it all and it doesn't even cost me much.

Long and short, who the hell knows what the future holds for media and media consumption? Only time will tell. But until we find out, you and we, both, do have a lot of options when it comes to finding a company or place to distribute our content, and I think more options are coming. But right now it looks like all of us indie filmmakers better get to know Amazon. They're a one-stop shop for indie filmmakers and it looks like they've got some sort of plan to be involved in the scene for a while...

Interview with Scilla Andreen, CEO and Co-Founder of IndieFlix

When we post the interviews with indie horror filmmakers, we hope that we accomplish two things. One, we hope that we give that particular filmmaker a bit of promotion and, hopefully, help him sell a few extra copies of his film. Two, we hope to inspire other filmmakers to get off their asses and go make their films, then give them some promotion once they do... we try to keep the cycle going, as our view is that the world simply needs more indie horror. I mean, you hear a lot of talk about how the market is oversaturated, but fuck that. It's not. I think indie film, especially indie horror, has yet to fully come in to its own and when it does, there's going to be plenty of room to grow. And if you can keep your budget low and you can make a good film, there's no reason you can't make your money back... and some. The problem is that most filmmakers aren't really 100% sure what to do when their film is done. That's why we don't only interview filmmakers, we also try to interview distributors and festival directors... and this interview, with Scilla Andreen, CEO and Co-Founder of IndieFlix is one of those interviews.

Let's just start off by saying that IndieFlix is an awesome service for indie filmmakers and is something you really need to look in to, for sure. They're one of those companies that's pushing the envelope further by delving into new technology, such as VOD and online distribution AND they're on your side. Long and short, we love the service and we're very appreciative of the fact that she took some time to answer our questions. It's great to get a view from the other side of the trench, as she gives you some insight into what distributors and festivals are looking for. So, if you're going to read only one of our interviews this week, maybe it should be this one... but check back, anyhow. You never know.

Please tell us about yourself. Where did you start out and what brought you into the world of indie filmmaking and distribution?

I was at NYU studying political science. I wanted to be a litigator. I fell in love with a Director, Andy Field, 7 years my senior. I helped him out in a pinch when a stylist was a no show on the set – I jumped in and did the job. It came naturally and I made $800 for the day. At 20 yrs old that was awesome money. I left school for a year to work in the industry and never looked back. I quickly moved into doing features and television in LA. My first series was The Wonder Years. I got nominated for an Emmy and proceeded to go to one great show after another working with some of the most talented people in the industry. During my hiatuses I started directing and producing short films which ultimately led me to independent films and finally creating IndieFlix.

Tell us about Indieflix. When was it formed? What’s the mission?

My producing partner, Carlo Scandiuzzi and I founded IndieFlix in 2004 as a distribution solution for filmmakers. We created a company that we wish existed when we were on the festival circuit with our films.

Our Mission: IndieFlix is dedicated to providing a forum for filmmakers and their audience to interact, and to building a community that translates artistic vision into commercial success.

IndieFlix promises to build a fair and open market to empower filmmakers to be the engine of their achievement and audiences to be a vital part of a movie's success. IndieFlix is committed to encourage public opinion and power of choice while reinvesting in the independence of film, the people that craft them, and the organizations that support them.

We believe that every movie has an audience, every filmmaker has a story to tell and each story has the right to be shared.

IndieFlix.com is an online independent film distribution and discovery site offering affordable DVD and streaming to customers all over the world. Founded by 2 Award-Winning Filmmakers in 2005 and headquartered in Seattle, WA IndieFlix has a growing collection of over 1500 award winning features, shorts and documentaries for all ages. Not sure what to watch? Email us and we can help you choose.

“You should be watching movies not looking for them”
Go to: indieflix.com or email at info@indieflix.com

Talk about your model of distribution and how it differs from the more traditional forms of distribution.

IndieFlix is practically the polar opposite to Hollywood. In fact when we launched everyone thought we were nuts letting filmmakers keep their rights and the lion share of the profits. Over the last 4 years and 1500 films later we have only had about 20 films leave us, most for an exclusive distribution deal. With regard to how we differentiate ourselves from our competition online we are in the process of launching several marketing initiatives. We recognize that filmmakers are the best champions of their own works but they need tools and prodding to work their magic online. We are all, including Hollywood, trying to figure out what is most effective in connecting with our communities online. It’s a rapidly changing time right now. You almost need a cowboy mentality and that takes a lot of energy. We are providing a tool kit.

Our services are non-exclusive. You keep your film rights and we give filmmakers 70% of the net. We are very transparent about all costs and there are no fees whatsoever. We can customize the distribution of your film by delivery method and territory and if you only want to distribute your film digitally, that's not a problem. If you only have the DVD rights, that's okay too. IndieFlix is a "Filmmaker First" marketplace and Distribution Company built to empower Filmmakers to be both Artist & Entrepreneur and to make Film Festival screened work from all over the world available to the broadest online audience. Once you are listed on the site our goal is to help you market your film. Further, IndieFlix has alliances with key online delivery platforms such as iTunes, Hulu, Joost, Snag, Amazon VOD, Netflix and Xbox360. We now provide titles to these outlets offering filmmakers even more revenue opportunities at the same 70/30 split. This link can offer even more info - Filmmakers: How It Works

Do you ever go out and look for films to distribute or do films mostly come to you?

For the most part filmmakers come to us. I thought about doing it like our competitors, getting a Baker & Taylor account and ordering several thousand films from Criterion, Kino or Image to populate the library. But we wanted films that had worldwide rights and the ability to curate content on to multiple platforms. By building our own library in this way we are also able to distinguish ourselves even more so. We have strong word of mouth so word gets around though we have started to do more targeted outreach now that we have more staff. We have about 15 new films sign up per week from all over the world.

Since our 1500+ filmmakers work directly with us we are a VERY hands on company. We answer our phones, we work closely with the filmmakers and we are just now starting to be much more hands on with our customer base. We are growing so fast it’s hard to keep up sometimes!

If you are looking for a film, what do you look for?

Films must have played as an "Official Selection" at a film festival, however, we do make exceptions in special cases so please don’t hesitate to submit your work to us if your film hasn’t yet been accepted to a festival. We do not accept any Pornography or Instructional video submissions. We look for high production value, good story and of course you have to have the legal right to sell the film. Sometimes it is a struggle but we do stick to our mission that every film as an audience and every story has the right to be shared. We try not to make too many judgment calls. There are films on our site that I would not have approved but not for our mission and a few of them sell really well every month. It’s amazing. Beauty is in the eye of the beholder. We remain a fair and open marketplace.

The submission process is very straightforward and free (except the cost of shipping your master to us). Simply go here and set up by clicking on create an account to add information about your film. You’ll then be prompted to print and sign a Filmmaker Agreement and send us the master. Upon receiving and screening your film we will contact you. Release dates are typically slated for two to three weeks after receipt of submissions.

Do you think filmmakers should be thinking about distribution when they’re in pre-production… or even the writing stage? Or, should they simply make the film first, worry about distribution later?

Excellent question! The minute you want to make your film – today’s filmmaker must think about who will watch it and start that dialogue now, the earlier the better.

If they should be thinking about distribution in pre-production… what kinds of things should they be thinking about? What can they do to make their film have a better chance of securing distribution?

Existing in the world means interacting with people. Technology has allowed us to build our own audience and community that supports our efforts as filmmakers. Use it. Hollywood values a film that has a built in audience and marketing campaigns in place. Though the bottom line for Hollywood distribution is you must have a famous, credible name in your movie too. Fortunately the world is your oyster and right now filmmakers have more power than ever before to monetize and self distribute affordably on trust worthy platforms. Hollywood no longer controls the playing field. I suggest that all filmmakers go to workbookproject.com. Lance Weiler, famed director of Head Trauma and The Last Broadcast shares openly a multitude of ways to get your film out there and how to build an audience. Lance is on our advisory board and he has been hugely instrumental.

Talk about budget. Do you think there’s a minimum budget that a film should have? Is budget an issue?

Budget should not be an issue unless it’s too high. I have seen some unbelievable films made for less than 5K. I have seen films made for 25-50K and many of these films go on to make several hundred thousand dollars. Once again technology has provided us the ability to make first class movies on an economy budget. Big budgets are not cool anymore. The smaller the budget the more one can show their true talents as a filmmaker.

Regardless of budget, what do you think makes one film sell better than another?

Accessibility and marketing. Of course films have to have a good story no matter what but mostly people need to know about it and in these times you can’t just walk around naked one weekend and expect people everywhere to notice. You have to start stripping in pre-production or development.

Talk about the film festivals, particularly the smaller, indie festivals. How should filmmakers approach them?

Filmmakers should strategize their festival play. It’s another expense incurred. Also note that too many festival screenings and awards and standard distribution won’t touch you. Your film becomes damaged goods to Hollywood. They think if no one has scooped you up by the 3rd festival then you’re not worth it. What we are doing is lining up filmmakers to play a festival and after that screening during the Q &A the film is announced that it is available on several platforms. At that point there is press, reviews, heat and attention on the film, In today’s market filmmakers can strategize their distribution and day and date their films. Use the festival like a theatrical. Take advantage of the theater, the audience and the free marketing.

If I’m a filmmaker who’s just finished a film, but hasn’t considered the festivals and hasn’t considered distribution yet, what would you say my next steps are.

Research festivals. You can go to withoutabox.com for festival submission service. Be sure to apply to your local film festival your community will want to support you first. You can apply to as many festivals as you want but be choosy about your first 3. Get to know the festival directors and programmers. They all know each other and share their experiences about filmmakers. For God sakes do not be a prima donna, be kind, patient and forgiving to everyone at the festival – it will make a huge difference. Follow the rules don’t create issues for the festival.

How does horror sell on Indieflix? Any thoughts on the the indie-horror scene?

Horror and docs sell well on IndieFlix. I think there is a lot of easy, fun alternative marketing that can be done to monetize and market films in the horror genre. It has such a dedicated fan base.

Talk about the indie film scene… where’s it headed? What’s next? What can indie filmmakers do to prepare for the future?

Filmmakers need to be online and be willing to share themselves with their community. They will support your work from one movie to the next and each time it gets easier and easier. Luddites lose! The filmmakers and the cast and crew should be talking about the film. The film should have it’s own profile pages on sites. Start sharing little pieces of the movie before it is out. Ask for advice from your online community – keep the questions simple and direct. Put trailers and clip on line everywhere – easily done via YouTube.com. Keep your rights, keep it non-exclusive, check out references before putting your content up for sale on some cool site. Forget DRM it’s only going to hold you back. If you film is available everywhere and it is affordable there’s no need to pirate. Don’t be too protective. Pick a scene and let people mash up your work and spread it around. It’s free marketing for you. Think of it like letting your kid play with other kids in the playground. Let go and let it grow.

Distributing Your Indie Film Part V: Imagination Worldwide, Well Go USA and Monarch Home Video

Back by extreme, popular demand, it's the fifth installment of "distributing your indie film"... and I only know it's popular because our indie horror distributors page is the most clicked on page on the site... and here I thought it may have been Brad's drunk ramblings or my arm chair insight into the industry. Guess not. Anyhow, most of the companies on the list right now are the obvious ones or bigger ones, but the three below came to my attention because they were the distributors for some of the films that we've recently discussed with their filmmakers. I do hope that one day our 'indie horror distributors' page will be a complete guide to the who's who of indie horror distribution, but until then it'll have to be a work in progress... which gives me an excuse to write about distributors every couple weeks or so and keep posting this girl in this shirt. She's an indie filmmaker.

Now, to just give you our little warning, we do think that you shouldn't rush into any deal that's offered to you. Send a package and screener to all these guys, then weigh your options. Also, always read the fine print on your contract. And, as usual, if any of you guys have stories, good or bad, that you'd like to share, let us know. We're a community here and we really need to look out for each other.

Imagination Worldwide is an international motion picture sales and distribution company based in L.A. Formed in 2003, it is owned by Chairman and CEO Pierre David and Reel One Entertainment. David has produced or executive produced over 100 movies, including "Scanners", "Videodrome" and "Deep Cover". Recently, they've distributed "The Zombie Diaries", "Five Across the Eyes" and "The Hamiltons", so they're big into the whole indie horror scene. Now, I'm not sure if they distribute themselves or if they work more as a sales agent for you, but either way, I've heard good things. If you head over to their site, you can go to their contact page and find the email addresses for everyone, including Travis Stevens, their director of Acquisitions & Marketing.

Well Go USA specializes in the acquisition and distribution of entertainment programs in the television, digital and video market throughout South East Asia and North America. They have extensive retail relationships and currently sell products directly to key mass merchants, specialty chains, record retailers and wide distribution. If you go to the site, you'll notice that they do a lot of exercise videos and kung-fu stuff, but don't fret. They also recently distributed "Beneath the Surface", "Zombies Anonymous" and "Death of a Ghost Hunter". They're big into the Asian market, so if you think your film caters to that audience, these guys may be the route to go. They're partnered with a bunch of guys, plus they distribute on to Amazon, Blockbuster, Best Buy, etc... Unfortunately, they don't have much of a contact us page, it's just a generic deal. However, there is still a way to get a message off to them there... so head over to their site and do it.

Monarch Home Video is one of the oldest indie distributors of home video products... and they were formed in 1989. They're a division of Ingram Entertainment, the largest wholesaler of prerecorded DVDs and video games in the US, so... that's good. Oddly enough, they're the guys behind all the "Ernest" films. However, recently, they've released films such as, "Conjurer", "Vampire Diary" and "Dark Remains". The good thing is that they actually have an acquisitions page on their site, as they're "always looking for new product". Right there on the page, however, they admit that they're looking for films with budgets in the $1M - $5M range with a marketing hook. My advice? Lie about your budget. Everyone does.

Indieflix - A New Way To Distribute Your Film

As you know, we're here to help you, the indie-horror filmmaker. As you also know, distribution is the number one concern and question for most of you... so, we talk about distribution a lot. We also preach a few things, such as... 99% of the time a theatrical release is just not an option, sorry. Well, not that it isn't an option, per se, but that a theatrical release shouldn't be your goal. So, take that out and there's still many, many ways to get your film out there, but it really boils down to two methods: on DVD and digitally. They both pose a few issues for filmmakers, but the issues with digital distribution are more about the fact that the industry is in its infancy. Well, now there's someone to help you navigate that world, Indieflix.

I'm very interested in the world of digital distribution, meaning: VOD, streaming online, downloading, etc. I watch it closely and I pass on most of my thoughts to you, though the site. Well, I received a press release from Indieflix not too long ago and it took me a while to finally get around to reading it. I'll admit, a lot of stuff just sits in my inbox... but I digress. After reading the press release, I read a bit about them on their site and what other people have said about them and have come to the conclusion that you should check them out.

There's a few cool things about them: They're non-exclusive, you get 70% of the royalties, they take care of the manufacturing and it's all free to you. I do plan on contacting them and finding out more, though. Whatever I do find, I'll post about later. But until then, here's some excerpts from the press release.

IndieFlix “Bridge To Everywhere” Deal Delivers Much Needed Distribution Help To Indie Filmmakers.

Seattle WA, Sept 23, 2008 - Independent filmmakers finally have a "bridge to everywhere" as the online independent film distributor IndieFlix.com now delivers content to the world's most powerful outlets to close the gap between independent filmmakers and fans.

IndieFlix now promotes content with long-standing powerhouse distribution sources - many of them not available to individual filmmakers - like iTunes, Amazon VOD, Hulu, Joost, Netflix, and VUDU. These channels can provide filmmakers with millions of new viewers on a daily basis. The IndieFlix business model is simple: filmmaker provides their film to IndieFlix and IndieFlix promotes the content to the world free of charge. IndieFlix keeps a small percentage of sales and the filmmaker retains all rights to the material.

“Filmmakers are wondering how to get their work out in a more accessible way. There is confusion around how to best release across outlets like iTunes and Hulu. Indie filmmakers need what IndieFlix delivers," says Lance Weiler, Founder of From Here To Awesome, The Workbook Project, and DIY Days.

“I'm an independent filmmaker,” said IndieFlix CEO Scilla Andreen. “Distribution through the old Hollywood system is a maze of closed doors. We need a way to get our hard work out to the people who will love it, and with IndieFlix's new distribution deal, we've finally got it figured out. The future of independent film is not only in content aggregation, but also in audience aggregation and innovative marketing”

Company: IndieFlix is an independent film distribution and discovery site founded on the principles of community, promotion, syndication and transparency. We connect filmmakers, festivals and audience.

Our mission: For IndieFlix to be the first point of entry for the audience to find independent film and to set a standard by which company policy elevates and empowers the interest of the filmmaker.

Connecting supply with demand: IndieFlix.com, a trusted, multi-platform distributor of independent film founded by 2 award-winning filmmakers with the emphasis on marketing and filmmaker relations. Our growing library now stands at 1000+ film festival titles with worldwide rights.

Distributing Your Indie Horror Film, part IV: Indie-Pictures, Passion River and Film Baby

I like to do a minimum of one post per day, five days a week. Usually, I've got two or three interviews or ideas waiting for me to just fix up and post, but this morning... nothing. So, after staring through a few empty beer bottles and into the matrix of screens on my home office desk for a few moments, I checked my email. Then, I checked the stock market to see how it reacted to W's speech last night. (positively... for now) After that, a bit of porn. Then, when I realized that a post wasn't going to write itself, I decided to take a look at three more indie horror distributors that have been brought to my attention by some of you guys. Today, I'll look at Indie-Pictures, Passion River and Film Baby.

I've talked to a few guys who've distributed their films under Indie-Pictures and they've had nothing but rave reviews. To be honest, it's one of the only distributors that's batting 1.000 with people I've talked to. I actually reached out to these guys, as I wanted to talk with them and find out more, but... well, they haven't got back to me yet. I'm sure they're just taking the time to draft a proper letter or something. Anyhow, and this is from their website, they've "developed a model of distribution specifically designed to support the independent filmmaker, challenge many of the existing assumptions about distribution of independent films, and create opportunities for both films and filmmakers which have until now not existed." There's more on their website there, including contact information for both the CEO and Chairman of the Board.

Passion River is another new company that's been brought to my attention. Actually, they're not new... just new to me. They've been around since 1998, which some in this industry would consider an enternity. Now, they operate a little differently than other distributors. They do acquire, distribute and represent indie film projects, but it looks like they'll also act as a sort of shopping cart for indie filmmakers, meaning... you want us to just wholesale out your film? Fine. You want marketing services? Fine. You want us to take care of the whole thing? Fine. You want more information on how to contact them? Fine. Here's a link to their film submissions page.

Film Baby calls themselves a "haven for independent filmmakers and those that love independent film" and it's more like a self-serve type of deal. As in, there's really no submissions policy. Just get them the film, they'll distribute it and most, if not all, of the marketing and promoting is up to you. Some of the "cool tidbits", as they call it on their site, are: they're non-exclusive, there's a one time fee of $40, they only keep $4 of the sales price of your film and you set the sticker price, they pay you every week and they'll distribute it digitally, if you're interested. You can go here to set up an account and get started.

A little post-script here... go check out our section on indie horror film distributors here... and I know I'm missing a lot. So, if you've distributed your film through a particular distributor that's not on our list, especially if you had a good experience with them, let me know.

Dead Harvey Interviews Stephen Zimmer: Director of, "Shadows Light"

"Shadows Light" is all about exorcising demons. In a way, I believe this is what indie horror filmmakers do because, at the end of the day they're one of the nicest, most unpretentious groups around. I've been on sets that have been the complete opposite of indie horror (both genre-wise and financially) and I had to stop counting all the pretentious a-holes I ran into because there was too many to keep track of. Stephen Zimmer is a perfect example of an friendly, helpful filmmaker who believes in supporting the indie horror community. The interview here contains a lot of useful advice on making your movie outside of L.A., getting funding and how's he believes a little idea called hope can't do any harm. Congrats on the movie Stephen! Dead Harvey thanks you for the interview and looks forward to your upcoming work!

For info on Zimmer's film check out the website at www.myspace.com/shadowslightmovie and head on over to Amazon to buy yourselves a copy.

DH: Tell us about yourself. Where are you from and how did you get into film making?

First of all, thank you very much for the opportunity to interview with you, Brad. I truly appreciate the opportunity to be on Dead Harvey.

As far as where I am from, I was born in Denver, Colorado, but I have lived most of my life in Lexington, Kentucky. I got into film making from a lifelong love of storytelling, from books to movies.

I played around with video cameras as I got into high school, but by the end of high school into college I was focused on proper camera techniques and still photography. I have always loved writing as well, and so I came at film making largely from a writer’s perspective at first. My first projects were short films and documentaries, while I also worked on commercial productions. Eventually, I got a pretty comprehensive view of all aspects of production, which has helped me greatly as a director.

DH: Who are your biggest influences as a filmmaker and why?

My biggest influence is Peter Jackson, as I loved his early horror work such as Dead Alive and Bad Taste on up to his worldwide explosion with Lord of the Rings and King Kong. What a career! He does what he does out of a true passion for film making and storytelling, and not for superficial motivations.

He also is very dedicated to his community and his team in New Zealan. When he broke through, he opened up the floodgates of opportunity for those around him. He saw the big picture with those that helped him included. I admire that kind of loyalty very much.

So I have to say that it is Jackson's character as much as it is his penchant for bringing the fantastical alive in a gritty and believable way that inspires and influences me!

DH: Film school: yes or no?

No. Visual Communications Degree from Hardin-Simmons University!

DH: "Shadows Light" has several religious themes. Did your personal beliefs influence and/or inspire the film?

The Catholic world has a 2,000 year history that is rich in imagery, lore, history, and so much more. For a film drawing on the supernatural, I definitely drew upon my Catholic background, though imagination is required in many instances such as ones depiction of demons, souls, and other non-physical elements. I reached a little farther abroad for some other elements, such as the Djinn.

I thought that it would be a challenge to create a protagonist who was a dedicated priest. He is not Gandalf the Wizard, nor is he Jet Li, in terms of the tools he uses to overcome evil. In that sense, I explored the core of a man’s faith, especially where he has to admit weaknesses. Not the easiest of tasks!

DH: Describe your individual take on the possession film?

Possession is present (whether one attributes it to psychological or paranormal roots) in societies all around the world, so a possession film has a resonance that crosses cultural lines. At its core, it is an exploration of the concept of evil and freewill. It also allows for quite a range of portrayals and interpretations, ranging from the subtle to the fantastical. As such, I believe it will hold its place in future storytelling.

As far as Shadows Light went, I have always been fascinated by the accounts of Malachi Martin (Hostage to the Devil), and his experiences were part of my background research for this project. Those familiar with Malachi Martin’s work will pick up on some of the elements he describes regarding various exorcisms and possession cases.

DH: What was the budget and how did you go about securing financing? Furthermore, what, would you say is the most important information an upcoming filmmaker needs to know when they're trying to raise money to make a movie?

Low, low six figures! I went about giving presentations, hosting “meet and greet” parties (where we set up exhibits showing demo reels, storyboard sequences with music, models from SFX people, etc), attending private meetings from referrals by friends and associates, and other similar activity.

The important thing to know, especially for a first time feature director, is that you are going to get rejected by an overwhelming majority of those you approach. And I mean overwhelming majority. The key is to use every window you can to reach out so that out of a large number of pitches, you will give yourself a chance to cull the small group necessary to finance the film. Also, make a professional, cohesive presentation with visuals as much as possible.

DH: What was the film shot on and what do you recommend upcoming filmmakers use?

We shot the film on modified Canon XL1S’s, which were fitted with mini-35 adapters (true optical adapters that address depth of field, etc) that enabled us to use a full range of Cooke lenses. It wasn’t the optimal setup I would have liked, but it did result in a very good look.

DH: Describe your directing style.

Some might say I have a more laid back approach. I know I am not a drill sergeant on the set. My focus is to adapt to each individual actor. Very different approaches are needed for different types of actors to draw out the best performances. Some need a nudge, others need a kick in the rear, and others need to be left with room to breath.

The key is identifying which is which, and approaching each one on a basis that best communicates with them. I also emphasize rehearsing, which we were fortunately able to do a lot of in preparation for Shadows Light. And I do really feel we got a range of good performances out of Shadows Light.

DH: What were the biggest challenges and/or sacrifices you faced in the process of making, "Shadow's Light"?

Probably could write a book on this one. I had to wear a few hats on this one. Honestly, the biggest challenge was the constant battle to convince people that we really could manage a budget and a schedule and bring this project to a conclusion, especially as a first time director. Some people that saw us proposing a 22 location independent film in Lexington with 8 different creature designs on a 6 week shooting schedule thought we were completely nuts.

So many people were always second-guessing whether we were capable of doing this. On the other hand, there was a group here that was bound and determined to see this project through and make it happen. I’m glad the latter element prevailed.

DH: Tell us about your experience with the distribution process? What advice do you have for upcoming filmmakers trying to get their movie out there?

Very difficult. We went through some hurdles here, and at times were supposed to be released by 2 or 3 other companies. Things changed due to changes in personnel, restructuring of companies, and other things far beyond our control. It was a roller coaster.

We finally landed with Passion River who put the DVD out in North America. We’re far from done with the process, as we have foreign territories to explore, an HD release at some point, and new media options/digital downloads.

My advice to filmmakers is to try and secure a producer’s agent, especially if you are coming from a part of the country that is not known for its film industry yet (I.E. My home state of Kentuck!). A producer’s agent can usually offset this type of disadvantage.

Also, try and create the most professional package possible when soliciting. Its worth the added investment and hassle.

DH: What is the one thing you would like people to take with them after they watch, "Shadow's Light"?

The one thing I would like for people to take from it is to keep an element of hope. Things seem really out of whack nowadays, and not much seems to make sense anymore. No person alive possesses a full store of knowledge on the universe or of all possibilities out there. In other words, don’t assume the worst. Leave the door a little cracked open for possible sunshine too. There’s nothing wrong with that, and there’s already more than enough negatives and prophets of oblivion out there.

DH: What's next for Stephen Zimmer?

Two things on the near horizon.

My first fantasy novel is in the process of getting edited by a very wonderful editor based here in Lexington named Amanda DeBord. We are exploring publishing options and hope to have it out by the end of the year.

I have an extended short film (35 minutes running time, roughly) tentatively called the Sirens, which is being paired with a 50 minute film called Murderer (which was shown last year at Cannes) for a kind of double-shot DVD release that I am doing in conjunction with Cineline Productions.

It is more straight ahead horror, involving 3 male chauvinists who get quite a surprise from six very attractive females who are much more than they seem.

Farther ahead, I can now move forward on planning for my next budgeted feature. I promised those who backed us on Shadows Light that I would not raise money or do a budgeted feature until I got Shadows Light to the finish line. I kept my word.

As of August 5, 2008, that has been accomplished! So now time to look ahead!

DH: If you had an unlimited budget, what would your dream movie be?

Easy answer for that one. Medieval Epic Fantasy.

Exclusive Dead Harvey Interview With Roger Scheck, Director of "Nobody Loves Alice"

When I received a copy of "Nobody Loves Alice" I thought it was just going to be another run of the mill slasher flick that I'd end up fast forwarding after the first half an hour. To my surprise, not only was I drawn into the movie, I was highly impressed. This film has gore, fantastic performances, great directing and a well written script. I was even more impressed when I found out it's director, Roger Schek, made it when he was in school. To say the least, "Nobody Loves Alice" is an outstanding debut that we here at Dead Harvey highly recommend. Keep an eye for Roger Schrek. I have a feeling he's going to be a major talent.

DH: Tell us about yourself. Where are you from and what got you into making movies?

RS: I was born in Kansas and raised in McAlester Oklahoma. In high school I became interested in still photography. Soon after that a friend of mine introduced me to the idea of making movies. He gave me the movie True Romance and told me to watch it. I took it home and watched it
three or four times. That movie really made me think, “I have to do this”. Right after that the same friend gave me The Last House On The Left, I went home and watched that film about four times that night. After that I realized, “I can do this”. That summer I made my first
short film and have never stopped.

DH: Film school: yes or no?

RS: I attended the North Carolina School of the Arts. I learned so much at NCSA. It truly is an incredible program. In my opinion it's the best film program in the country.

DH: What was the inspiration behind, "Nobody Loves Alice"?

RS: I had written several screenplays before Nobody Loves Alice but due to budget I couldn’t make any of them. I set out to write a script I could afford to produce. I was waiting tables at the time when my boss received a phone call from a woman that said she had been in that day
and he was so sweet to her that she had to meet him outside of the restaurant. Having to deal with customer satisfaction he told her that he was glad she had a good experience and to come in and have a drink on the restaurant. He then proceeded to tell her that he had a girlfriend. Not two minutes later the phone rings again and it’s his girlfriend, she said that the previous call was her friend and that she just wanted to see if he would cheat on her. In that instant I know what Nobody Loves Alice was going to be about.

DH: Are there any directors or movies that influenced, "Nobody Loves Alice"? If so, how?

RS: So many films and directors have influenced me. My biggest influence at the time of making Nobody Loves Alice were Asian horror films, especially films by Takashi Miike. I enjoy the slower evolution of the story. After all it’s about the story and characters, not the splatter
and gore. Don’t get me wrong that is part of it, but it’s not the reason I sit down to watch something.

DH: Describe your directing style.

RS: My style is very loose. I give my actors a lot of freedom to meld the character and make them their own. If I like what they do I let them run with it, but I have no problem letting them know something isn’t working. However some of the greatest moments in Nobody Loves Alice
come from the actors being able to just play with the lines and emotions.

DH: "Nobody Loves Alice" was impressively made on such a small budget. How did you pull it off?

It was challenging but we were very strategic where we spent money. The majority of the money had to go to converting Alice’s room and the blood effects. I had a very talented and resourceful crew that was able to make things look great with very little. We only had twelve
days to shoot the film so that also cut down budget.

DH: The performances in the film are outstanding. Describe your casting process and how you selected the leads.

RS: I worked with Nitzan Mager (ALICE) on a short film entitle Motherhood, you can see that film on my myspace. I actually wrote the part of Alice for her. So, knowing what she was capable of I was able to create a great character that I knew she would be great playing. Philip Ward (ALEX) acted in a film that I was Cinematographer on. I also knew his abilities and created that part for him. Phillip was enrolled in the acting program at Elon University at the time so he was able to bring me a lot of the cast from people he had worked with previously. He was sort of the casting director. He had actually been scene partners with Amanda Taylor (Abigail) in school so they already had a relation ship they could play off and bring to the film.

DH: What did you shoot on and how long of a shoot was it?

RS: We shot on the Canon XL2. In my opinion Canon blows it’s competition out of the water. The image the XL2 produces is a big part of why the film looks so good. It’s build to be lit like you’re working with film. It’s competitors at the time were point and shoot idiot proof cameras and their image quality suffered. We shot for twelve days over our winter break from NCSA. We never went over 12 hours during production except for the last day. That was the final fight scene and Dave Martin, the cinematographer and I had to stage the fight scene. That took about 18 hours.

DH: What obstacles did you overcome to get your film made?

RS: There were several obstacles that could have presented themselves. However, the production went very smooth. We planned everything out so meticulously in preproduction that we had very few problems. It was so smooth that on one particular day I was able to get 48 different camera setups.

DH: How did you secure distribution? Any tips for people trying to get their movie out there?

Distribution is a painful process, especially when you don’t have a named star. There are a lot of sharks out there and all they want to do is steal your film. I had a couple of different offers on the table and when I asked around I found out that they all had tricky ways of accounting for income, ways in which they hide profits from filmmakers. In fact I talked to about 100 people all of which have never seen a penny from these companies. Indie-Pictures is a new company that is changing the face of distribution. I have a substantial voice in all the decisions made regarding the distribution of my film from what festivals we enter to designing the artwork to how we spend money on advertising. My advice for those filmmakers seeking distribution is to ask around about the companies interested in your film. Try to put a named actor in your film even if it’s a small part. Get even a C list actor if you can. But, if I knew then what I know, the most important piece of advice I would give to you is skip the sharks and contact Todd Taylor, CEO of Indie-Pictures he is revolutionizing the distribution process for filmmakers. www.indie-pictures.com

DH: What's next? And, last but not least, any plans for a sequel?

RS: I have several projects I am trying to get off the ground in all different budget ranges and genres. As far as a sequel, there are two more installments of Nobody Loves Alice. We are currently working on the scripts and have investors interested. So keep your eyes open for the sequel to Nobody Loves Alice, Somebody Loves Alice.

Sincerely,
Roger A. Scheck
Scheck Media
www.myspace.com/scheckmedia
www.myspace.com/alicefilm
www.nobodylovesalice.com
roger@nobodylovesalice.com