This from the man himself, Jon Reiss, in response to the many wonderful posts this week from Michael Barnard, Lucas McNelly and Dennis Peters regarding the PMD.

Let me clarify some of my feelings about the PMD.   I will add my universal caveat that every film and situation is different.  But  here are some important guidelines:

1.  The best case scenario is that a PMD is on board as a full collaborator and worker from as close to inception of the film as possible.  No later than beginning of prep.  This allows for, what I feel, the optimum of the integration of audience connection and engagement (which is what distribution and marketing is at its essence).   If you wait till you have finished your film – you are in a world of hurt (I’ve said that before, but I don’t think I can say it enough) because this connection building and engagement take time and effort and cannot be hurried.

2.  The best marketing is as creative as traditional filmmaking now – and frankly the line is blurred between what is the “film” and what is marketing.  This is a de facto state of things since the rise of transmedia.  If anyone just wants to make a traditional feature these days – that is great,– I am not going to tell anyone what his or her creative output should or should not be, but  I am only pointing out that there is a tremendous amount of creative potential that focusing only on feature films ignores.  I feel as a film community we should embrace it – and many filmmakers are. It is tremendously exciting.  Look at what Lance Weiler is doing.  I was fortunate enough to be at the Warhol Museum in Pittsburgh yesterday – and many things struck me (more blog posts coming on this subject) – but he was one of the first transmedia artists – we can learn a lot from him about what it means to be a creative person AND what it means to connect with audience.  (And Sheri Candler – yes he was an incredible leader of a tribe – another post on that coming too).   I know for many of you this is old news – but I still feel there is a battle being waged about this – one that is a waste of time in my opinion.

3.  As a result, the PMD is not just a social marketer, a dealmaker, a festival publicist, a line producer, a distributor, a publicist – he or she needs to understand all aspects of the marketing and distribution of a film and conceptualize, develop and oversee its execution over the full life of a film.  To do all of the above is a tremendous amount of work – akin to being the sole producer of a film in a crew of 3 (and at times this will happen – just as micro budget films have been produced in this way).  But I do advise that there be a distribution and marketing team (I took a whole chapter of TOTBO to outline this crew and even that should be supplemented now (another blog post later). The PMD is the one who oversees all of the pieces (but as in the case of all who work on indie films – they will be working full time and busting their butt in the trenches like everyone else – because there is never enough money to hire as many people as anyone would ever like).

4.   Just as people cut their teeth in indie film by taking on smaller tasks and working their way up – so it will be with PMDs.   Electrics become gaffers become DPs.  Social media assistants become social media strategists become PMDs. (as an example) While people work up the ladder – if they want to be the top creative in the department – they will learn ALL aspects of that department on their way up.  It is an intense learning curve – but people who want it – do it.

5.  When people cut their teeth in indie film – they usually work for free or for little money to have a chance to prove themselves.  Money, work, and credit are always  negotiated in independent film.  I don’t see that changing with the PMD.  Film has always been an apprenticeship system.  Even with film schools (and PMD training is on its way – more future blog posts) – most film students discover that they still need to apprentice out of school.   This is not just true for film – but for all arts not only in the US now – but throughout the world and throughout time.

6.  An alternative to this is  a group of filmmakers who band together as a team – all chipping in resources and skills – to make a film.  They usually divide up responsibilities and credits.  But each member of the team has his or her own sweat equity skin in the game.   This is where you have new producers, directors, DPs born who have not worked through the apprentice system.  But they take the risk on a project and prove themselves.

7.  The last alternative (which usually involves apprenticeship as well) is to get a lower level paid gig in an established, commercially based company (e.g. a publicity firm, social media establishment, transmedia commercial company etc) and get paid for doing lower level work on commercial projects.  Often people do this and  learn all the ropes, change jobs to learn a different skill (again paid for commercial work) until they have enough skills to strike out on their own.

8.  All of the above goes to say that I feel that if you want to be a PMD in the indie world – it will be difficult to ask to be paid without a track record.  Like all other people in the indie world – you need to pay your dues – work on films – build a reputation, resume, reel – to show what you are worth.   Most people in indie film – especially when they are starting out – have multiple jobs and find multiple ways to make a living.

9.  If you are in film – especially indie film – to make money – I suggest finding another career.  There are many other ways to make money more simply. Chances are you’ll make more money per hour at McDonalds than from working on any indie film. The world of film and media are for people who love film and media and cannot live without it.  It is a tough life except for a very few. (Again from Warhol: “Life is very hard”).

10.  The people whom I have met who want to be PMDs around the world – have a love of film – but feel that they have a set of skills more geared toward marketing than actual production – and are excited by having a way to work in the field they love (film and media) and use their special talents.  They are not doing it primarily for money.  They are doing it because everything else besides film is unsatisfying – and while they do need to find a way to make a living – they need to be involved with film.

11.  The hope is of course – with everyone in independent film – is to find a way to do what you love and sustain yourself.  There are many, many ways that people find to do this.  It is of course tougher than ever now – especially as we are in this transitional period.  I don’t feel I have all the answers – but I am excited by what the future holds, by having discussions with passionate people who care about our world and I feel together we will all find a way to make this work.  I don’t feel that we as filmmakers are alone in this.  All media content creators and artists are facing the same conundrum – musicians, journalists, authors, artists, photo journalists, graphic artists, game designers (massive layoffs in Australia in the months prior to my visit).  We are all facing the same challenges and I feel that we can all learn from each other.

Let me know your thoughts at  @Jon_Reiss on twitter or facebook.com/ThinkOutsidetheBoxOffice

Unfortunately, a great number of key digital platforms must be accessed through the use of an aggregator. Of course there are always exceptions, but the general rule is that to get your films onto Cable VOD, iTunes, Netflix, Hulu, Sony Playstation and other device oriented options and retailer digital platforms , you will have to go through an aggregator or a distributor. We either directly or via partners offer both a commission or a flat fee option (range depends on platforms).

However, you can get onto Amazon directly. Also, you can access DIY oriented ones such as Mubi, Fans of Film and other platforms like them. To the best of our knowledge, more money is made on the key high trafficked platforms, if one can get on them.

Once again we remind you, MARKETING, MARKETING, MARKETING is key to your film’s success no matter what distribution outlet you use.

Many films enjoy their greatest success both on an awareness and financial level via HYBRID THEATRICAL / NON-THEATRICAL screenings. The film “For the Bible Tells Me So” had a successful two-year run.  We (under our previous company New American Vision) worked non theatrical screenings for END OF THE LINE to screen at over 200 venues. Caitlyn Boyle worked many screenings of the film after us. The film  “Age of Stupid” made 6-figures in profit from automated house-party screenings.

Documentaries,issue-oriented films and niche films lend themselves to this model and it can absolutely be done by yourself or with a professional company, it all comes down to how much time and energy you have to do the work entailed. TFC recommends asking filmmakers who have tapped into a similar niche that your film targets for tips and advice on reaching the audience. Educational / Institutional distributors such as Bullfrog and Cinema Guild can definitely get you bookings you could not get yourself simply by virtue of having the right database, so investigate ahead of time. You may want to hold off on regular DVD and digital distribution if this is part of your plan, non theatrical screenings are a window after all.

On the THEATRICAL side, we recommend you check out our recent blog on the topic and remember there’s a lot you can do on your own (including booking theatres). We recommend comparing the realistic upside with the investment. If you can’t come close to the recoupment on the cost of theatrical booking, really weigh whether it is worth it. Beware of service companies charging too much. We did just learn of a narrative film that self-released and grossed $650,000 and will actually profit from the release overall because that theatrical screening campaign elevated the profile of the film and therefore it got the DVD, digital and TV business the investors were hoping for. We’ve been ask not to name the film, sorry.  In any case, examples like this can go both ways so be careful and get educated *before* the release.

Inception as a way to explain duties of a PMD

This was an awesome post in Fast Company and I have to share it here. In the quest to either find a PMD to work with or to become a PMD, it may not be possible to find all of the qualities or work experience needed from just one person. It is reasonable to expect just as corporations have multiple marketing team members responsible for the myriad of duties that need to be fulfilled, a full marketing team will need to be assembled under the careful guidance of a PMD. Here is how the article explained as it related to INCEPTION:

Cobb, The Extractor, (The PMD): Executive responsible for the film brand in large. This person  is also required to not only extract ideas to form the messages about the product (the film and related content), but also introduce the new ideas that empower consumers to relate to it and pass along the message. He/she may also lead teams or individuals into each social intiative. Will also be responsible for plotting the distribution path.

Ariadne, the Architect, (Graphic designers, web developers, applications developers, writers): Build and define the online experience as well as the bridges (and Penrose stairs) that connect the dots. This might include transmedia story extensions and building those worlds around the original content.

Arthur, the Point Man, (web analytics, message analysis and propagation): Data and research analysts who gather information and intelligence and present it to the various teams for incorporation into strategies and supporting tactics.

Yusuf, the Chemist, (more technical skills, but could be done under the Architect): Social technicians and alchemists who bring architecture to life through apps, landing pages, interactive media platforms, custom tabs and the like.

Eames, the Forger, (the voice of your production that the audience responds to): Brand representative who serves as the personality and voice on the front lines in communities.

Mr. Saito, the Tourist (the influencers your team attracts  and builds relationships with): Symbolic of the influencers who serve online communities as overseers and moderators.

Miles, Cobb’s mentor (the mentality the team must have to form meaningful and lasting relationships): The ethics that serve as the inspiration for meaningful social media programs and engagement. If the mentality is purely selfish, there will be no meaningful relationships.

Fischer, the Mark: The audiences and people with whom the film’s brand hope to connect and convince to see or purchase the film.

Needless to say, there is more than enough work here for one person to handle full time for a long period of time. It could take a team of people working tirelessly to bring attention and build community around your film. Still think the person heading this effort up doesn’t deserve a producer title?

TFC books film festivals for filmmakers when that work is too time consuming for the filmmakers themselves to handle.  Bookings can be done by yourself and you can charge fees for an in demand film. However, there is something to be said for the ability of a distributor to command more in fees and know of more fests to get the film placed more broadly.

Know your film and yourself to determine how your festival run is best handled. Especially with niche films, make sure you are working with someone who has the knowledge of all the appropriate fests and can command decent fees, or make sure that person is you. More to consider if working with an outside company: make sure they are not too glutted with so many films that cannibalize each other both attention wise and content wise and ask what they do to work the film at the festival level.

The Tidbits this week will be bolstered by CASE STUDIES and real numbers  to come after the initial releases have completed. These TidBits are the conclusion of our first DISTRIBUTION TIDBITS series and a bit of a general overview of how to blend traditional distribution with new DIY  opportunities.

FOREIGN (OUTSIDE US DISTRIBUTION): TFC usually employs a hybrid approach when it comes to distributing films outside of the US.  There is still a lot a distributor in another country can do with your film that you cannot do yourself, i.e. theatrical and non-theatrical,  additional festivals per territory are harder to suss , and of course 
retail DVD and often TV etc. To balance things out, TFC often combines licensing rights to distributors with some DIY. For example, we make sure filmmakers can sell off their own site (we can help facilitate that) and also have the right to get the film onto any 
digital platforms that the distributors cannot and we can facilitate a worldwide iPhone App and other Apps which also allow for direct digital distribution in many countries around the world. We also aggregate directly and through our partners to key digital platforms available worldwide.

TFC helps filmmakers with foreign sales  and will also soon have a booth at key sales markets. If you are going with another sales company, we will help you not get stuck in an abusive deal or one that recoups excessive costs at your expense of  reasonable revenue.  And many buyers will buy directly from filmmakers  if they are properly motivated, thus decreasing the need for a sales agent.