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American Film Market Dailies



Filmfestivals.com will be covering AFM 2018  running November 1 - November 8, 2018  SANTA MONICA

Every Fall, the Global Film Industry Converges in Santa Monica: Filmmakers, producers, directors and writers from around the world come to AFM to gain exposure, discover new projects and make deals. The American Film Market & Conferences is the largest motion picture trade fair in the world. 

 

Circulation of our newsletter 192 000Facebook AFM Photo Gallery I Twitter I Youtube videos

Our AFM Newsletters will run:  
Pre roll newsletter N° 1 (October  18)
Pre roll newsletter N° 2 (October  25) 
Opening Newsletter N°3 (October 30) 
N°4 (November 2) 
N°5 (November 3)

N°6 (November 4)  
N°7 (November 6) 
N°8 (November 8) Closing

Final wrap & global newsletter N°9 (November 10) 

 

 

AFM 2017 Wrap & global  I N°8 I N°7 I N°6 I N°5 I N°4 OPENING N°3 I  Preview N°2 I N°1

AFM 2016Pre roll N° 1 I Pre roll N° 2 Opening Newsletter N°3 I N°4 I N°5 I N°6 Focus on ANIMATION  I N°7 I Final wrap
AFM 2015:   Newsletters N° 1 I N°2 I N°3 I N°4 I N°5 I N°6  N°7 I N°8N°9 I N°10
AFM 2014:   Newsletters  N°1 N°2 N°3 N°4 N°5 N°6 N°7 N°8


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Photos & Quotes From AFM November 5 - 6, 2018

Below please find notable quotes from industry figures that spoke in the last 24 hours during AFM’s Production and Distribution Conferences, as well as its Documentary Roundtable:

PRODUCING FOR THE PRE-SALES MARKETPLACE

Elisabeth Costa de Beauregard, President of Global Sales & Distribution, Storyboard  Media, LLC

“What you need is a good marketing hook.”

 

“It’s tough out there but there are these gems. The smartest thing to do is be a smart filmmaker… it is all about your execution… execution will dictate how it resonates with the audience.”

 

“Comedies are very tough in the foreign marketplace… but when they work, they work.”

 

“Who is going to buy a ticket to see this film. Who is going to want to watch it on a streaming service. Who would spend $15 at the Arclight to see that? Know the demographics of your audience. Who is going to take the time out of their busy lives?”

 

Paul Bales, Partner, The Asylum

“From 300-800 thousand dollars is a sweet spot. I would encourage you to stay within that range.  It is very hard to fail at that level.”

 

“If you pay an actor over 65-thousand dollars – you don’t have to pay them almost anything else.”

 

Robert Menzies, Producer, Zed.Film

“Find first time directors and give them that first opportunity.”

 

“(at low budget) We have had recent successes where we have doubled our money.”

 

[Advice to aspiring producers] “It is about being smart – If you are the writer/director – you have to think like a producer – You have to think, who is this for? You have to find the right package.”

 

“Financing is easier than the casting.”

 

Shawn Williamson, President Brightlight Pictures

“2-million dollars is a hard number to finance. It always come back to script.”

 

WORKING WITH SALES AGENTS

Lisa Gutberlet, EVP, International Sales & Acquisitions, Blue Fox Entertainment

“We really try to create a global strategy, so we also have a U.S. Distribution arm… If we are the U.S. distributor as well, that will help us place the film internationally at the right markets.”

 

“We really want to be a worldwide partner and create a global strategy early on, to maximize returns in the film.”

 

“Spain has, for a number of years, been a relatively more difficult territory to sell and they’ve come back recently and so has Russia.”

 

Basil Iwanyk, Founder, Thunder Road Pictures

“The market is really smart. If I want 15 million dollars out of foreign and the market says [the film] is worth nine million, the market is probably right.”

 

“Of course it’s hard; it’s the movie business, it’s always been hard. Shockingly, the movies that are supposed to get made, get made. It’s exhausting to constantly hear everybody complain… we’re making movies. This is a great gig and yeah, it’s tough, but so what?”

 

Cybill Lui, Producer, Anova Pictures

“Every project is different. As a producer, it’s your job to find who the best sales agent is to sell it and what the commercial viability is.”

 

“In the independent space, finding and picking your sales agent is almost like working with a studio.”

 

THE FUTURE OF VIDEO ON DEMAND

John Orlando, SVP, Programming & Development, Sony Crackle

“We’re very careful about making shows and building things that are relevant to our audience.”

 

“Genre really works well for casual viewers and for people looking to settle down and escape.”

 

“In this time when there are 450 drama TV series out there, and hundreds of movies being made and acquired by Netflix and Amazon, we are able to make things specifically for an audience and then we’re able to market them with specificity.”

 

Janet H.A Brown, EVP, Distribution, Gunpowder & Sky

“Now that social is becoming so much more efficient and more developed as a marketing channel, being able to hone in on smaller markets is really beneficial.”

 

“The right platform that is going to work is really dependent on the content.”

 

Dave McIntosh, SVP Content Licensing & Strategy, Shout! Factory

“We’re pushing for day and date as much as possible… you’re riding the waves off the promotion being done for in-theater and the buy rates are so much higher.”

 

“You have to strategize and figure out if it’s worth it... and then internally, you have to have data entry and watching where all your titles are going and who’s watching them and tracking the rights.”

 

“The conventional wisdom is that you can only lead with EST (Electronic Sell Through) if it’s a big blockbuster… I prefer going out at the same time (for digital download and rental).”

 

“We’re seeing big growth on EST which is interesting… I’m starting to see more the value of a film that you like and want to watch multiple times—there’s value in owning a copy.”

 

Michael Berman, EVP, Programming iN Demand

“It’s crucial if you have a film that you somehow make it stand out to someone who might not be looking for that specific film.”

 

[On necessity of theatrical release] “I would not say it’s critical. In some cases it helps and in some cases it’s great to be able to say ‘only available on demand.’”

 

Roundtable: Producing Passion Documentaries

 

Caryn Capotosto, Producer, Head of Productions, Tremolo Productions

[On why documentaries started to become more popular] “People started to realize that documentaries can also be cinematic films.”

 

“Documentaries have the opportunity to plop you into a cultural moment.”

 

[On Netflix] “Any film that they know has a very specific audience is a good film for them.”

 

“I include the festival circuit in that (theatrical release) because it’s an opportunity for an audience to come in and have a collective experience viewing it.”

 

“The writing of a documentary happens while you’re making the documentary. We don’t always go into the story knowing where it’s going to go. You find that in your interviews and in talking to people.”

 

Ryan Suffern, Head of Documentaries, Kennedy/Marshall

“We have a new generation, millennials and behind them, that are raised on YouTube and have this appetite for ‘real.’”

 

“I think documentaries can crawl under skin in a good way or a negative way… that stickiness is a really good thing that at the end of the day, people don’t just binge on and flush out of their memory bank.”

 

“There’s no such thing as a documentary that’s too short”

 

“Documentaries are being allowed to incorporate narrative storytelling devices… what’s addictive is being able to tell stories that are real that have narrative story arcs…at the same time we see narrative storytellers using documentary devices to tell their stories.”

 

Derek Doneen, Filmmaker

“I think there’s a bargain you make with the audience… there’s a fine line of wanting to be cinematic but not wanting to be overly persuasive.”

 

“There’s a growing audience [for documentaries]. When you look at your social channels, that’s what people are sharing. They like true stories—the immediacy of true stories.”

 

“It’s so much easier to find funding when you can make something into a series because you can go to the streaming platforms up front.”

 

“You can go on Google and learn about the issue, learn all the facts and figures, and I don’t think it will move you in the same way the [subjects] in the documentary will.”

 

“Music can manipulate an audience and make them think something that is not in the edit. If you’re not getting there on your own with without the music, you’re not there yet.”

 

“The form is changing and you’re given the freedom to be a little more experimental. You’re finding just filmmakers, not necessarily narrative filmmakers or documentarians, just filmmakers attracted to good stories.”

 

Khaliah Neal, Producer

“It took the film business time to realize people will watch this [documentaries].”

 

“There’s more players, so in a sense there’s more money, more projects being greenlit, more jobs which seems great but this bubble is going to burst and in some sense has already started to burst… I think overall there’s an instability in the marketplace.”

 

[On social impact] “If I make the choice to go to the theatre, that alone is sort of a political act.”

 

“I think documentaries are just easier to get off the ground… documentaries lend themselves to the entrepreneurial spirit.”

 

 

 

 


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About American Film Market Dailies

WOLF Jonathan
(IFTA)

The AFM is not a festival - it is the largest motion picture market in the world. 8,000 industry attendees, including producers, distributors, directors, agents, writers, lawyers & bankers. Over 540 films screened, most world or U.S. premieres.

$US3 Billion spent annually by participants to produce films
8,000+ industry professionals
2,000+ new films and projects
1,000+ production companies
400+ distributors
540+ films screened
100+ world premiers 
70+ countries represented
50+ thought leaders speaking
7 days of networking activities
1 beachfront campus that covers it all

 


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