THE SOCIAL NETWORK: Marketing Indie Films Online | Industry Dialogues | Festival 2012

Be one of the cool kids – the kind who go on to rule the world with their media savvy, technological know-how – by learning how to master the medium and the message when marketing your film online. Discover how to build friends, fans and followers, how to make the most of various sites and platforms, how to develop a strategy that's right for you and your film, and how to create a market for your work and carry your fans from project to project.

Ira Deutchman (Managing Partner of Emerging Pictures; Professor of Professional Practice in the Graduate Film Division of the School of the Arts at Columbia University, where he is the Chair of the Film Program)

Marc Schiller (Founder and CEO, BOND Strategy and Influence)
Christine Vachon (Principle / Producer, Killer Films)
Jeff Reichert (Vice-President of Theatrical Marketing, Cinedigm)



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5 Comments on “THE SOCIAL NETWORK: Marketing Indie Films Online | Industry Dialogues | Festival 2012”

  1. This was informative albeit a bit muddled.  The synopsis is essentially that social media works for specific genres, ie. socially themed content, requires hands on effort over automation, and most disturbingly, isn’t necessarily correlated with ticket sales over just plain old branding.  Narrative Filmmakers would do better to focus on making great films over getting into the online popularity contest too early in the process.  It also seems like this isn’t a task that most filmmakers would thrive at, as filmmakers are focused on the task of the little pictures. Producers may be the ideal candidates to push these sort of campaigns, that is if you can’t get one of these experts to take on your film.  Filmmakers do enjoy the Q&A part of the process and social media can augment that, but it requires an audience who has actually screened the film already.  

    Perhaps the whole indie model needs to change.  Maybe the only money the filmmaker will earn is from the money raised to make the film.  That money could come from crowdfunding, and then distributed to that crowd in advance of other markets.  Then move onto festivals, then ultravod or day-and-date, followed by VOD, SVOD and then free.  All those windows would be considered ancillary, the money made was in that which was raised.  Film is tough biz because it’s a highly elastic product.  Demand is not guaranteed esp. w/ a myriad of ways to pirate. Even with the best content and a amazing social media campaign you can’t create an impulse purchase as easily with this product as you can with others. 

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