Make Film Teach Film

Final call for Cannes 2010!

Final call for Cannes 2010! Well final call for our workshop at any rate ;-)

Do you want to go to Cannes, like many of your competitors do, but as you have never attended, you feel a little overwhelmed?

I get it, I really do! I was also Cannes Virgin once. Let team Living Spirit, that's me, Gen and Andrew (from LA), Judy and co., take the stress out of the whole experience so that you can get on with selling your films, improving your ideas through an understanding of the film sales marketplace, and create powerful new relationships by networking in Cannes.

This unique workshop takes place in both London, LA and online, ASWELL as in Cannes itself. We will help you get to Cannes, and then meet you when you arrive to show you the ropes. Once you have found your feet, you will be away!

Check out the websites…

If you live in London (or cannot make it to London or LA and want to view online), go here… http://www.chrisjonesblog.com/2010/02/cannes-2010-come-with-us-on-your-first-trip-to-the-cannes-film-festival-and-market.html

If you live in LA and want to attend, go here… http://script-tonic.com/Cannescourse.html

See you in Cannes baby!

Onwards and upwards!

Chris Jones, Film Maker and Author
www.livingspirit.com
mail@livingspirit.com

Three cheap tips for getting to the Cannes film festival from Nice airport

Ahead of both our Cannes workshop next week (still time to sign up) and the festival itself, we asked our friends at www.cannesorbust.com to give us some tips for getting into Cannes when you step off the plane. Here's what they said...

Picture this: you worked overnight to finish getting stuff ready, you got up early to catch a plane and you arrive at Nice airport in a blaze of sunshine and grope for your sunglasses in your bag. First reaction: slip your weary but glamorous derrière into a sleek Mercedes taxi and get ready to pay anything between €80-100 to get to Cannes.

Stop! If you are travelling with one or two people and budget is no problem (yeah, sure!), then go for it. But if you are travelling alone, on a budget and have a little time, there are three cheap ways to get to Cannes.

To determine which the best option is, think first about where you are actually staying.

• Cannes centre: the express bus and the train are the best options.
• Antibes, Golfe-Juan or Juan-les-Pins: the Golfe Juan express or train is the way to go.
• Cannes La Bocca or Mandelieu: go for the train (just check on a map how close your hotel is to the relevant stations).

Tip n° 1: The cheapest: the bus. The NoctamBus 200 to Cannes takes over from the express bus (see below) on Thursday, Friday and Saturdays only from 11.30pm. It leaves from Terminal 1 and costs the princely sum of €1. The journey takes about 90 minutes. It’s an interesting option if you are staying in Antibes or Juan-les-Pin. It’s the local bus, and your bags will be a nuisance. But it is cheap!

Tip n° 2: It’s a little-known secret that Nice airport has a railway station (relatively) nearby: Nice-St Augustin. It brings you to Cannes in about 35 minutes for about €5 (May 2009). It’s also handy if you are staying in Juan-les-Pins, Antibes, Cannes La Bocca or Mandelieu. The only trouble is finding it.

Take bus n° 23 from Terminal 1. St Augustin is the second stop (last bus 9.40pm). You can also walk there from Terminal 1 in about 15 minutes. Look for the signposts for the “L’Arénas” office block. Then take Avenue Lindbergh and turn right on Blvd Cassin. Cross at the lights and head under the railway bridge. You’ll find the station to your right. Last trains are at 23:36 and 20 past midnight.

Tip 3: the Cannes Xpress bus (n° 210) is a popular option, as it leaves from Terminal 1 every 30 minutes, visits Terminal 2 and then takes the motorway straight to Cannes for €15.60 in 50 minutes (return ticket €25.50). I like this one, as you often meet people on the bus and your Cannes festival starts straight away! The last bus leaves the airport at 8.50pm. The bus arrives and then leaves from the “gare routière” near Cannes town hall. There are ample bus connections from there, or take a taxi if you’re out of town. Another express bus, n° 250, goes from the airport to Antibes, Juan-les-Pins and Golfe Juan for €8 (€15 return).

No need to explain the return trip, I presume. But I have often arranged to share a cab back to the airport, although it’s more for the networking than for convenience. Enjoy Cannes and always remember to stay one drink behnd the person you’re talking to!

Michael Leahy is a writer that also runs http://cannes-or-bust.com, the foremost site for people visiting Cannes for the festival, MIDEM and MIPTV. News and money-saving tips are posted on the site, as well as on the daily Twitter account http://www.twitter.com/cannesorbust. 

Thanks Michael, see you in Cannes! On the bus no doubt!

Onwards and upwards!

Chris Jones, Film Maker and Author
www.livingspirit.com
mail@livingspirit.com

We all love something AMAZING and FREE! Film makers, download a great book on social media and film making!

As the debate around BECTU and the minimum wage rages onward (read my post here and the replies at the bottom of the post), so a great example of the future for film makers appears online for free. Yes free. Not always free though, it’s a paid for book sometimes, but right now, this week only, it’s free (a little like working in the indie film sector?)

Writer Scott Kirsner, who I met and interviewed at the Rhode Island Film Festival, (video here), has decided to give his book Fans, Friends and Followers away for free. Yep, completely free! You can download it from his website here.

I actually bought the book last year as I knew just how important social media has become to film makers, and I also wanted to support Scott and his important work. It’s a big read too, not some flimsy eBook designed to grab your attention. So thanks Scott for sharing so generously. We all appreciate it.

Scott also has a great blog at CinemaTech where he promises to share the results of this little distribution experiment.

Onwards and upwards!

Chris Jones, Film Maker and Author
www.livingspirit.com
mail@livingspirit.com

Come To Our Documentary Film Makers Weekend Workshop - London 22nd / 23rd May 2010 EARLY BIRD DISCOUNT WITH £50 off!

After three years away, they are back! Genevieve Jolliffe and Andrew Zinnes are passing through London on their way home from Cannes to LA, and they are running their incredibly successful two day Documentary Film Makers workshop here. This will be the fourth time we have hosted this workshop and each time it just gets better, successfully empowering and focusing doc film makers, transforming their ideas and projects into successful films that reach the market, win awards and launch careers.

As it is a fully interactive workshop, places are limited to 18 max, so book now.

EARLY BIRD DISCOUNT – down from £237 to £187 (that’s £50 off). This discount is available ONLY until Sunday 14th March. Sign up here…

Is there a story you want the whole world to know, but aren't sure how to do it? Maybe you have a social cause that needs more attention? Learn how to make a documentary film and you can get your story or message to the masses. But documentary filmmaking sounds like something that takes years of training and requires lots of expensive, technical equipment, right? And you might think, “I’m not all that “experienced.”

Yes, it does take some know how and the equipment can seem a bit daunting at first - but we can help you with all of that and much more.  And maybe YOU have that one ingredient that REALLY makes a documentary successful - a GREAT idea! We can’t teach you that, but we can teach you everything else.

Our two-day workshop provides you with an interactive and relaxed environment that will guide you to your goal. Through practical tips, hands on experience with filmmaking gear and video examples, you will feel empowered and confident to go out the very next day and get started on your project right away. We will take your knowledge and passion and help you laser focus it into a great project.

And don't think that after the seminar is over that you are on your own. Our instructor is available for e-mail questions and a one hour consult session long after the event is over, to refresh your memory, give advice and help guide you through YOUR process.

And if you aren't completely satisfied we will return your money. No strings attached.'A powerful seminar, jam packed with great information from the first hour to the closing night. Barely 3 months later I am now in production directing my first feature length documentary thanks to this workshop..." Shane Harvey, Vancouver

LONDON, £237 (EARLY BURD DISCOUNT £187)
When: May 22nd / 23rd 2010
Where: Ealing Studios, West London

Day 1 INSTRUCTION: Saturday, 10:00AM-6:00PM

Concept/Story: An easy to follow discussion of documentary storytelling that includes plot, structure, character, tone, POV and style. The end result is a clear understanding of what makes a compelling documentary subject and how to organise your story.

Research/Proposal Writing: A doc is only as good as the questions asked. And you learn what questions to ask by doing your homework. We give tons of tips on how and where to look for the information pertinent to your subject. And further, how to mould it into a proposal that will open up doors to financing, interviews and endorsements.

 Funding: The various kinds of funding (grants, private equity, etc.) both foreign and domestic that are available to you. How to approach funders with your proposal, and how to create a sustainable budget. How to use fiscal sponsorship. We advise on professional organisations and resources, specific grantmakers and strategies.

Legal: A thorough discussion on one of the more confusing aspects of documentary filmmaking. Topics include contracts, copyright, footage use, permits, releases, agreements, Fair Use and licensing archival and music material.

Production: Interview techniques, camera and sound advice via hands on experience with the gear. HD vs. HDV vs other fomats. How to get deals, addressing problematic situations, dealing with locations & schedules, finding crew, what to do if things go wrong.

Day 2 INSTRUCTION: Sunday, 10:00AM-3:00PM

Post-Production: A guide through the editing workflow specifically targeted toward HD, giving an overview of some of the technical issues one needs to know to navigate this area.

Sales, Distribution, & Marketing: How to get your message out to the world. Tips on film festivals, publicity, marketing and sales agents/distributors. And for the first time, we will be introducing a whole new section on self distribution and alternative distribution that includes using social networking (Facebook, Twitter, blogging, vlogging) to build YOUR community around your project. SPECIAL MODULE - HOW TO WIN AN OSCAR WITH A SHORT DOC

Surviving as a doc filmmaker: how to make money on your documentary, revenue / career-building options: production jobs, promotional docs, events, gov. and non-profit sectors, life stories, etc.

DOC TONIC WORKSHOP: Sunday, 3:15PM-6:00PM

One of the MOST valuable parts of the workshop. Get instant feedback on your project no matter what stage it's at. At the end of this session, you will know exactly what to do next with your project. Our past delegates find this step transformational.

Places are limited so please book early to avoid disappointment.

Andrew Zinnes has spent the last 15 years in the producing end of filmmaking. He's worked for Norman Lear (PRINCESS BRIDE, STAND BY ME), Donald DeLine (THE ITALIAN JOB, FOOL'S GOLD) and USA Networks (HELEN OF TROY, MONK) before working independently as a writer and producer of documentary and reality TV. He currently works as the production manager for Operation Repo on TruTV as well as the producer for the documentary film PAPER PROMISES sold to Superchannel Canada.

Notes on Attending

1. Ealing Studios can normally accommodate parking at weekends, but there are no guarantees. If there is no onsite parking there are several roads behind the studios where you can park. So far we have never turned anyone away. The nearest tube stop is Ealing Broadway, which is on the District and Central Lines. The Piccadilly Line is also close with South Ealing tube station. A map of the local area is here.

2. Kick off is 9.00am on Saturday and 9.30am on Sunday – sharp.

3. Before attending it’s a good idea to think about what you want out of the course. If you have any areas where you want to ask questions, make a list. Don’t rely on remembering as information can come thick and fast over the two days.

4. The course discussion ends at around 6.00pm, depending on how many questions have been asked during the day.

See you there!

Onwards and upwards!

Chris Jones, Film Maker and Author
www.livingspirit.com
mail@livingspirit.com

Does the National Minimum Wage (NMW) mean the end of micro budget film making the UK?

Let me start by saying, I don’t like polarised positions and I don’t like being drawn into debate where parties end up demonising each other. I seek to unite and not to divide. In that spirit, I have been asked to get involved in a very important debate on the National Minimum Wage in the UK.

Last year BECTU (the film and TV technicians union) won a ‘landmark’ case which seemed to imply that Indie film makers may be exposed to prosecution IF they do not pay the National Minimum Wage (NMW). Even if the crew members who got involved know and agree that there would be low or no pay, the producers could still be prosecuted under this law.

It’s a great headline grabber.

But the law itself is a minefield. Everyone interprets it in a different way, based on their own preconception and of course, their own beliefs and working practices. The whole area is a mess of contradiction, misinformation and woolly legal interpretations (and implied threats from some quarters) of a law that was never created for, or indeed suited to, the creative businesses (never mind low budget film making, what about fringe theatre or a local band playing down the pub, both in clear breach of the national minimum wage).

Next week, I am taking part in a formal parliamentary style debate between two BECTU members, one of whom is Martin Spence (who will be arguing for the national minimum wage to be applied to low budget film making) and with co-founder of Shooting People Jess Search and myself (opposing the national minimum wage being applied to low budget film making).

This is all couched under the less in your face motion of… ‘Working for free is the only way for new entrants to get a foot in the door of the film and television industry but are you shooting yourself in the foot?’

So are you for it or against it? (why do you have to be one of the other? So just to be clear, I am both for it and against it, just a little more for it, based on my own life experiences).

BECTU have organised the event in an attempt to better understand the problems and differences we all face in regard to this idea. Their aim is to draw up a code of conduct for indie film makers to follow so they can get behind it. And like most indie film makers who have looked into this problem, I do find myself agreeing with BECTU on many points. No-one wants to see people being genuinely and knowingly exploited by unscrupulous producers.

But… Will this actually help? Do we actually need more rules and regulations to ‘protect’ vulnerable film makers? I also find myself at logger heads with some of BECTU’s more aggressive assertions. And some I find downright offensive. More importantly, they are simply unsustainable and unworkable.

Frankly, this whole debate makes me quite sad.

In many ways, it’s very regressive thinking, harking back to an industry of yesteryear. In days gone by, there really were clear paths for film and TV professionals to follow, from assistants and runners, all the way up the ladder to the top of their chosen game. Back then, there was a viable and stable market for films, and a good producer could make a business of it, based on proven working practices and budgets.

I guess in those days, this kind of thinking and legislation made sense.

But in 2010, most film makers I know are producers, directors, self shooting, self editing, helping and collaborating on each others films, sharing knowledge and information generously... (I might add, back in the ‘good old days’, no-one shared any information, they kept it all to themselves, hence our Guerilla Film Makers Handbook). Today, the notion of a single career path seems a little absurd to myself and many other indie film makers I can call my friends. And the concept of a national minimum wage? Honestly? When we have spoken about it, we kind of giggle at it as a concept. It’s just kind of ridiculous out in the real world that I know and struggle through every day. I can only assume that the people who proposed this law have never been involved in a massive ‘against all odds’ creative endeavour such as a low budget film.

For me, there was no way into the film business unless I kind of smashed my way in (or you have personal wealth and connections). And no-one actually knows what the film industry will look like tomorrow (and I mean literally tomorrow, not one day some day…) Everything is sooooo unstable and in evolutionary flux.
 
I believe we are in a revolution as big as the industrial revolution. It’s MASSIVE! The industry is changing on a daily basis and I genuinely don’t know where a union such as BECTU belongs in this brave new world, let alone one who appears to take a stance where they may aggressively pursue film makers for alleged breaches of a law that is as open for interpretation as the NMW law appears to be. Maybe not open for interpretation legally, but certainly practically.

Of course in times like this there will be casualties – we are inside a brave new evolution of the film business. But there will also be extraordinary successes too. Inhibiting these breakthroughs by enforcing draconian and outdated thinking will only curb creativity, for both artists and entrepreneurs. And that is good for no-one.

And so I hope that BECTU really strive to find a middle ground. Lighten up a little. Go with the flow.

My final thoughts? If you have been to my blog before you will know I often film events to share knowledge with other film makers. And so I am going to ask BECTU if a couple of my friends can come and shoot the event so it can be edited, uploaded and shared with everyone who cannot make it (I am happy to organise the filming, get an editor in and to upload the event to the web all for FREE!).

But…

I will need to ask a few of my friends to do this for no-pay as there is no budget to do it. Sadly, I guess that to avoid breaching the NMW at a union organised event, I can only conclude that I had better not do it, just in case, you know, I get prosecuted. So if you can’t attend because you live too far away, for now, tough luck. You just experienced the effect of the National Minimum Wage on film making in 2010. It’s there to protect you and me. ;-)

I am of course being deliberately sabre rattling antagonistic. I only mean to illustrate the minefield ahead of us all in the UK.

Onwards and upwards!

Chris Jones, Film Maker and Author
www.livingspirit.com
mail@livingspirit.com

iPhone apps for the Cannes Film Festival and getting around

Our survey is complete and we are now analysing our results. So if you were one of the hundreds who took part, THANK YOU! And we will be announcing the winner of the complete Guerilla Film Makers Library very soon, in a very special way too (more on that in the next few weeks).

One of the questions we asked was how many of you use an iPhone – from our sample of film makers, it was just over 30%. The reason we asked is that we wanted to asses the viability of our Guerilla Film Makers Pocketbook as an iPhone app. But it also gives us a sense of what technology you have in your pocket. Out of that thought, and weaving into our Cannes Workshop (if you want to come to Cannes and want someone to help you through the first steps, including meeting with you in Cannes, this is for you), we decided to do some research on Cannes iPhone apps too.

There are a handful that (to me at least) look like a generic interface with data pulled from Wikipedia. That’s all cool as I don’t really want to know the history of the town, or where a good restraint is located, what I really want is an offline GPS map (so no roaming charges). Cannes is quite small, but for the first few days, if you have an iPhone, I think a 59p investment for an offline dynamic GPS map is a great investment. I bought two to test, the ‘Cannes GSP Travel Guide’ and ‘iMapsPro Cannes’ (which is cheaper and has a better map). Of course I can’t test the GPS functions until I get there.

Remember, Cannes is a small town and you are unlikey to get lost, but for the first few days, finding the train station in a hurry or getting to the Petit Carlton after a drink or two, may well be helped by the little GPS friend in your hand called your iPhone.

Chris Jones, Film Maker and Author
www.livingspirit.com
mail@livingspirit.com

Our 1,000th Gone Fishing DVD is sold... meet the film maker and read the review!

Last month we sold our 1,000th copy of Gone Fishing on DVD (trailer here). So I asked Nick, the buyer to share his thoughts on the film, and his own film making journey.

I first became aware of Chris Jones when I purchased the 2nd edition of “The Guerilla Film Makers Handbook.  I was 23 years old and working as a Contract Manager in the public sector after having completed an degree in economics.  I’d loved film since I could remember but I had no idea how to transition into working in the film industry from a career that bared no relation.  The book was an incredible eye opener and hugely motivating.  A lot of other books I had looked at seemed to adopt an approach of do xyz and you will have a complete film but this looked at real people fulfilling different roles in the industry and the case study approach really made the whole industry seem so much more tangible.  It also covered Chris and Genevieve’s fascinating foray into feature film making after choosing to leave film school.  Reading about the arduous journey of making their films, “The Runner”, “White Angel” and “Urban Ghost Story” on very little other than passion, talent and drive was hugely encouraging.  Inspired by the book I spent my bonus on a Canon XL1 camera, headed off to Ealing to undertake an editing course from The Metropolitan Film School and started producing corporate videos.  This has paid my bills for the last 6 years and given me the skills and confidence to recently write and direct my own short film, “Lie With Me”.

This leads me nicely into the real reason I’m sat at my keyboard with a fresh cuppa and a fig roll... Chris Jones and short film.

I remember reading about Chris shooting a short last year and was incredibly impressed by the way he had managed to get the project rolling.  Namely having worked at getting a nice list of contacts but also selling Associate Producer credits in order to make up a shortfall in the proposed £15,000 budget.  It was hugely innovative idea but I put it to the back of my mind and plugged away at earning my bread and butter.  This was, however, until I joined Twitter last month.  I saw Chris was actively marketing his work via the website and I subscribed to these feeds, to which I discovered he had made the film AND picked up some serious awards.  After checking out his website www.livingspirit.com I decided to buy a copy of the film on a DVD laden with extras.  I was the 1000th person to purchase a copy and as a result I was offered the chance to write a review of the film.  Let me tell you my thoughts;

The film has a runtime of 13 minutes.  This is a length that appeals to me as I’m quite impatient.  When I look at the back cover of a DVD and see that a feature film is under 85 minutes I get hideously excited.  It’s not that I hate films... I love them... but what I really love is a nice truncated story that gets straight to the point.  The good news is that those 13 minutes flew by.  I’d been so engrossed in the story that as the end credits began to roll I had no idea how long I’d been sat down for.  The story was really nicely paced and it didn’t feel like anything on screen wasn’t there to drive the story.  The photography, courtesy of Vernon Layton was sublime.  The colour and framing of every shot really helped tell the story and there was a really nostalgic feel to the piece.  The production value of the film on the whole is incredible.  There was no doubt in my mind that Chris must have had a finely tuned team working with him to achieve the end result.  The casting was great and everyone on screen new their craft well.  James Wilson’s debut was delightful and well done to Chris for getting such a measured performance from an actor at the start of their journey.  Bill Paterson has a long C.V of high profile productions so I expected no less than what he gave to the role and it was great to see Devon Murray doing something pretty far removed from the Harry Potter Series!

Moving on to extras, the option to listen to the film with a Dolby track was a nice, unexpected extra.  This proved to be one of a knock out selection of extras including, commentaries, behind the scenes photos and video diaries.  As a budding filmmaker, I really enjoyed watching the Rhode Island Film Festival Diary which followed Chris across the pond to attend a high profile, one week festival.  It was great to get an insight into a process that is often overlooked in filmmaking.  It really doesn’t stop after an edit is locked if you want your film to do anything for you and this really sold that message.

All in all I’d recommend grabbing a copy while they’re still available.  The success it has achieved alone warrants any Indy film maker to give it a look. (You can buy your own DVD or BluRay here)

Nick Padley, Director
Giant Leap Productions Ltd
giantleapproductions.co.uk

Blimey - thanks Nick!

Chris Jones, Film Maker and Author
www.livingspirit.com
mail@livingspirit.com

How to boost your Amazon rankings and other automated systems...

So a funny thing just happened. I just got an email from Amazon which recommended my own book to me! I have never had one of those emails. So why now? Simple. This is a direct result of the request I made a few weeks ago, for readers to leave reviews of the Guerilla Film Makers Handbook. That activity and flurry of great reviews was almost certainly flagged up as a trend inside the mysterious Amazon brain, and resulted in this recommendation, one that will almost certainly have been emailed to many other film makers too.

It will be interesting to watch the Amazon ranking to see where it goes now. When I asked for help, the book was ranked at around 200,000. Today it’s ranked at 41,547 (09.39 GMT – I believe the rankings are updated regularly so I will keep checking throughout the day). 

This is a great example of how an automated system can be manipulated for your own needs. While it’s awesome to have this result right now (thanks everyone who lefta great review), imagine how useful it could be for your own project to create intense activity on a specified and targeted date? By using your own social networks, you can motivate a huge amount of people to create a spike in any system, and therefore have that spike flagged by an internal robot, or even noticed by humans directly.

For instance, you could impact hugely on your IMDB rating for the very first week you visit LA by asking everyone to simply view your profile on a given day. This will create the sense that EVERYONE wants a piece of you (I know from my own experience that everyone checks you out on IMDB before a meeting) and therefore you are hot. Result? ‘Get that guy in for a meeting now!’

So thank you again to EVERYONE who left a great review. It made a difference to the rankings. It made a difference to how visitors perceive the book (by reading your words). And fingers crossed, it will make a difference to sales.

If you haven’t left feedback too, or you want to read the feedback, check here…

If you are in the UK, here is the current UK Guerilla Film Makers Handbook link…

And here is the Movie Blueprint link…

And here is the Documentary Handbook link…

And here is the US link for film makers in the USA…

And you can BUY ALL THE BOOKS, signed from us - and buying direct helps us directly and does not help make Amazon shareholders richer! ;-)

Onwards and upwards!

Chris Jones, Film Maker and Author
www.livingspirit.com
mail@livingspirit.com

How to choose the right sales agent for your film - GET INVOLVED!

Since I began making films, I have been frustrated at the lack of good information about sales agents. Sure there are a number of existing resources, such as the ‘Blue Book’ that you get if you pay the full price for your pass in Cannes (which we never do as it’s hundreds of Euros – see our workshop video for details on how to get a pass for 50 Euros). There is also the Screen International product guide which is published every market, listing all the sales agents who are attending (and therefore active and doing business). Both are great, BUT both publications only list details, they don’t really give a sense of the companies MO – are they proactive? Do they have a great stand? Do they engage with passers by? Are they even present (believe it or not, some sales agents list themselves as being present by buying the pass, but don’t attend)?

And so this Cannes, I am going to attempt to database EVERY sales agent present. And not just a list of their names, but a photo of their booth, their business cards, rating their presence, rating their engagement with buyers, and many many other factors giving us REAL metrics…

It’s these factors that I would consider essential when looking for a sales agent to represent my team's hard work, my investor's money and my future career. Make no mistake, this is a mammoth task. But I do have helpers. Everyone who comes along on our Cannes workshop will be invited to get involved, and so we will have an army of film makers collecting and collating that data (often with multiple visits from multiple people to a sales agent's stand to get a mean average value for their presence and engagement – remember, this is vital info as anyone can get a list of sales agents, but really, what does it mean unless you know how seriously they take themselves).

And we will be executing a number of cunning tactics to get this data – but for now, our plans are all under wraps (to be revealed in detail in Cannes). One thing is certain, if you do get involved, you will have a real world experience of film sales in the international market place. No more wondering how on earth it works. No more confusion about who you should be doing deals with. You will have real knowledge and experience and therefore power.

In due course, we plan to expand this database to include feedback from the film makers whose films have, in the past, been repped by these sales agents. This is the essential second step.

We still haven’t decided how this data will ultimately be made available, but one thing is for sure, if you get involved in the creation of the data, you will get access to it. The only way you can do that right now is by coming to Cannes, either under your own steam (maybe you have been before and need no help) or by coming on our workshop which will help get you there for the first time (click here for details). Either way, we would love you to be involved. If you intend to come to Cannes and want to get involved but are not part of our workshop, drop us an email. If you are on our workshop, you will be invited to participate as part of the deal.

Why get involved? I have been saying for years, we are all in this together, and we need to start behaving as such. The fact that there are many unscrupulous sales agents in the market is simply down to a lack of credible and detailed data on their business practices and trading history. No-one has every carried out a survey like this. And so sales agents who screw film makers are able to keep doing just that.

We believe this survey and database will change all of that and give YOU the information you need to find the right home for your movie. Remember, the relationship with your sales agent is like getting married. Sure the first date is always great, even the marriage, but will they turn out to be slackers, cheaters or bunny boilers!

Get involved! Sign up to our workshop now, or if you are already going to Cannes, drop us an email to say ‘HECK YES, I AM IN!’

Onwards and upwards!

Chris Jones, Film Maker and Author
www.livingspirit.com
mail@livingspirit.com

Help create valuable, cost effective, sustainable and powerful new resources for indie film makers...

I need your help. I want to know what you YOU need in order to progress your films, your career and your dreams.  

To that end, would you mind helping out with a quick survey (it’ll take less than 5 minutes of your time)? Your answers will directly help shape the powerful new content we will be creating in 2010, and help choose how we get it to you.

If you take the survey, you will be included in a prize draw where one film maker will win a complete set of ALL the Guerilla Film Makers Handbooks – that’s the UK edition, US edition, Doc book and Blueprint, plus the NEW Pocketbook!
 
OK - click here to take the 5-minute survey.

http://www.surveymonkey.com/s/PS2HXWC

Onwards and upwards!

Chris Jones, Film Maker and Author
www.livingspirit.com
mail@livingspirit.com