‘Create your own power…’ That’s one key piece of advice from filmmaker and now self distributor Marcus Markou.
‘Disrupt’ is another central idea his.
If the system doesn’t work for you, create a new system, disrupt the old.
This is how future thinking Marcus managed to get his low budget family comedy drama ‘Papadopoulos and Sons’ in UK cinemas, gaining massive box office (per screen average) and then doing the same around the world.
In this podcast, recorded at the London Breakfast Club, Marcus shares both passionately and candidly, everything he did to find success – it’s peppered with both profound and inspirational insight. Most importantly though, he lays out a pathway we can all follow with our films, working in a hybrid way with sales agents and exhibitors.
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Great stuff…
Onwards and upwards!
Chris Jones
My movies www.LivingSpiritGroup.com
My Facebook www.Facebook.com/ChrisJonesFilmmaker
My Twitter @LivingSpiritPix
Brilliant!! So many of my experiences parallel those that Marcus has had. Not only do I agree with everything he says here but I also learned a lot from it. Brilliant! Every independent film maker should listen to this podcast, and be inspired!
Thanks Owen, he really does know his stuff and I hope EVERY emerging filmmaker gets to hear this podcast as its SO vital. You and I both know this as we have been there and got the T shirt.
Great podcast!!! What was the name of the company Marcus is using in the US? Do you have a website link for them?
Hi Slaine the site is http://gathr.us/
CJx
Loved it and I’ve downloaded the podcast to return to. Perfect timing for me as I’m due to finish a feature soon and have been thinking seriously about going down the “DIY” route. Good to see it’s possible. M.
I loved listening to this – thanks for making it available!
There were a couple of thoughts I had though –
1. Marcus had a very distinct potential audience to tap into on social media, which is smart. But not every film will have this – you can market/target based on genre or location, but if you’re doing a film about middle-class white folks – and why shouldn’t you? – then that’s a harder audience to round up. Not impossible, just harder – meaning more time spent on Twitter and less on Final Draft.
2. I worry that this kind of success is going to be viewed as a one-off by future investors. I guess this comes down to Chris’ question of ‘Why would anyone go down the traditional route?’ – the answer being that it gives you industry credibility. And if you’re happy to make sub £1m films it doesn’t matter – balls to ‘the industry.’ But if you’re wanting to move up into the £5-10m bracket then you’re going to have to engage with the industry on some level, and my fear – possibly unfounded – is that they’ll dismiss this kind of success: ‘It’s another Blair Witch, another Big Fat Greek Wedding, it won’t work twice.’
I’d be interested to know what others think about this. One thing I really, really hope after listening to this is that a new wave of ambitious producers will embrace this approach – we need the new Ted Hopes and Christine Vachons – rather than directors having to spend years between projects flogging their last movie.