Who is this guy?

I'm Steve Thompson, and I love movies.  

I remember my Dad taking my brother and I to see The Alamo back in the early 60s.  

I remember seeing Bonnie and Clyde at the Crest Theater in Philadelphia in the late 60s.  Then Steve McQueen in Bullitt, The Thomas Crown Affair, and many others.

 
Back in 2000, after twenty years in the advertising agency business, 

I decided to move out of manufacturing marketing and into promoting movies, 

and I'm grateful that the industry has welcomed me.

I've been fortunate enough to promote over thirty films and work with 

Academy Award Winner Cliff Robertson for ten years.

In late 2010, I got to attend a screening of Bullitt in Hollywood with the cast,

and Steve McQueen's family.  To me, that was a once in a lifetime opportunity, 

which I was extremely fortunate to be able to experience and enjoy.

Now, no one can tell me what's impossible.  I have no magic powers.  I decided upon what I wanted to accomplish with my life, and I did what I thought was necessary to attain my goals.  And one day at a time I made it happen.

There are no guarantees in the movie business, and there is no one right or wrong way to do things.  I have a set of opinions based upon my experience, but I also know that everyone has their own path to follow.

I know what has worked for me, and that's what I offer to my clients.

I encourage you to contact me if you would like to join me in this journey in one way or another.

steve@thomcomm.net

856-942-4434

 

August 31, 2011
 

When Should an Independent Producer Consider Distribution?

I can easily understand why so many producers focus on story first, cast second, production funding third, and distribution a distant fourth.  After all, why consider distribution when there isn't even a project to distribute?

Once again I turn to the wealth of  information clarified in the recently published Producer's Business Handbook from Variety.

Major producers fund the development stage of their projects.  That funding covers the project's legal groundwork as well as initial contact with potential distributors.  In fact, major producers go as far as to form separate business entities, usually an LLC, for the development stage of their films.  That way at any time, even though the project is still in development, the project can be valued and sold to another company.

Naturally your goal is to obtain a distribution commitment, as would be possible when developing a film like The Da Vinci Code where the book enjoyed a substantial proven existing following.

So if you are going to consider distribution during your development phase, you are going to have to think like a distributor -- demographics.  Who is your film's audience?  How will your story be received across the US, and in foreign countries?  What are the personal demographics of your audience, and why will your film appeal to them over all of the others available to them?  In other words, how will your distributor make money with your film?  If you answer these questions, and provide the info to your potential distributors, you'll enjoy a great advantage over all of the other producers looking for distribution who are focusing solely on story.

Of course obtaining any level of distribution agreement during the development phase has a positive effect on the availability of production funding.

But what if you don't obtain a distribution commitment during development?  Then you want to continually stay informed of which companies are acquiring which films, so you'll always know who has an interest in your style of film.

As your film continues to take shape, keep all of your potential distributors informed of attachments, as any one of them may appeal to one of your prospects.  As you move into production, you'll want to continue to keep those potential distributors informed, for the same reason: at any time one may develop a serious interest in your project.

And what if they don't respond?  Distributors, particularly acquisition executives, are extremely busy, listing to pitches from every media, day in and day out.  Even if they don't respond, they are likely still aware of your project, and can therefore always respond to you when conditions change on their end in a way favorable to you.

I would advise anyone interested in developing and producing a film to pick up a copy of the Producer's Business Handbook from Variety.  It's a great resource for gaining an understanding of how the larger established producers work profitably, and it will provide you with inspiration on how you can reach your goals in a minimum length of time.

Order a copy of Variety’s Producer’s Business Handbook at www.focalpress.com/producer Use discount code 46436 to receive a 30% discount with ordering through Focal Press.

Learn more about the marketing services I provide to producers at: www.thomcomm.net/featurefilmmarketing.html

E-Mail me directly at steve@thomcomm.net 

Your Film, and Your Production Company as a Brand

The newly published third edition Variety’s Producer’s Business Handbook is a must read for anyone involved in the business end of filmmaking.

Coming from a publicist background, I found it highly informative in helping me “fill in the blanks.” In the film business there’s always more to learn. This volume may help you to see the big picture with much more clarity, by providing you with an expanding foundation of knowledge of film industry best practices on a wide range of issues. I think it will help you make better, informed decisions on all of the day to day issues you face as producer.

Various distribution issues are reviewed, and I’ll write about them in subsequent postings, but I found one section in particular exceptionally thought provoking.

The authors make a compelling case for viewing your film, and your production company, as a brand.

Of course that principle is easy to understand with respect to a large established company like Disney, but what relevance might branding have on the typical indy film? Plenty!

During the pre-production process a producer’s primary concern is funding the film’s production, which naturally involves analyzing the plusses and minuses of various forms of investor and bank financing.

But what about ancillary rights? Your characters will be wearing clothing, eyeware, footwear, and probably jewelry. Won’t they be using computers, cell phones, driving cars, eating at restaurants? All of these aspects and many, many more are potential revenue streams for the producer through the licensing of product placement and other ancillary rights. Plus relationships with major brands can help build the producer’s credibility with potential distriburtors.

Naturally, product placement revenue stems from your charactors’ favorable use of those branded products.

To discover how widespread product placement of branded products is in feature films, check out: www.brandchannel.com/brandcameo_films.asp then think about how some product placement might work for establishing your characters, and enhancing your story.

Then add it all up, and you can easily envision how all of those well known brands, used skillfully, can in turn help you to establish a brand for both your film, and your production company.

When you begin approaching distributors -- which from now on you’ll be doing beginning in pre-production -- those distributors are going to consider one fundamental question: Who demographically and geographically will be seeing your film? Therein lies the true value of developing a brand consciousness for your films and your company: People really do respond positively to brands. You will be presenting an extra level of proven audience demographics to your potential distributors for their consideration, and distributors know that when a film works, the audience wants more!

The audiences you develop are going to want to see the same characters again, or other films with characters they can identify with and relate to in a similar manner.

Films will always revolve around a strong story, but by considering your story’s branding potential, you can face the competitive financing arena, and improve the probability of producing subsequent films by considering the branding aspects of both your individual film, and your company producing your films.

Order a copy of Variety’s Producer’s Business Handbook at www.focalpress.com/producer Use discount code 46436 to receive a 30% discount with ordering through Focal Press.

Learn more about the marketing services I provide to producers at: www.thomcomm.net/featurefilmmarketing.html

E-Mail me directly at steve@thomcomm.net

Micah Brandt’s Wetter: Robbery of the Heart Screening in Los Angeles

Like so many other German cities and towns, Wetter was robbed of its most priceless treasure by the Nazis; its Jews. Recently the town has resolved to reclaim that treasure. In a five day long ceremony – culminating in the rededication of the old synagogue as a cultural center for learning and understanding – the town of Wetter is honoring its remaining Holocaust survivors and their families from around the world. Follow Harry Weichsel and his family as they attempt to bridge the generational gap on this incredible journey of cultural and spiritual rebirth, in Wetter: Robbery of the Heart.

More Info on CinemaNewsWire.com

G. Anthony Joseph Profiled by Rene S. Garcia

Contract Killers producer G. Anthony Joseph profiled by Rene S. Garcia, Jr. on Buzzine and WorkingAuthor.com

Updated Broadcast Schedule Posted

“Contract Killers” Updated broadcast schedules posted @ www.cinemanewswire.com/Contract_Killers.html

A PRODIGAL FEAST exciting updates

This is no longer a "small little" independent film done out of a few bucks, sweat and tears... although these factors are still involved in production, now we have the big boys in Hollywood co-producing with us!

Equilibrium Entertainment, a reputable company that was involved in producing such films as CHICAGO and 3000 MILES TO GRACELAND joins us to make this project happens - because, as the "Senior Vice President" of the company said to me from across the table "I like you, and I like this project!" - and I said "cool".

Anyways we also got an A-list special effects dude who works for Marvel and is currently doing effects for the new THOR movie to work for us for free - if you ask me why would a dude of this caliber work for me for free - my answer is: "don't know, but its ... cool" - anyways everybody loves the script and the team, and that IS the reason why we are getting such amazing professionals to join the team - so in fact I do know the answer to the above question!