Join Us at THE COMMUNE

Good friend Lis Fies is putting out the word on how you can see her movie THE COMMUNE on Netflix. 

Do YOURSELF the favor, and add it to your Netflix Queue.

IF YOU DO - and comment on this post that you have done so - you will put your name in the hat to win a free DVD of the movie.  Signed and personalized by Lis. 

A BETTER BARGAIN CAN'T BE HAD!

Details below. Get to it.

---------------------------

Hi filmmakers/filmlovers,

All you folks who have a Netflix account can do me a huge favor just by adding our movie, The Commune to your Netflix Queue. (If you don't have an account, you can pass this email on to your friends!)

As you may know, I recently completed my first feature film as
director/writer/producer, The Commune.  http://thecommunemovie.com

We received a warm welcome with great reviews 

<http://www.allthingshorroronline.com/2010/05/commune-new-cult-classic-delves-into.html> 

and festival showings but we are now in the grinding process of self-distribution.  

We have been selling DVDs on our website along with digital downloads through
IndieFlix www.indieflix.com/film/the-commune-a-new-cult-classic-30584
<http://www.indieflix.com/film/the-commune-a-new-cult-classic-30584>
but this is a slow and piecemeal process.

We received some good news recently that Netflix will accept our movie
with one caveat:  we have to prove that we have an audience that wants
to see this before they will order any DVDs from us.  So, we need 130
people to save the DVD in their Queue and then they will accept us.
So far we have 90 people who have saved the DVD, so we just need 40
more.

Please follow this link:

http://www.netflix.com/WiMovie/The_Commune/70139465?strackid=29781d9fbbbd2217_0_srl&strkid=1958900930_0_0&trkid=438381

Click the Add to DVD Queue button and that's it!  You don't even need
to watch the DVD (unless you want to), just by saving it to your Queue
you've demonstrated enough interest to Netflix, you'll be supporting
independent film, and you'll be doing a huge favor for me.

Thanks so much for you support!

(P.S. please feel free to forward this message to anyone else you know
who has a Netflix account)

EARNING BONUS POINTS If you've got 40 more seconds to help, please
1. rate our film
2. Mark the reviews as helpful

SUPER DUPER BONUS POINTS If you've seen the movie and want to dash 

out a few sentences of review, that is a HUGE help to us!!!

All appreciation,

Elisabeth Fies, director/writer/producer
The Commune: A New Cult Classic

-------------------------------------------------------

Remember - Add the movie to your Queue and then comment to add your name to win your very own  DVD  with all sorts of neat little extras on it. 

Where Have I Heard This Before? Pt. 2,766

Joe Konrath spent a little time on the web and came up with a list of unknowns doing really well with their Kindle publishing.

What really warms the cockles of this bastard's heart though, is this little missive... missile to the heart of the matter for folks with no reputation and who seek to build their career as a writer:

"Okay, there's twenty. It took me about three minutes to find these folks, simply by surfing Amazon.

Guess what? There are HUNDREDS more. I'd wager that at least one out of every ten books in the Amazon Top 10,000 is a self-pubbed author. But I'm not going to spend my afternoon cutting and pasting links to prove to the world something I already know.

See for yourself. Click on one of the above books, then click on the "Customers Who Bought This Item Also Bought" and see how many new authors you find.

Lots, right?

So if these authors don't have platforms, how are they selling so well?

Good cover, good product description, low price.

It doesn't take a well-read blog, a print backlist, and an established fanbase to sell a lot of ebooks."

This is the PULP FORMULA gang! Removing all barriers to a sale.  It not only works with books and comics - it works with movies too!  Especially movies that don't feature STARS or BIG SET PIECES, but have an easy to access story that's entertaining.  As Bill Martell would say, "The story is the star!"

You COULD do it the other way - spend a lot of money on your movie, book theaters, try to get into prestigious festivals like Sundance on the very odd shot you'll make it...

All the while trying to make the payments on the 2nd mortgage you took out to make the movie in the first place.

But really, does that make sense?

Seems like gambling to me.  I'm not a gambler - especially with other people's money. I'd rather surprise the audience who already knows me, and give them something new to appreciate and talk about... and buy.

------------------------------------------

Lot's going on here at the House that Pulp Built.  I told you that Chris Sharpe and I had a summit meeting a week or so ago, and out of that came some new strategies and some procedures we're putting into place so things go smoother.

We also talked about some really cool stuff that we will be assaulting you with (and you will love us for it!). Putting the pulp formula to work for your benefit:

Good cover, good product and low price in a variety of media. 

 

 

Now get out of here, have a great weekend and put your imagination to work. 

Cool Stuff Coming to The New Dark Delicacies in June

Our friends at Dark Delicacies have moved into their new store and have posted a schedule of upcoming events:

Dark DelicaciesÒ 

3512 W. Magnolia Blvd., Burbank, CA

818-556-6660 / 888-darkdel

www.darkdel.com

SPECIAL NOTE:

We are now in our new location and the store is looking good. Del and I would like to take this time to thank everyone who made the move possible from those purchasing items from the auction, to donations and to those who helped box and move the store. We could not have done it without all of you. Thank you, thank you.

Saturday, May 29^th – Survival of the Dead

George A. Romero’s Survival of the Dead posters given out while supplies last to customers 16 years & older.

Friday, June 4^th 7 to 9: Black Phoenix Alchemy Lab Trunk Show

Saturday, June 5^th 2 pm – Movies, Movies, Movies

Screenwriters Matt Chernov and David Rosiak and other guests to be announced signing Hard Ride to Hell (DVD $19.98)

Writer/Director Chad Ferrin, Noah Segan (Cabin Fever 2), Ezra Buzzington (Hills Have Eyes), Timothy Muskatell, Sean Cain, Vernon Wells, Lew Temple (Devil’s Rejects, Joe Pilato (Day of the Dead) signing Someone’s Knocking at the Door (DVD $24.99)/BR $29.99).  Chad and Timothy will also be signing Easter Bunny, Kill! Kill! (DVD $24.99)

GRAND OPENING WEEKEND

Friday, June 11^th at 7 pm: Doug Jones signing Pan’s labyrinth (DVD Reg $14.98, 2 disk $26.99, BR $35.99), Hellboy I (DVD Reg $14.98, BR $28.95), Hellboy II (DVD Reg $14.98, BR $26.98, 3 disk $26.98), Fantastic Four: Rise of the Silver Surfer (DVD Reg $14.98, 2 disk $26.98). Doug will also be selling his photos

Saturday, June 12^th at 2 pm

: Writers/creators Mick Garris & Tom McLoughlin, writers Anthony & Christina Adams (Bogman episode), writer Abbie Bernstein (Nice Girls Don’t episode) and actor Neil Dickson (Dr. Ian Matheson) signing the TV series, She-Wolf of London (DVD complete TV Series $39.99)

Friday, June 25^th at 7:30 pm: The Final Curtain - Catherine Olen

talking and signing her books on celebrity deaths, The Final Curtain (TPB $14.99).

Tuesday, June 29^th 7 pm: The Crazies

Director Breck Eisner, writers Scott Kosar & Ray Wright, Robert Hall (Special Effects Make-up), Brett Wagner (Jesse), Tahmus Rounds (Nathan), Larry Cedar (Ben Sandborn), Jeremy Ambler (soldier) signing The Crazies (DVD $29.98/BR $39.98)

Bastard About Town

Just an FYI post that I'll be out and about for the rest of the week. Here's where you can come by and say 'hello.'

- Tonight I'll be attending the POPATOPOLIS screening at Hollywood's Egyptian Theater. Screening at 7:30, after party at the Pig n' Whistle. Apparently, Director Jim Wynorski is bringing some guests...

Since no one picked up the challenge to win free tickets, I've invited the director of the Boobs & Blood Film Festival to join me to see if he can snag a couple of Jim movies for the festival.

But that's not the only place you can see me this weekend.

I'll be a panelist on 2 back-to-back panels at the Pasadena Rockin' Comic Con on Saturday (May 29th)

INDIE HORROR ON A BUDGET (moderated by pal Don Glut) at 1-2pm

SYFY MOCKBUSTERS (moderated by Eric Forsberg, director of such epics as SNAKES ON A TRAIN) at 2:30 - 3:30 pm.

After that I'll hit the tables to say 'hi' to folks. I will also be there on Sunday wandering around studying the market, and shaking hands. 

I hope to see you there!

Add This to Your Pulp Film Philosophy

From Fast, Cheap Movie Thoughts' interview with Mark Stolaroff:

What lessons can a No Budget filmmaker take away from today's Hollywood?

MARK: Wow! That's a hard one. I spend a good deal of time teaching what I call The Alternate Universe of Filmmaking (coined by Peter Broderick), whereby the rules of Independent Low-Budget Filmmaking are exactly the opposite of studio filmmaking.

And as far as storytelling for independents, I'm a big believer in hitting them where they ain't. If you try to compete with Hollywood on their own turf, (like making a conventional romantic comedy), you're going to get clobbered. Hollywood seems to be teaching us that if you throw a lot of money at a problem, you'll succeed. That you don't need to be unique, you just need recognizable elements to sell a film.


I guess if I can come up with one thing, it would be that there's a core audience for every film. And the definition of a Core Audience is the audience who doesn't give a shit how good your film is. Studios have been making bad films that appeal to core audiences--large core audiences--for years. They may be 15-year-old boys or 15-year-old girls, but they can be very passionate, even about the worst films. Independents need to realize that there are core audiences for their films too.

And since making a good film is so damn hard--nearly impossible, especially on a no-budget--it is vital that filmmakers work hard to discover who that core audience is and figure out cost effective ways to reach them. And since these no-budget films won't have big stars in them or be based on comic book heroes, these core audiences will be small. They'll be niche audiences, not defined by demographics like "males 18-49". If a filmmaker can properly court the core audience for their film, they'll succeed even if they don't make a perfect film.

Don't compete with Hollywood, find a niche they aren't serving well and make it yours.

(But I disagree with the notion you can't make a film with "comic book heroes" in it for no budget)

The Frugal Filmmaker

There's a lot of things I'd like to cover in our "Make Your Own Media" mandate here at Pulp 2.0.  It's fun pointing people to 'news you can use' to make your own films, comics, books and so forth, and hopefully inspire you to get off your sofa and put your imagination to work.

 (Hmmm.. "Put your Imagination to Work" -- I like that. It goes on a t-shirt)

Unfortunately there are only so many hours in the day - and I do have to keep the Pulp HQ here stocked in whiskey and cigars - so I can't cover everything I'd like. Despite what you may have heard, I'm only human.

(Though I do have powers...) 

One of those areas that I can't cover in too much depth is DIY filmmaking tools and technique...but fortunately for you there's Scott Eggleston aka The Frugal Filmmaker.

Scott goes through a whole assortment of DIY filmmaking tricks and hacks that keep your budget low and your creativity high. For example from his last weekly Facebook newsletter:

Scott EgglestonMay 23, 2010 at 8:03pm

Subject: Weekly Recap Link List 5-23-10

Sorry I'm a little late with the list this week. Thanks to all who have been inviting their friends to this group. Now up to 229 members! Yes!

Creating DIY sand bags for your light stands
http://www.facebook.com/l/4c41d;www.instructables.com/id/Creating-DIY-sandbags-for-your-light-stands/

Guerilla filmmaker's backpack
http://www.facebook.com/l/4c41d;blog.anvilpictures.com/?p=538

DIY Stedicam
http://www.facebook.com/l/4c41d;rjwilx.blogspot.com/2010/05/diy-steadicam.html

Ripley, my handheld rig
http://www.facebook.com/l/4c41d;www.dvxuser.com/V6/showthread.php?p=1992210#post1992210

The Frugal Filmmaker, Episode 8: 3 Point Lighting
http://www.facebook.com/l/4c41d;www.youtube.com/watch?v=d5uybmobdFY

Build your own lenses
http://www.facebook.com/l/4c41d;www.diyphotography.net/build-your-own-lenses

Microbudget filmmaking sucks because you are doing it wrong!
http://www.facebook.com/l/4c41d;d2dvd.blogspot.com/2010/05/microbudget-filmmaking-sucks-because.html

Felicia Day on building an internet audience
http://www.facebook.com/l/4c41d;www.youtube.com/watch?v=id23nVuO5U0

How to pitch investors
http://www.facebook.com/l/4c41d;trulyfreefilm.hopeforfilm.com/2010/05/how-to-pitch-investors.html

Cops nearly shoot actor playing convenience store robber
http://www.facebook.com/l/4c41d;gothamist.com/2010/05/05/cops_nearly_shoot_actor_playing_con.php

Scott goes through and finds the sort of stuff you need to succeed at making your own movies.  Hopefully you'll learn so much you'll be able to contribute back to The Frugal Filmmaker . In any case, go over and join the group (and tell him a bastard sent ya!)

Halcyon Pix Famous Monsters Flix!

Announced here.

The rumor has been confirmed as of today, as HALCYON INTERNATIONAL PICTURES has announced on their website a partnership with Famous Monsters to produce FAMOUS MONSTERS: REBOOT, a series of five original films to be released in 2011. We've got promo art and details below.

As revealed on the 18th, the five films are:

1. DRACULA: REBORN
2. MUMMY: RESURRECTED
3. FRANKENSTEIN: REGENERATED
4. WEREWOLF: RELOADED
5. CREATURE: RETURNS

Here's what Halcyon says:
"For decades, they roamed the cinemas, video stores and late night TV, haunting us, exciting us and inspiring us… Now, the Famous Monsters are back...in Five ALL NEW movies ready to entertain an all new generation."



Hmmmm... 

The Phantom: The Indian Comics

David Zuzelo over at TOMB IT MAY CONCERN has a nifty post up regarding the Phantom comics that were made in India. Cheap looking but with such energy and sheer bravado you can't help but love them. Indrajal Comics ran with the title for over 1500 issues.

Indrajal also created a Mandrake the Magician line of comics.
What's interesting to me is that they ran for 1500 issues by providing cheap entertainment. I don't think any character here in the USA has run for as many issues in their own title. (Though certainly Batman and Superman with their history and multiple titles would qualify)

Joe Konrath Comes Out With a One-Two Punch on The Subject of Piracy!

READ THE ENTIRE THING. 

Here's an excerpt:

Q: But I don't want my writing to be shared.

A: Then don't write. Simple as that. JK Rowling has lost millions of dollars, because she refused to let Harry Potter come out in ebook form. Newsflash: you can get ebooks of all the Potter books from pirate sites. She didn't cater to her fans, so her fans catered to themselves. And if Rowling can't stop it, with her billions and armies of layers, you can't either.

Q: No, seriously, in a future where everything is free, how will...

A: We're not in a future where everything is free. But I'll play the "let's pretend" game. Let's pretend that all ebooks are free. How will writers make money? The same way all media makes money. Advertising, merchandising, and licensing.

Q: But I don't want ads in ebooks.

A: I don't want ads in anything. But that's how capitalism works. Deal with it.

While Konrath applies his arguments specifically to ebook piracy you can substitute the term "movie" or "comic" or "series" to the equations and come pretty close to the bullseye he hit here.  Especially when you understand he practices what he preaches by having free versions of his books on his site and is still selling 220 books a day.

In terms of what we do here at Pulp 2.0 Press we are making plans to embrace this sort of future and put our books into as many hands as inexpensively as we possibly can. We're even figuring out ways to make sure talented fans like you can make money with our books and content. It's new. It's not always easy to figure out...

But it is the way things are going and we don't plan on swimming against the waves only to drown. We're going to grab a surfboard and ride into shore with our books and other media. Besides, I look good in jams, and I need some sun.

Stay tuned.  Maybe by signing up for our free newsletter?

BROTHER BLOOD: THE PULP 2.0 PRESS BOOK SIGNING

For those of you who wonder what it's like at a Pulp 2.0 Press book signing, here's a sneak peek at some of the fun we have.  It's our first signing, and you'll spy Don, me and folks like Courtney Joyner ( Trancers 3), William Winkler (The Double D Avenger), Dark Delicacies owner Del Howison  and Wrestler Extraordinaire Rock Riddle.

 

This video was shot and edited by Earl Newton of www.strangerthings.tv 

Maybe soon we'll be coming to a bookstore near you.   In the meantime go to our Pulp 2.0 HQ and sign up for the newsletter.  Better yet, click on the link to the right and order your own copy of BROTHER BLOOD.

How NOT to Get Ahead in Hollywood

Taken from Craigslist Los Angeles:

i have ideas for movies and storys looking for producer or investor (pasadena)

i have a lot of ideas for movies and some stories. some of the storys i have are a personal and true and some that i have been thinking about so if you are a producer or a investor and are looking to take with i have in my mind and put it on the big screen then lets talk.and please no time waste on my end or yours 

XXXXXXX (818)XXX-XXXX. lets make some money 

 

Not PMD, MPB...

Jon Reiss has a nice blog post up regarding his newly conceptualized position of Producer of Marketing and Distribution that bears a look-see:

 This is why last autumn, just before sending Think Outside the Box Office to print, I came up with the concept of the Producer of Marketing and Distribution or the PMD. I gave this crew position an official title of PMD because without an official position, this work will continue to not get done. I gave this position the title of producer because it is that important. (For someone learning the ropes, you can start them at coordinator then move them up to associate producer and so on).

 I have to say that this is a position I've been holding for years now, and I'm glad that someone has formalized it with a title.  I'm still the MPB though as my focus isn't just movies, but media.  Here's what Reiss says will be the PMD's duties on a production:

Responsibilities of the PMD include:

1. Identify and engage with the audience for a film.

2. Development of a distribution and marketing strategy and plan for a film in conjunction with the entire team.

3. Create a budget for said plan.

4. Assemble and supervise the necessary team/crew elements to carry out the plan.

5. Audience outreach through organizations, blogs, social networking, online radio etc.

6. Supervise the creation of promotional and (if necessary due to the lack of a separate transmedia coordinator) trans media elements: including the films website script and concept for transmedia, production stills, video assets – both behind the scenes and trans media, promotional copy and art.

7. Outreach to potential distribution and marketing partners such as sponsors, promotional partners, various distribution entities, publicists.

8. When appropriate, engage the distribution process as designed.

9. Supervise the creation of deliverables.

 We live in interesting times.

No Explanation Required: THE EMPIRE STRIKES BACK 1950

LA PULPSTERS! WIN TWO FREE TICKETS TO SEE POPATOPOLIS at THE EGYPTIAN THURSDAY MAY 27TH!

Do you like breasts? Action? Adventure? Comedy? Breasts?

Writer-director-producer jim Wynorski does and he's given us some of the best pictures in the genre since Russ Meyer. Classics like CLEAVAGEFIELD, THE WITCHES OF BREASTWICK and BUSTY COPS. No budget and no bra movies. 


Well after 20 years of moviemaking, someone finally decided to make a documentary about Jim, and I wanted to spread the pulp love a little and offer you a pair of tickets to the theatrical premiere at the American Cinematheque's historic Egyptian Theater in the heart of Hollywood, on next Thursday, May 27th at 7:30pm.

The trailer is here.

After the screening will be a Q&A with actors Monique Parent, Julie Strain, Antonia Dorian, and the man himself, Jim Wynorski! Also, and of lesser interest to many, will be the director, editor, and composer of the documentary, Clay Westervelt (Gene Simmons' Family Jewels), Brooks Larson (America's Next Top Model), and Lee Sanders (The Bachelor, Amazing Race)

The screening will be followed by the DVD release party, and a BONUS screening of Wynorski's own "The Return of Swamp Thing", starring Heather Locklear.

After party for guests next door at "The Pig and Whistle Pub"!

So, if you're in the LA area what do you have to do to win this pair of... tickets? (Muahahahahaha)

Just send me a picture of you in your best pulp moment.  Make it fun. Make it adventurous. Make it speak to your love of pulp moviemaking. 

The email for this is:   newpulpmedia at gmail dot com

Just make it here by Monday night at 10 pm. 

The winner will be announced  on Tuesday afternoon.  The tickets will be waiting for you at the Egyptian and your name will be on the guest list. 

NBC Rolls Out The Cape

Microbudget Filmmaking Sucks Because You Are Doing it Wrong!

Recently, there was a list by filmmaker Mynette Louie that has made the rounds of the film web called "Why Microbudget Filmmaking Sucks" . The list is one where Louie recounts all of the disadvantages and advantages of microbudget filmmaking.  Many of those  disadvantages are also listed as advantages in the list so really it's a matter of attitude and approach that seems to make the difference...

And that seems to be a problem for some people.  They can't redefine 'film' to fit their own needs and wants or the needs and wants of the audience. In many filmmakers' heads, film exists only at the local theater where someone has to pay 8-10 dollars or more to see and experience it.  If media history has taught us anything it's that film is far more flexible than we give it credit. If film were as inflexible as many would make it seem then we would never have had the TV movie, the Direct-2-Video or the DVD Premiere.

Film is fluid. It fits into the glass you place it in... and just like beer or soda you can sell a lot of it.

But again, short-sighted filmmakers are putting up a huge cover charge at the door when they seek theatrical only.  I call "ego at work." It's not good business sense.  It's not good marketing.  It's outdated - especially for microbudget filmmaking.

True story:  When we launched SCARECROW it was with the idea that we were going to make most of the money back because it was A) made inexpensively ($100K +/-);  B) we were staying as far away from theatrical as possible, and C) we were going to sell it internationally prior to its having any sort of domestic DVD release.

No festivals. No reviews. No retailer support.  We had a great concept, a great poster, a good trailer and a movie that was still in post-production. Our goal was to get half the production budget back at AFM, and then the rest at Cannes...

On Day Two of AFM,  I got a call at my office telling me to start work on a sequel idea.  We were 3/4 financed and had more people interested for other territories.  By the end of the market, we were in the black and had many people interested in a sequel.

Then we used the response to promote the film stateside. We made these great folders with screener discs in them and sent them to the retail buyers.  There was discussion of trying a screening but in looking at the expenses we nixed it.  Too expensive.

Then we got a deal at Wal-Mart. It was a tight squeeze on the profitability (they strike a hard bargain) but the order was huge. We shipped a ton of discs to Walmarts around the country, and the discs were placed on the shelf at a price of $8.99. Fangoria ran an article on the movie, surely the fans would rush the shelves.

But the DVDs?  They sat there. Some went off the shelf to be sure, but overall we were looking at some big returns.

Then WalMart had a bright idea.  They placed Scarecrow in the bargain bin at $4.99.

And people picked it up... a lot.

WalMart was happy - they were making a profit on their purchase. We were happy - we were making a profit on their order.  Fans were happy - they got their film and took it home where they could enjoy it (with a six-pack)...

They were so happy that WalMart renewed their order and asked about the sequel which by this time we were promoting domestically and internationally. We also discussed making it a trilogy (which I didn't contribute to except for some artwork direction)

By the time it was all over with the distributor had made over $1,000,000 on a $300k investment that never went theatrical. These movies were also shown on the SciFi Channel as a double feature which inspired us to release them again as a 'Double Creature'  (though I was overruled on that bit of title business and they were released as a 'Double Feature') which made some more money for the company.


Bottom line to all of this is: Don't think that there's only one way to write, produce, distribute and screen your film. Rules were made to be broken and if you're insightful and entrepreneurial about it - the opportunities are endless.  If I were to make a microbudget movie tomorrow, I would never think of a theatrical release until way after the film has been released elsewhere - like torrents, IPad, IPhone, Playstation Network, VOD, Netflix, Amazon, MSN, Hulu or elsewhere (or all at once). 

That's where the audience is growing, evolving, and business-wise it makes cents... which is more than you'd make if you did it the old way because at internet speed those pennies add up quickly.

Digital Neanderthals Revisited, Connected and Shared

In my post "Digital Neanderthals" I lamented the fact that many people in the motion picture / entertainment industry are not reformatting their key art for this new digital age.  Some of you asked, "Is this really necessary?"

Yes, it is... see?



Connected devices that share with friends... this is going to affect all sorts of things.  Delivery, ratings, marketing, finance, production, creation and development.

Please notice that the Comcast application doesn't use the key art for GANGS OF NEW YORK  (at 1:24 in the video) on its main page. It uses a 16:9 image from the movie.  Note also how small and insignificant the thumbnails look on the menu screen (0:43 ). It's the last thing you want - people thinking your movie looks insignificant.  It's a good thing this is the IPad application and not an IPhone application or the art would be even smaller.  Sadly, the only art I can read clearly is LEAP YEAR. 

The way we watch and connect with movies is changing. 
So should their key art design... and yeah, everything else.

What is the IPad Exactly?

Here's the best explanation I've heard recently, culled from  THE BEAT:

So, I agree with a comic book industry executive who, during our discussion of the business over drinks recently said, “The iPad is the new newsstand.” In its day, the newsstand serviced millions and millions of readers. It fueled the fire of reading. Adding another avenue that will get books into the hands of people and turning them into readers.

 And as I recall, there were a lot of pulp magazines sold at the local newsstand....hmmmmm.

Digital Neanderthals

I've just come up with a new term for my personal lexicon "Digital Neanderthals"  and like their analog antecedents they are being replaced by a new stronger, faster, smarter form of marketing person.  I'm coining the term because these neanderthals seem to be oblivious to the steps they need to take to keep their own entertainment content alive in today's market.

I just had a phone conversation with a potential client in one of those "getting to know you / what the hell can you do for me?" discussions that permeate the LA entertainment scene. In this case we were discussing this company's  design marketing strategy to keep their titles current and in the public's consciousness as fresh or at the very least still vibrant after all these years.

These kinds of discussions happen quite a bit as a small indie features a role by say, "Actor X" which is nothing special, but there.  Then Actor X goes and gets a television series and becomes the next hot thing known by millions worldwide.  Now this distribution company has a film property that has some juice to it... but the key art doesn't reflect that.  It's old, and doesn't even mention the hot "Actor X" that's now the selling point of the picture.

Getting back to the point, part of these discussions always leads toward a company's strategy to reformat for digital and mobile...

And that's where it gets interesting, because I'm finding that many a company is leaving dollars on the table by being short-sighted. Or to quote the humanoid on the other end of the line:

"We only distribute theatrical quality movies here."

Wow. Okay, I get it.  You only handle big, important movies (they don't). And I could tell this wasn't a dig at the quality of our work either.  It was a simple, "I don't see the need to even be discussing this issue let alone do something about it."

So in my own special bull-in-a-china shop-fashion I'm going to lay a few things out for you:

• There are more IPhone screens in the United States than theater screens. 

• IPhones are dropping in price as are the fees associated with operating one.

• However theater ticket prices are climbing as are the costs associated with attending the theater (drinks, popcorn, parking , babysitters, etc...)

Now we are talking about two different experiences here.  There is a wide gulf between the two. 


But...

Iphones are going to make a bigger impact  on overall movie sales. Why?  It's an interconnected device.  You can watch the movie on the bus or subway or wherever then instantly tweet about it. Or, you can send the link to the movie you watched directly to all of your friends so that they can download.

You can't do that as easily at the theater.  That means dollars are being lost or at least delayed.


The key art that looks good for all those super huge billboards and banners and so on?  it doesn't look as good when it's vertical and reduced in size.  Those multiple heads smoosh together.   And because it's vertical you have to turn the IPhone to watch the movie.  Why not just recreate the key art to a widescreen ratio?

No twisting or turning.  No squinting at the screen to figure out which movie to buy and watch for your phone.

Simplicity.  Sales. Then Social Networking leading to more sales, more brand recognition.

All because a little piece of key art looked better, different... okay, cooler. Just good design suited to the format you're watching in. Seems simple really...

But the 'Digital Neanderthals' don't see it.  Don't realize they are losing money every time they don't think toward the future that includes for more opportunities to experience "film" than just at the theater or television.

And sadly for them, the Digital Cro-Magnon man is coming.

And he's bringing fire.

Ive been busy...

In between trying to earn a living in the media, and creating some of my own , I've been chained to the desk here at Pulp HQ with the blog in standby mode.

I promise you it will be worth it:

- I'm finishing up RADIO WESTERN ADVENTURES which has been hard because Don has sent me over 50 autographed photos to go through, edit, prep for print and add to the book.  

- Then I have all the work I am doing for FRANKENSTEIN LIVES AGAIN! which includes a multi-page behind-the-scenes article, a TON of photos, and artwork bursting out of my hard drive to get onto the page.

- Then there's the deal I sealed last week for  [REDACTED] to create [REDACTED] for Pulp 2.0....

- Also there's the OTHER deal I sealed last week for  [REDACTED] to create [REDACTED] for Pulp 2.0....

- Oh and finally,  there's the deal I sealed the week before for  [REDACTED] to create [REDACTED] for Pulp 2.0....

Yes, I know it's all sorts of cryptic and Top Secret and all that - and OH HOW I WISH I COULD JUST TELL YOU WHAT IT IS WE'RE DOING AND WHO'S DOING IT...

But I can't.  Not yet. All I can say is we're using all of the buffalo.  Get ready to fire up your [REDACTED] devices.
I think you're going to be delighted.

So I have to get back to work, earn the rent and all that.

I'll follow up later in the week with a list of blogs I've recently added to my Google Reader  which I think you should be reading as well.  I know I get a lot out of them.

From Our Pals at The Asylum: TITANIC 2

Do I need to explain the concept?

I didn't think so...

No Explanation Required: Machete!

New Pulp in the News

Roger Alford sent me this email the other day:

Bill,
I'm excited to finally let you know that I've taken your advice and published my first six Black Spectre stories on the Kindle (iPad and POD in the works).
http://www.amazon.com/Black-Spectre-Case-Files-ebook/dp/B003H05XS4/

Your "Twin Sons" post was perfectly timed, since that's the exact same game plan I'm using myself. I priced it cheap to help build an audience for future titles, and will continue to do so. Yes, I'm making my "own damn media." Your blog has been very encouraging.

Thanks!

Roger

(You're welcome) 

Straight from the Asylum's Mouth

Post to be found here, but I'm going to slice  a healthy bit of it because it sums up a lot of what we are doing with Pulp 2.0 (in books and other Top Secret things):

The real definition of an Asylum movie is a movie that has already been sold before we ever make it.

It’s as simple as that. The Asylum has been around for more than a decade because we have always followed the market. For years we were known as a “horror company,” because, at the time, that’s what buyers wanted. Then we became the “mockbuster” company, because like it or not, movies that are similarly themed to other movies, do really well on DVD.

And now we’re in a transition period again. I don’t know whether we’ll become the “Syfy” company, or the sexy comedy company, or the “company that only makes movies that start with numbers,” but I can promise you that the bottom line is that we’re going to make the films that our buyers want us to make.

So our critics and competitors can keep talking about “quality,” and keep assuming that they’re smarter than all the people who actually buy and rent films.
We’re just going to keep making movies.

And you may want to read this as well.