How PR Can Reach Your Filmmaking Objectives

I was contacted by a filmmaker recently who was interested in garnering PR for her film. She described it as a love story. It had no name actors, there was no particular media hook or angle that she could explain, the film did not have a timely element. It didn’t have a particular news-oriented hook. I hadn’t seen the film, but from what I was given on our call, there was very little to go on. She had just started a Facebook page for her film, and was considering Twitter, but had in essence done no marketing or public relations for her film up to this point. There was not distribution in place. She was considering submitting the film to film festivals. She went on to explain that she was interested in launching a PR campaign in order to land a deal with Lion’s Gate, or perhaps one of the major studios.

That’s a nice goal, but not a very realistic one.

This illustrates why it’s so important to focus on your PR and marketing objectives, before you start your first day of shooting, preferably before you finish your script. You can’t blame the woman who contacted me. She was new to filmmaking. She was a first time producer and she knew nothing about the business of the film world. She figured if she made a film she thought was good, then everything else would fall into place. She did not bother to consider how having a film with no name actors, without a definite media hook and no marketing or PR gameplan would leave her in a very precarious position.

It’s important that producers and directors make films that are important to them, but those who do so without giving any consideration to what makes a film marketable, what will interest film studios, or distributors and what are the media angles or story ideas that will interest the press, do so at their own peril.

When you put on your directors or producers cap, you also need to put on your business and marketing hat. These are inseparable.

It is called the film business for a reason.

So, yes you can make a small independent film without name actors that succeeds. But, you first have to define success. If having Paramount pick up your self-financed film and distribute it worldwide is how you define success, time to go back to the drawing board.

That is not a realistic gameplan.

If, on the other hand, you start from day one developing a strong marketing plan, bring on a PR firm who knows the ins and outs of film publicity. Thing of media and marketing angles as you shoot the film and target appropriate film festivals and distributors, you have a real shot at reaching your goals.

Think of the various story angles you can pitch to the different media outlets. They can be about you film, your journey as a film maker, your cast, or perhaps a tie-in with a breaking news story.

Be creative.

One or two well-placed news stories can get you and your film in front of producers, distributors, film companies and influencers.

Remember simply making a film and waiting is not a gameplan. You can reach your goals. It’s doable, but to do so, you have to be realistic, smart, strategic, creative and patient.

So, regardless where you are in the filmmaking process, pause for a bit and start approaching your film from a marketing and PR perspective.

That one step can change everything.

The Film PR Secret: Effective Storytelling

Although filmmakers are storytellers, this is a skill they often forget when it comes to launching a public relations campaign for their films. They have a tendency to mistakenly shift gears and go from telling stories to selling products and the last thing that the media wants is to be sold.

Remember, the presentations that you develop for your marketing campaigns are seldom going to be of value when it comes to your PR outreach. One sheets can be valuable when approaching distributors or buyers, but they are useless when it comes to PR. The last thing a journalist wants to see is a one sheet. A sales piece that is designed to attract buyers is simply going to turn off journalists.

Again, journalists want stories not fact sheets. One sheets are valuable, but not in this case. They neither offer stories or a narrative. The mere fact that your film exists is seldom going to be enough to interest the media. You find it interesting because it is your passion. It is the product of your blood, sweat and tears. To journalists, your film is simply another film that they are being pitched, one of hundreds they are pitched on a regular basis.

The media is not in the job of promoting films, but of telling compelling story. So, with that in mind, don’t simply pitch them your film, pitch them a story. The media needs story ideas on a regular basis. Try and view this from their perspective. What about your film makes for the most compelling story angle? Keep in mind, the answer will change depending on the media outlet you’re pitching, a story that will interest your local media, will be different than one that interests the trades and a national outlet will most likely need a different approach altogether.

The fact that you have made a film is an accomplishment you should be congratulated for, but it is not a story. Develop a list of story ideas that will meet the media’s needs.

You’re creative.

You’re a storyteller

Use those gifts.

Before you start your PR outreach, come up with a number of different story angles, they could be about the topic of the film, your journey as a filmmaker, the various actors in your film, unique filmmaking techniques you utilized, etc. Now work to match the stories to the various outlets you’ll be approaching.

Do some research and make a list of target media. You don’t want to send out hundreds of press releases, but a targeted list that you can then follow up on. There are services such as Cision and Vocus that sell media lists, but they can be expensive. Google and some time and work can be your best friends when it comes to doing media research. Remember different media can help you achieve different objectives.

We have worked with filmmakers to help reach a mainstream audience, whereas others were primarily interested in reaching distributors, influences and investors. Each filmmaker has his or her specific PR agenda. To give yourself the best chance to achieve your goals, be creative, take some time, develop compelling stories and - give the media what they want.

Film PR Agencies

Love & Mercy: The Heart and Soul of Rock & Roll

Paul McCartney once called "God Only Knows" "The greatest song ever written." Others have echoed that sentiment: Pharrell, Elton John, Lorde and more sing 'God Only Knows.

My wife and I have always been Beach Boy fans. Before the two of us met, their music served as a soundtrack for us both. That said, this weekend we decided to go see the new film about Brian Wilson, “Love & Mercy.” We almost, didn’t go. It was all but sold out. Every time I tried purchasing the tickets online the site would crash. The only seats were at the back of the theatre. But eventually we did and it was a revelation. After the film Brian Wilson and his wife, the director, producer and actor Paul Dano did a Q and A with the audience. There was Brian. Still standing. More alive and vibrant than he’d seemed in years.

The film is remarkable, revealing much of the pain, terror and anguish that Brian went through as well as revealing the magic of his music.

In the film both Dano and John Cusack both give remarkable performances as Wilson. Dano capturing him during the recording of “Pet Sounds” and Cusack in the 1980s, a lost, heavily medicated, frightened man-child under continual scrutiny of the cruel, dangerous Svengali-like psychotherapist, Eugene Landy, terrifyingly played by Paul Giamatti. Elizabeth Banks plays Melinda Ledbetter who, along with his incredibly brave housekeeper, would go on to help free him from Landy and eventually become Wilson's second wife.

It’s no surprise that Brian Wilson would fall under the spell of a man like Landy. Wilson’s father was cruel and controlling. It is believed that the reason Wilson is partially deaf in one ear is due to the repeated beatings his father dished out.

It’s forever confused me why so many people missed what seemed so strikingly obvious. Brian Wilson is a musical wonder.

I’ve thought so since I was a teenager, long before I started working as a rock journalist. I grew up to the sounds of the Doors, the Stones, the Velvet Underground, Leonard Cohen, Hendrix, Neil Young, the Kinks, etc. But the only band I was given grief for following were the Beach Boys. Once the British invasion came and was then followed by the Woodstock generation, they just weren’t cool enough.

Where in truth, Brian Wilson was always the most ambitious musician out there continually pushing the boundaries, bringing a rarely equaled sophistication to the world of rock.

“You actually listen to the Beach Boys?” people would ask in a mocking tone.

“Religiously,” I’d reply.

To which they’d laugh and shake their heads.

They were the ones who were poorer for it.

In time, I think he’ll no longer simply be categorized simply as a rock musician but as an American master along the lines of George Gershwin, Cole Porter, and Irving Berlin.

I was and remain an unabashed Beach Boy fan and not simply a post-“Pet Sounds” fan, but one from their earliest songs when they evoked a place and time then existed for very few who heard their music but was made real through the music.

But “Pet Sounds” was ground breaking and Wilson’s masterpiece. Although the album was not initially well received in the U.S. It was a huge hit in England, was a critical success and is now considered one of the most influential compositions in popular music and by many the most perfect rock album ever recorded.

It is an elegant sophisticated composition that is musically complex and precise. For example, to quote music critic Jim Fusilli: “["You Still Believe in Me"] begins in B major, a key rarely used in pop, and remains in B major. The G# major chord below the first, and only, time the word "love" is invoked in the song is particularly striking; on the second pass, the G# major chord hits below the word "fail." In a rare example of the bassist emphasizing the root in a Brian Wilson arrangement, Carol Kaye hits the G# in both instances. It's as if Brian wanted there to be no confusion for the listener: in his mind, at least in this song, love equals failure.”

Before “Pet Sounds” was released in England, the Who’s Keith Moon (who was a rabid Beach Boy fan) met with John Lennon and Paul McCartney to play it for them. As the story goes, they listen to the album twice in succession. Soon after Lennon and McCartney began to work on “Sgt. Pepper's Lonely Hearts Club Band.” According to Beatles producer George Martin, "Without “Pet Sounds,” “Sgt. Pepper” never would have happened....Pepper was an attempt to equal “Pet Sounds."

“Pet Sounds” includes "Wouldn't It Be Nice" "You Still Believe in Me" the remarkable "Caroline, No" and “Sloop John B” But perhaps the most remarkable song in the album is “God Only Knows.”

Wilson used a number of unorthodox instruments, including the harpsichord and French horns that are heard in the song’s famous introduction. Although now a classic, it only managed to break the top-40 in the United States. It was released as a B-side partly because the label feared that radio stations would not play a song with “God” in the title. The song also begins with the words “I may not always love you,” which is unusual to say the least for a rock love song.

It would be a challenge to do a follow up to “Pet Sounds” and “Smile,” was set to be it. The work remained unreleased for decades. It was eventually released as the “Smile Sessions,” a compilation album and box set released in 2011. It is an approximation of what the completed “Smile” album might have sounded like. It included “Good Vibrations” and the ambitious “Surfs Up,” with lyrics by Van Dyke Parks.

So what does this have to do with public relations?

Well, if this can help drive people to the “Love & Mercy,” see this as my personal PR campaign for a man who so greatly influenced my life, creating the soundtrack for much of it. Brian Wilson literally lived through hell. He went through the fires and remains standing. In a strange twist, the Wilson brother who was considered the most fragile, is the only one still with us.

He continues to compose and perform.

He has impacted contemporary music in ways that are all but undefinable.

For many, he made the world a better place.

So, to quote the Beach Boys: Sail on Sailor.

The PR for Filmmakers Seminars

You’ve finished your film.

Great.

So, what is your marketing and public relations gameplan?

You have no idea how many filmmakers balk at that question.

The truth is that particular question should have been answered long before the film was shot. That’s a question to answer early in preproduction.

If you’re smart, you don’t even want to finish your screenplay before you’ve mapped out your marketing and PR gameplan.

Why?

Your PR campaign is going to be the engine that takes your film from you to the public. It is the x factor which will decide whether your film is a success or a failure.

Whereas most filmmakers understand that without a powerful marketing or public relations campaign, the chances of a film succeeding in the marketplace are all but non-existent. Still, although most producers and directors realize that media relations and marketing are essential in order for a film to reach its market, few know how to implement a successful campaign. There is no shame there writers, directors and producers might know how to make a compelling film, but seldom have they been taught the secrets to successfully marketing their film.

That is where PR for Filmmakers comes in. Having worked as an entertainment journalist, producer and now public relations consultant, there are a number of basic questions I’m regularly asked by film makers. Some had some sense of marketing, others were PR novices. It was those questions that convinced me to develop our PR for Filmmakers seminars.

They are designed to answer the basic nuts-and-bolts questions and to offer a blueprint for a media success track for filmmakers. Since developing them, we’ve offered the seminars in Los Angeles, New York and at film festivals.

The truth is, you can make a fantastic film, but how do you get the media to cover it and the public to discover it? The answer is effective campaign melding media relations, social media and marketing.

PR for Filmmakers was designed to offer producers, directors and writers the insider secrets to create and establish a successful media image for yourself and your projects. The seminar takes filmmakers through a step-by-step process focusing on how to utilize proven P.R. tools that can lead to both artistic fulfillment and financial success.

The seminar covers a wide range of topics, including:

Discovering the P.R. secrets that garner you and your film media coverage
Developing media-savvy dynamic pitches that work.
Working with a PR firm verses launching your own campaign.
Avoiding the "I can't promote my own art" career trap.
The five secrets of an effective press release.
The secrets to an effective P.R. gameplan
Media training tips that work. Describing your film in 30 seconds or less.
PR, Marketing and the Film Festival Circuit
Melding your media relations campaign with your social media campaign.

If you are a film maker you know that marketing a PR are not luxuries, they are essential to successfully getting your film into the marketplace, establishing you as a film maker and succeeding in the industry.

PR for Filmmakers seminars are designed give you a practical blueprint to take you, your film, your brand and your career to the next level.

Maximizing the PR Effect for Your Film

Finishing a film is step one.

If you’ve done so congratulations. I know from experience that that can be a difficult, albeit rewarding journey.

Now that you have a film, what’s your next step?

Creating your project is step one, but if you don’t follow through with step two which is PR and marketing, you can end up with a film that no one sees.

Without building that bridge that leads from your film to the public, you’re doing both yourself and your film a disservice.

Public relations is your best approach since it reaches your target market, but also offers you the validation, credibility and trust factor of being in the news. Social media is definitely important, but there are millions of people promoting their businesses on social media. It can be a very loud messy world. By being featured in magazines, newspapers or on TV and the radio, you can use that media coverage to separate you from the rest by promoting your media coverage on the various social media outlets. By combining traditional PR with social media and online outreach, you create a very impactful and effective marketing machine for you and your film.

Once you do launch a media relations campaign, remember a campaign takes time and consistency. If you do a media outreach for one month and then stop, it’s like stopping a plane just as it’s about to take off. Once you stop, you’ve turned off the engine and the plane is back on the tarmac. Again, it’s imperative that your outreach is consistent and that you give the campaign time to work. A stop-and-go approach does not make for an effective campaign.

Because you’re a filmmaker you’re a storyteller, so you’re ahead of the game. Effective PR is effective storytelling. Work with a PR consultant to find your stories, your audience, your target media outlets and then start crafting your stories, your message and defining your brand.

An effective PR campaign can get you and your film in front of the media, the public, distributors, investors and influencer. It can help build your tribe and fan base. It can bring opportunities to you that you don’t even know are out there. I know, I’ve experienced that PR effect first hand and have watched it happen for clients.

Now it’s time for you and your film to experience the PR effect.

Winning the Film Distribution Game

Coming up with a viable distribution strategy, or landing a distribution deal that is truly going to give your film a chance to succeed is, without a doubt, the most unnerving part of the film making process.

There is quite a lot you need to consider when shopping for the best distribution deal. Your most advantageous approach is to make them want you. Countless filmmakers are pitching distributors, so separate you and your film from the pack. The most impactful way to do this by launching an effective and savvy PR campaign before reaching out to distributors. That way, when you do approach them you’re coming with enough media and buzz to pique their interest.

Independent filmmakers need to get their films distributed to reach their audience, but landing the right distribution deal is tricky. There are reputable distributors, but the waters are also filled with shady distribution sharks who promise the world and once a deal is struck deliver little or nothing.

Online distribution outlets such as Netflix, iTunes, Amazon or Hulu are generally the best bet on the online side, but what if those don’t pan out, or if your budget won’t stretch that far? For filmmakers with little to no budget who want to offer the public access to their film there are services such as BitTorrent or Vimeo On Demand. There is also CreateSpace which allows you to submit your film and your artwork automatically (for no charge). It is part of Amazon.com which is a plus. There are no start-up fees and it is guaranteed, immediate distribution. Which are also pluses.

Sounds like a great distribution alternative, right?

Well, maybe.

The trouble is that most of these sites offer very little consumer awareness. If you are going to go that route, it’s imperative that you have a marketing and PR strategy in mind. It will do you absolutely no good whatsoever to have your film available on a site no one visits. If you are going to go with online distribution you need to implement savvy social media and public relations campaigns to drive people to your film.

Going through a traditional distributor has its own mind field to traverse. Some are good, but there are more than a few that are of the Hollywood horror show variety.

When making a deal you are granting the distributor the right to distribute your movie in one or more media which could include theatrical, home video, television, etc. The distributor will cover the cost for distribution, advertising and marketing costs. You and the distributor will split revenue (the percentage depends on the deal cut) derived from the film. It’s not possible to review all of the points to consider when looking for distribution, but the following are some important points to keep in mind:

Although the distributor is supposed to cover the marketing costs, secure your own PR representation. Otherwise you are simply going to get lost on that front. Let them handle the marketing and advertising, but do not expect that they will do the heavy PR lifting. They might send out a press release, but that’s usually the total sum of their PR efforts - and that is never enough.

When making a deal try to secure advance payment. That way the distributor has some skin in the game and has a greater incentive to make your film a success.

The arena has shifted and, unless you’re offered an amazing deal, you’ll want to consider splitting up your film rights among different companies. Meaning you’ll end up with different companies handling theatrical, Blu-ray/DVD, VOD, internet, television, foreign, etc.

Consider finding a producer’s rep. Although it can be as difficult to land a reputable rep as it is to land a distribution deal. Put together a compelling package with the film along with any marketing and publicity material. You have a greater chance of landing a rep or an actual deal, if you do some PR on your own before reaching out to these companies.

Don’t show your film before it’s ready. Even though distributors will assure you they can see past the glitches – they can’t.

Set up a screening so you can show your film in a theatrical environment with a crowd, or at least with others there. If you send a DVD, you risk the possibility of it never being seen, or of a distributor watching ten minutes hitting the pause button and forgetting to hit play again.

Try and present your films around the markets such as AFM, Berlin, Cannes, etc. International distributors are generally more motivated to pick up new inventory before those markets.

As you can see there is quite a lot to consider when looking to land a distribution deal, so take your time and do your homework. Launch a PR campaign before reaching out to producer’s reps or distributors and you’ll separate yourself from the pack. The trick is to make them want you.

And one more point.

Make a good film!

The following are some sites to consider when looking for distributors.

Wikipedia list of distributors: http://en.wikipedia.org/wiki/List_of_film_distributors_by_country

American Film Market: http://www.americanfilmmarket.com/

And the Winner Is… Not the Oscars

It’s not so much that the Oscars have lost their relevance in the film world as it is that the film world has lost its relevance when it comes to the art of filmmaking.

The Oscars nominated some interesting, deserving films.

The problem was, almost no one had seen them.

“American Sniper” got buzz, but a good deal of that was due to the controversy. Fox News jumped on board and brought the film to the attention of a sector that generally isn’t courted by the Academy.

Since very few had seen the nominated films, interest in the event itself waned.

This year’s Academy Awards viewership dropped by 16%. Not an insubstantial drop.

Whereas independent filmmakers certainly don’t live or die depending on what happens at the Oscars. It does help if the Oscars remain relevant by keeping the public involved and casting a wide web. From my perspective the trouble isn’t that there weren’t Oscar worthy films, although to be completely honest this year I saw fewer contenders than ever (I’m a good illustration of the current problem). The problem is that what is known as Hollywood, or the studios, or the film system, are no longer an integral part of the marketing, PR and promotion of the nominated films and therefore of the awards themselves. They are busy turning comic books into films and building, or trying to build franchises that attract throngs of teenage males.

Let’s go back in time to the mid ‘70s and review what the Oscars were up to then:

“The Godfather Part II,” won over nominees which included “Chinatown” and “The Conversation.”

You had “One Flew over the Cuckoo's Nest,” beating “Dog Day Afternoon” and “Jaws,” among others.

“Rocky” beat out “Network,” “All the President’s Men” and yes, “Taxi Driver.”

“Annie Hall,” which beat out “Star Wars.”

I’m not comparing the merits of these films to those nominated in 2015, my point is that the public new of the films and they saw them. Nearly everyone had seen or new of “The Godfather Part II,” “Chinatown,” “One Flew over the Cuckoo's Nest,” “Jaws,” “Rocky,” “Taxi Driver,” etc.

But something happened in the ensuing years, the studios and filmmaking establishment separated themselves from the process. The problem wasn’t that 2015 offered lackluster projects, but that the muscle of the Hollywood star making machine was nowhere to be seen. The marketing, advertising and public relations campaigns simply weren’t there. Few people knew of the films, and fewer saw them. Therefore the interest wasn’t there. It’s as though the engine has disconnected itself from the train, which lead to the Oscar’s dismal ratings.

Hollywood follows the money, which any savvy business does. It was the franchises that led the way, according to Business Insider, Transformers: Age Of Extinction": over $1 billion 2. "The Hobbit: The Battle of the Five Armies": $866.6 million and "Guardians Of The Galaxy": $772.8 million.

But the focus on franchises and comic book films is a risky one artistically and, in the long run, economically. When a huge budget film underperforms, the studio takes a much bigger hit. Think of the number of Taxi Driver’s or Annie Halls that could be made for the budget of one of those huge budget projects.

The audience is there. They simply need films that are made for them. Which is where the independent filmmakers can lead the way. As films such as “Birdman” “Boyhood” and “The Theory of Everything” take the honors, maybe the powers that be will, at least in some small way, realize how badly they’ve lost their way and once again return to not only the business of filmmaking, but the art of filmmaking.

Knegt, Peter. "2015 Oscar Predictions". Photo. IndieWire. 17 Feb 2015. 01 Mar 2015. <http://www.indiewire.com/article/2015-oscar-predictions>

PR For Filmmakers

6 Tips To Successfully Market Your Film Online

Just about anyone with a film is going to be marketing it online, which is why I continually recommend launching a PR campaign to separate you and your film from the competition. But, that said, marketing you and your film via your blog and the various social media platforms is essential. The trick is you don’t simply want to make noise or add followers. You need your content to connect and engage your target market. A filmmaker with 10 thousand engaged followers is in much better shape than one with 100 thousand followers who are paying no attention.

So how do you maximize your online marketing?

To start pick the platforms that are most likely to reach your target audience. Next start creating compelling content and make your audience feel engaged. Build a tribe that with a connection to you and your film(s). If you connect and have a genuine call-to-action you can have fans jump on board and do a good deal of your work for you by sharing information with their friends and followers. You can do that several ways, some include running contests, creating incentives and offering unique one-on-one experiences.

If you’re having a screening or a premiere, starting at least four weeks out, give a special focus to that city. Give people a reason to show up apart from the screening itself. Will there be a red carpet event? Will there be cast members they can meet? Is there any kind of contest you can run that ties in with the event? For example, if applicable, the person wearing the best costume wins something, etc. Be creative. Have fun with it.

As mentioned, if your resources are limited, or you’re doing this on your own, don’t try to utilize every social media platform out there. You’ll end up doing a little of everything and accomplishing a lot of nothing.

Pick no more than four platforms. The top ones to consider are:

YouTube: You’re a filmmaker, use that to your advantage. Add videos, make it compelling, create sections, playlists, annotations, link overlays and continuously update the welcome video.
Instagram: Share compelling short videos and photos. Give your fans an insider look to the making of your films.
Facebook: To get around their restrictions, share videos. Keep posting and updating videos and photos that give your fans a glimpse into your world. Make your posts engaging. Don’t simply post in order to have something out there. Think it through.
Twitter: Again, focus on video posts, generate conversations with fans in specific cities prior to a screening or event in order to broaden your reach and add new followers. Speaking of Twitter, don’t ignore Vine, the 6 second movie clips generated by the vine app on Twitter can offer unique ways to create viral content for your website.

PR Campaign & Media Relations

If you’ve launched a PR campaign and are landing media coverage, share those links. Media separates you from the competition and makes your social media campaign all the more compelling. When you post an article or a TV appearance, you’re not the one talking about you, the media is – you’re the news. That gives you the validation and credibility to separate yourself from the others in the field.

Post cast and crew Vlogs to keep the sense of being a part of the project.

Make sure you’re on Wikipedia and IMBD.

Involve everyone. Make sure that anyone who is associated with the film jumps on your social media bandwagon and have them bring everyone they know on board. Assign someone the job of finding and sending you relevant tweets, blogs, links and news stories you can utilize in your campaign.

So, the top tips to keep in mind when marketing your film online are:

Be selective in your social media outreach.
Use your time wisely.
Create compelling content. Reveal secrets, pull back the curtain.
Be creative. Come up with catchy contests, or events
Connect with your audience and fans. (Don’t simply talk at them; relate to them.)
Be consistent. (Don’t simply post or reach out once a week.)

There is quite a lot here, but don’t let it intimidate you. As they say pick your battles. Don’t try to be everywhere online. You want to make sure you don’t get lost spending time and effort that end up yielding no results. So make a list of your primary objectives, your target audience, and the social media platforms that match your target market

Now, get started!

PR For Filmmakers

How to PR & Market Your Documentary Film

You’ finished your documentary film. You’re exhausted but excited. The long hours and hard work paid off. You have a finished project you’re proud to show.

So, now what?

If you set up a plan to target distributors and market your film to the public, you’re ahead of the game.

Start implementing your plan and keep in mind it’s a living document and one that needs to be able to shift and modify as you move forward.

If you don’t have a plan in place, create one now.

There are quite a few different approaches you can take. Your main objective is to build bridges between your film, the media, the public, distributors, influencers, you various target markets, etc.

To start you want to make sure you:

1 Have a website. It doesn’t have to be elaborate, but does have to have a good clean look. You want it to convey the message and the feel of your film. You also want it to showcase you as a filmmaker.

2 Create a blog. This can be a great way to connect with the public and create a following. Document the making of your documentary. Share your triumphs and your trials. Be transparent. Create a compelling narrative.

3 Develop a social media presence. You don’t need to be on every social media platform, but you do want to pick two or three and consistently update them. If you’re launching a PR campaign, be sure and post and highlight any media coverage that you garner.

4 Launch a public relations outreach for both you and your film. This is the strongest way to establish your brand. PR offers you the validation and credibility of being featured in the media. Target media that covers the issues your film raises, but don’t simply think in narrow terms. Try to broaden your media bull’s-eye as much as possible. Think of the various stories you can pitch that have to do with your film, your journey as a film maker, your filmmaking process, etc. What stories can you pitch to the large mainstream publications, what stories can you pitch to blogs, entertainment-oriented media, and trades? Are there newsletters that would be appropriate to target? If possible bring a professional on board to work with you who knows the media, has the contacts and has experience successfully placing stories in the press. You might find it difficult to get the type of coverage you need trying it on your own.

5 Create an impactful trailer that you can use as a pitch tape and calling card for potential distributors.

6 Make a list of all of the venues where you could possibly show your film. Be creative. Start with the obvious and then drill down. Could your film be shown at schools or colleges? Is there a tie-in with charities or foundations? Could it be shown in churches?

7 Submit your film to appropriate film festivals. And make a list of festivals that could be worth attending even if your film will not be screening. Do some research. The can be opportunities to meet with distributors, buyers, investors, influencers, media, etc.

8 Arrange a private press screening of your film. This doesn’t have to be elaborate, but if you can arrange to premiere your film and make that an event. If you showing at a festival, you can make that your premiere. Otherwise look at four-walling a small theatre. You can invite the media, distributors, influencers, investors and your target market. It can help create a buzz and build awareness of you and your film.

The bottom line is that there is quite a lot you can and should do to make sure your documentary is given every chance that it needs to be successful.

Start now!

PR For Filmmakers

Promoting Your Movie via the Media

You see your job as director or producer (or both) but not as marketer. Well, if you want to maximize your chances of getting your film out there, it’s time to get comfortable with this new role. Whether you promote and PR your film on your own or hire a firm to do it for you, you can effectively create a buzz for your film and you will maximize your chances of building your audience and fan base.

By actively promoting your film, you’ll maximize your chances of:

Building awareness for your film within the industry
Increasing your audience and fan base.
Securing a distribution deal.
Establishing yourself as a director, producer or writer within the industry.
Generating interest for upcoming projects.
Securing financing for future projects.

Using PR and media relations to establish your film and/or production company is the most validating and legitimizing route. By appearing in the media you establish yourself as a presence and a player in the industry. You gain the validation of be covered by and featured in the news. I’ve written other articles on how to launch an effective public relations campaign, which would be worth reviewing. Your best bet is to bring a company or consultant on board that has experience and can work with you to launch an effective campaign. If that’s not possible, do some homework, learn the process and give it a stab on your own.

Along with launching a PR and media relations outreach consider adding the following:

First and foremost create a compelling website or a blog with a compelling design and an easy to read layout. This doesn’t have to be a bells and whistles affair. Make it clean, easy to read and simple to navigate.
Utilize Social Media including Facebook and Twitter.
If you have a small budget for it, consider running Facebook and Google ads; consider forum marketing.
Edit some compelling, short videos to use as teasers for your film
Tag your videos. Be sure to use keywords that effectively describe your videos in the associated tags for effective SEO.
Submit your video to directories and social bookmarking sites to help up your Google ranking

There is quite a lot you can do to help market, publicize and promote your film. I believe that the most effective approach is to combine blogging and social media marketing with traditional PR and media relations. As a filmmaker, this is an exciting time. Now more than ever you can take steps that can help ensure the success of your projects and your careers. Be bold. Go for it.
See you at the movies.