The Tarantino Approach

Long ago, before those now-famed dogs had ever found the reservoir, I was a partner in video and film production company. Our offices in Westwood, California, were we next to an entrepreneur whose stepson used to spend a good deal of time there. Eventually the stepson also moved into the office space. He was, well, unique. He was an aspiring filmmaker and would stop in to chat from time to time. We generally didn’t have a conversation with him. Well not what is typically considered a conversation. There was very little talking on our part. We’d perhaps ask a question or two and then kick back and listened as he let go with one of his remarkable machine-gun, rapid-fire monologues.

He spoke with his body, acting out his responses.

He was working on a short film, serving as writer-director-producer-actor and had run into financing issues. He knew we were involved in producing, so he snuck us into an editing bay at UCLA to watch some of the raw footage of the film to see if we were interested in coming on board. It was a black and white short. The dialogue was great; the direction was rough but compelling. Still, it was a short with no names and we were producing low-budget horror films. So, we passed.

When we refused Quentin Tarantino he, in no uncertain terms, explained that we were making a monumental colossal, stupendous mistake. We were passing on a chance to work with one of Hollywood’s biggest (expletive) directors. That wasn’t yet the case, but he assured us is soon would be. The prediction in-and-of-itself was nothing new. Having worked in the entertainment industry for a while, it was a prediction that I’d heard several times. But never had someone declared it so assuredly.

Neither of us had any doubt as to his sincerity, but we didn’t give his prediction great odds.

Well, the odds were on his side, big time. He finished the short and went on to film “Reservoir Dogs.” I’ll never know if Quentin actually knew he was going to be as successful as he now is, or if his bravado was part of what helped propel him to where he now sits.

Looking back, I now see it as a great study in the emergence of an artist. Quentin is unique in that his singular voice and vision is reflected in his projects. He does not jump on board as a gun for hire for super hero mega films. He creates his own vehicles. Tells his own stories. Few filmmakers have the talent to write and direct, along with the pull to get their films financed at such a high level. And, as he predicted that day as we walked to the parking lot after having viewed his short, he indeed has become one of our most influential film directors. “Pulp Fiction” changed the industry and spawned legions of imitators. But his stories, dialogue, direction remain singularly his.

Bottom line is Quentin has always done the work. He is savvy as to how to market himself and his films, but the work has always come first and foremost. Without that there is nothing.

So, maybe (if indeed you too do the work) pronouncing that you’re going to become biggest (blanking) whatever isn’t such a bad approach.

Sometimes, as Quentin illustrates, it happens.

Image c/o: ipernity.com/doc/siebbi/5818793

How to PR, Market & Launch Your Book

To start, keep in mind that marketing your book, is different than marketing yourself as an author. A book can be an engine that helps pull the train, but the overall train is your image and brand as a writer. One of the problems I’ve had working with large publishing houses is that they focus solely on marketing the book and often overlook valuable PR and marketing opportunities that can be gained from marketing the writer. My focus is on the author. Still, I understand a publisher’s perspective. They’re going to make their return off the book sales and the author might not be with them a year or two down the line.

But as an author, you need to think more long term. Each book is a part of your canon, but no one work defines you. Your marketing, PR and branding focus needs to be on your overall career as an artist.

Still, if you do have a book coming out, you’re then working with a specific timeline and need to develop a marketing and PR plan targeting your book release. Write out your plan. Have it include objectives, timeframe, goals, strategies and tactics. Whether you’re self-publishing or working with a traditional publishing house will change your approach.

If you’re working with a publisher, they should give you some guidance, but do not expect them to take care of your PR and marketing needs. I’ve worked with authors who have been published by major houses and the promotional and PR efforts were minimal at best. Realize that you are going to have to take charge of your marketing. If you can hire a PR firm, do it. If not there are still steps that you can take to promote and market your work.

First, the basics:

Create a website.

Start a blog.

Pick three or four social media platforms to focus on.

Develop and launch a public relations campaign. Effective PR all comes down to effective storytelling. You’re a storyteller, so use your narrative skills. Make a list of possible story ideas. They can have to do with your upcoming book, other works, your journey as a writer, your interests, hobbies, occupation, lifestyle, values, etc. Also look for timely news stories and trending topics that you can address. Don’t simply come up with one generic pitch and send it to every media outlet, customize your media pitches to fit the needs of the different magazines, newspapers, TV shows, radio segments, etc. Remember to pitch appropriate blogs. Blogs and online magazines can be invaluable.

Remember to send out review copies at least three months prior to publication. Create a reviewer list of book bloggers and reviewers that cover your genre. You can find guidelines that outline what and how to submit.

Also consider a newsletter or add an opt-in to your site and blog to build your email list. Invite people to subscribe, and make it worth their while by providing credible, useable content. Do not simply pitch or sell. Engage, entertain, educate and inform. Keep them informed. Build a tribe who are invested in making your book a success.

There are many more approaches to consider such as readings, book signings, teaming up with other others, creating online forums, etc. But if you focus on the points outlined above, you’ll be well on your way to creating a successful book launch.

What All Authors Need To Know About PR

Truth is, whether you're a self-published author, have signed with a boutique publishing firm or have landed a contract with one of the major houses –

You need to launch your own PR campaign

For example, one of the most confusing (and generally disheartening) conversations I have with authors who have signed with a traditional publisher is about public relations and marketing. Most authors, particularly new writers, assume that because they went the traditional route, their PR needs will be taken care of.

That is seldom, very seldom, the case.

It often falls on me to explain to those authors who have signed even the largest most powerful publishing companies that they have an editor, a printer and a savvy, connected distributor. But when it comes to marketing and particularly to PR, it’s best not to expect much.

I read a study that stated that all toll the average book is allotted $200.00 for book publicity. I can tell you from over 25 years of experience, a $2000.00 investment will not get you or your book very far when it comes to creating a buzz, building reader awareness or stimulating book sales.

As an outside book PR firm we’ve worked with both large, medium sized, small publishing houses, from Simon & Schuster and HarperCollins to boutique literary and trade publishers. And, in just about every case, the bulk of the PR responsibility has fallen on us. We’ve also worked with a number of self-published authors, but they generally understand that they need to retain a book PR firm. For those writers who chose not to retain their own PR representation, it can be a somewhat harsh learning experience once they realize that their publisher is doing little more than sending out a press release and hoping that it generates some media interest.

I am not knocking traditional publishers here. On the whole they do a good job. But the reality is that, except for their name writers, the majority of their promotional efforts focus on some marketing and little or no PR. Publishers simply don’t have the staff to afford each book a full PR effort. Their in-house PR department could be assigned as many as thirty books a month, with thirty more following the next month. That’s not going to give most books much of a chance, particularly for authors who are leaving the PR efforts up solely to their publishers.

So, what is an author to do?

Take matters into your own hands.

If you can hire a PR firm that specializes in representing authors, or a book publicist, do it. If you can’t afford a firm there are still steps you can take.

Build a media list, write a press release with a strong call to action, develop compelling stories and don’t wait for the media to come to you.

The bottom line is regardless of whether you’ve signed with a top-tier publisher, are working with a boutique firm, or have self-published your work, you need to launch your own PR campaign and generate your own publicity.

The good news is that it’s in your control.

Not only can you do it -

You can launch an effective PR campaign and establish yourself as a successful author.

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