Drea watches more than 350 films every single year and plays an active role in whether they’re successful or not. She’s well aware of the uphill climb many filmmakers face to get accepted — she said Sundance receives around 14,000 submissions every year and only 100 actually get a premiere. So, in an effort to make that climb a little more friendly, we decided to chat with Drea to put together a rough guide for getting into film festivals.
There are a lot of conversations surrounding the Vimeo Staff Pick, but no one in the indie film community can question its importance. For many creatives that elusive badge has been the starting point for their career, the moment when they get noticed.
For many filmmakers, branded content is a tough code to crack. With variables including — but not limited to — product, budget, timelines, and internal politics, it may seem like a game not worth jumping into. But, allow Scott Ballew, YETI’s Head of Content, to simplify it for you.
At Musicbed, we’re passionate about CDDP’s cause because we get it. The commercial industry can be an intimidating place. Beyond being underrepresented, there’s a whole set of skills needed to navigate a professional career. There are clients and collaborators. There are pitches and revisions. It’s a whole different beast.
Perhaps the most unique trait Ryan Booth has is his transparency. Sure, as a creative and commercial director, he’s built a burgeoning career on the back of his visionary style — but finding someone so talented and transparent is beyond rare.
As a leader how do you motivate creatives — or even motivate yourself as a creative person? As roller-coaster rides of emotional stability and productivity, how do you bring out their best? After all, we’re willing to put up with this instability for a reason — creativity, in our book, is one of the defining attributes for meaningful work. It’s probably worth learning how to work with them.
Building a production budget is arguably the most important part of the filmmaking process. It creates the framework for the project, a rough outline for what will eventually be a film. But, it’s also one of the least fun parts of the process as well, probably just because it’s so damn difficult. There are an infinite amount of moving variables and unknowns — yet another reason building one is so important.
Micro-budget filmmaking is not for the faint of heart. You end up wearing multiple hats, taking on debt, asking friends to work for free, and toiling away on a project — likely for years — without seeing much (or any) monetary return on your investment. Not to mention it’s highly unlikely you’ll attach a star of any kind at this level, so getting press or festival attention for even a great film can be challenging.
On certain levels, developing a production budget is the same regardless of the type of film, whether you’re diving into a personal project or developing branded content for a client. We’ve already tackled a few notes on developing a production budget on the personal side, but after speaking with producers Sarah Schutzki (Feral Creative) and Zanah Thirus (BBDO Atlanta), we decided the commercial side deserved its own article.
A few months ago, we were talking with Vimeo’s creative director, Jeremy Boxer. We asked him what he was most excited about, and, without hesitating, he said Vimeo On Demand — Vimeo’s newish service that allows filmmakers to sell their work directly to their audience. Vimeo On Demand, he told us, is going to radically change not just the economy of filmmaking, but films themselves. We asked him what in the world he was talking about. “I think the first thing it’s going to do is erase the idea of traditional formats,” he said. “We’ve had filmmakers who’ve made 35-minute films about a specific subject for a specific audience, and they’ve done better than some feature films. It [becomes] more about the storytelling. I think you’re going to start seeing a lot more odd-length projects coming out in the next couple years.”