MARKETING: YOU VS. THE BIG BOYS

For a single Hollywood studio movie, that studio will spend millions and millions of dollars on advertising and marketing campaigns to make sure that everyone everywhere knows about their movie.  It might seem outrageous, but really, they have to spend that much in order to have a chance to recoup the massive and absurd costs of making said movie.

But for anyone spending less than a million dollars on their movie, there’s hardly any money to make a dent in the world of studio-sized marketing campaigns.  You might be able to afford some kinds of ads, or some spots on TV or radio or on the web, but still you will be faced with a huge goliath standing in your way.  Without tens of millions, you will be relegated to marketing your movie in a certain niche.

Those of us who make movies for a fraction of that have even less.  So what can we do to compete with the big boys?  How can we get our movies talked about?  How can we get people to see our movies?  You don’t need stars or money, you just need promotion.  After all, people aren’t going to watch your movie if they don’t know it’s an option.

But how can you do promotion with little or no money?  By thinking outside the box!

Some of you know my dad, Clark Balderson, who appeared in the WAMEGO documentary trilogy on DIY filmmaking providing viewers with great business advice.  He runs a construction equipment attachments manufacturing business called Dymax.  To illustrate an example of how you can compete with the big boys, let’s explore what Dymax achieved at MINExpo 2004.

In the world of construction equipment attachments, Caterpillar and Komatsu reign like movie studios Sony and Time Warner.  For MINExpo, Caterpillar and Komatsu each spent millions of dollars on their exhibits, which were huge…  maybe 10,000 square feet or more.  Dymax had only $10,000 to spend.  And their booth was maybe about 200 square feet.

So Clark asked himself, “What can we do to stand out from the crowd?  What can we do differently?”  MINExpo was taking place in Las Vegas… What about something involving showmanship and an over-the-top spectacle?  But, MINExpo is for miners.  Rough and tumble customers.

After thinking outside the box, Clark created a Dymax Sideshow, featuring The Enigma who swallowed swords, breathed fire and stuck nails into his skull; Selene Luna performed strip tease; and Pleasant Gehman (Princess Farhana) did bellydance and burlesque.

The Dymax Sideshow put on shows every couple hours with the entertainers.  The Enigma, Selene and Plez walked around the exhibition floor so people saw them.  And then everyone who saw them HAD to come see them perform.

Dymax had a steady stream of people stopping by to have their pictures taken with the performers.  And most of all, they enjoyed the performances.

And when it was all over, Clark discovered that the MINExpo management had awarded Dymax two prizes for Best Marketing.  Out of a total of seven prizes handed out to the entire Expo.  And it was done for a sliver of what the big boys spent.

Use this example as a lesson on how to stand out, create your own “buzz” and how to succeed by being creative within your limits.  Sometimes people are limited by money, by location, by weather, by you-name-it.  But, I see limitations as a blessing.  Once you identify your limitation, you don’t have to think about it anymore.  Instead of thinking about what you don’t have, try asking yourself how you can achieve the desired results with what you DO have!

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Click here to see some photos of the Dymax MINExpo.

HOW DISTRIBUTION CHANGED FILM: Part 2 of 4

Click here to read PART ONE.

By that point the industry had changed so dramatically I wasn’t sure what was happening.  HD Cameras were becoming technically more advanced.  They were finally beginning to have the look and feel of celluloid.  Shooting on actual film was becoming obsolete.

Then I got an idea to do a documentary on the life of my friend—Los Angeles icon, writer/poet, and punk rock royalty Pleasant Gehman (aka universally celebrated belly dance star Princess Farhana).  Traveling with her, and filming her for a year, really helped put my career path in perspective.  Why was I making movies to begin with?

I didn’t need to have fancy equipment trucks lining the streets so it would “look” like I was making a movie to passers by.  I didn’t want the phony photograph with hoards of crew people posed behind me while I stood nose-to-the-sky next to the 35mm Arriflex (or today’s version: The RED).  I know those kinds of filmmakers and that isn’t the kind I aspire to be.  My desire is about what’s on screen.  What is there for the viewer, regardless of the format.

When a person is watching a movie they can’t see what kinds of snacks are on the craft service table, or if any of the actors had personal make-up trailers.  So why should I waste the money on frivolous stuff that doesn’t enhance the image?  Why worry about it?

I realize that many aspiring filmmakers out there try to mask the fact they don’t know what they’re doing by “playing the part” of Director.  To passers by, so long as they “look like” a director, they will feel like a director.  And the equipment, crew, cash, and drama of the “production” become props in their disguise.  And without those props they would feel amateurish and worthless.  And they will often talk down to the ones who don’t follow in their footsteps.

During this time, I learned David Lynch was planning to downsize from celluloid to video with a project called INLAND EMPIRE.  Getting rid of all the “production” associated with film and moving to digital has tremendous cost savings.  By omitting shooting on celluloid, we filmmakers would omit having to house and feed 42 people.  We also omit the excessive equipment rental costs and several hundred thousand dollars of unneeded expenses associated with a project shot on film.

I started thinking really seriously about the way Kubrick shot his movies.  And the way Cassevetes liked to work.

They preferred a kind of intimate production.  One where the crew was made up of just a few people: they did their own camera work, had just one or two people on the crew (sound, lighting) and a few actors.  Why, it would be no different than a few friends shooting in their backyards like we all did in film school.  It would appear to passers by to be exactly the same.  Amateurish.  Except that each person in that small group would be respecting their craft.  I realized that so long as there is a respect for what you’re doing, the appearance to passers by is totally irrelevant.

There would be no glamorous shoot, no luxuries, nor stylists applying make-up to actors in high-back chairs with their names stenciled on them.  It would be punk rock, baby.  We’d have to do our own work.  Lift our own camera case, do our own make-up and hair, bring our own lunch to the set.  Passers by wouldn’t stop.  They’d keep right on walking, paying us no mind at all.  We would be free of onlookers.  We would also be free of actors or crew people who placed more emphasis on the appearance of the set than they did their actual craft.

That possibility excited me to no end.

(To be continued next week.)