Playing the market
Content creators heading to MIPTV, Cannes and any other international markets must plan their activities carefully if they want to stand out at these extremely competitive events. Miguel Gonzalez reports.
Every year hundreds of content creators from all over the world travel to Europe, Asia and the US to do business at the big festivals – Cannes, Berlin, Toronto and Sundance – because they feature a market component for buying, selling, screening and financing films. Television creators have MIPTV and MIPCOM; documentary filmmakers have IDFA and HotDocs. There are, of course, many more markets – old and new – taking place in different territories and filmmakers, whether they’re financing their next project or looking for a sales agent or distributor, must identify the one that is right for each film, documentary and TV program.
While the idea of warm spring nights in Cannes, in designer outfits and sipping drinks while selling/ buying the next big film or TV format sounds idyllic, reality is much less glamorous. Whether their first time was in 1975 or last year, the experience is similar for all first-time attendees – with thousands of people and projects all vying for a small window of attention, these events represent a sobering and overwhelming process of discovery of the scale and operation of the international screen industry; one that can be full of opportunities but must be navigated carefully and in the company of the right partners in order to make the most out of the thousands of dollars spent in travel and other costs.
The first step is finding support before even heading to the airport. The state agencies provide travel grants to companies interested in attending the major international markets, and Screen Australia has a strategy to provide a range of business facilitation services – from basics such as internet access and a table for you to have a meeting, to targeted networking events with key international players, promotional activities, publications, case studies and management of the country’s presence at these events. At this month’s MIPTV, for example, the federal agency will host and manage its umbrella stand, where Australian companies can do business.
“We will provide resources such as a directory of all the Australian companies represented in the market, the Australian Documentary 2011 Catalogue, a directory of Australian Children’s’ Content Producers and the Doing Business with Australia booklet which outlines the Producer Offset and the Co-Pro Guidelines,” said marketing manager for industry support Dale Fairbairn. “We can provide information and resources to assist filmmakers to plan and book meetings well in advance. Screen Australia will also be hosting a series of events, including an Australian networking event, an event for co-production opportunities with the UK, a factual matchmaking event and an Australian/Canadian producer-toproducer speed-dating event.”
WALKING NAKED DOWN THE CROISETTE
Transmission Film’s co-director Andrew Mackie is a market veteran, and he doesn’t sugar-coat his opinion of such events – which he says can be “a brutal and unforgiving experience for filmmakers”.
“Market screenings represent the worst side of buying, and we always recommend producers and directors never attend those,” he admitted. “But the market experience is a great way for producers to get a snapshot of the global marketplace and understand very quickly what the competition is and why their project needs to stand out. When I’m roaming the market hallways, I still wonder who is funding all these movies and where they all end up. MIP can feel a bit like the place films go to die.”
Producer and SPAA president Antony I. Ginnane believes a project can stand out within a targeted group of buyers and critics, but it’s hard to do so against the totality of a market like Cannes or the AFM: “The days of the McElroys running a spiky VW up the Croisette to promote The Cars that Ate Paris, the Salkinds flying in a squadron to promote Superman, or Golan/Globus buying 100 pages in Variety are long gone”.
“Unless you are willing to walk naked down the Croisette carrying a giant film poster, it can be very hard to get noticed,” added Screen Australia’s Fairbairn. “You need to have a well-considered marketing strategy developed in conjunction with your sales agent.”
For films, it’s easier when the project is screening in competition at the adjoining festival, generating publicity around the premiere. But for TV projects, says Fairbairn, it’s “very difficult to stand out”.
“The big TV markets have over 10,000 delegates vying for attention. A sales agent will often take out advertising and have events, and your project is carried along in that momentum,” she said.
For projects lucky enough to have a sales representative attached, the results will depend on how the agent positions the project within their slate.
“Timing of your project announcement, trade advertising and announcement of any territory sales can be key,” explained Mackie.
According to Arclight Films managing director Gary Hamilton, projects that are not with one of the 15 main international sales agents will be at a major disadvantage. They will also suffer if the premise can’t be explained in simple terms, or if the creatives or the cast are not well known. “But when the right elements are there, it’s not difficult to come out and do a huge pre-sale, which is what we achieved with Stephan
Elliott’s A Few Best Men.”
To support their activities at international markets, sales agents are increasingly relying on pre-production reels. Marketing agency The Solid State specialises in independent films and has been creating materials for
all the major markets for over a decade. One of their latest projects was See-Saw Films’ upcoming feature Dead Europe, produced by Emile Sherman and Ian Canning, directed by Tony Krawitz and set to go into
production later this year.
According to co-director Danny Lachvre, filmmakers and agents used to rely on the original voice of the storyteller as the predominant factor in a sale, but now buyers need more incentives to take a chance on a project. Agents have stepped up their game with their marketing materials, which must be created with a clear knowledge of what an audience is after, and what else is out there in terms of similar product.
“It’s all about the audience. Many buyers will look at a project, even the ones they don’t like, with an eye firmly placed on who it is for. If the project and the materials are aimed squarely at an audience, it is more
likely to get noticed and bought,” he said. “But these materials are also the first stage of enticing a buyer, so it’s important they don’t try and do too much – if they’re interested, they will then ask for synopsis,
treatments, scripts, etc.”
DOS AND DON’TS OF INTERNATIONAL MARKETS
While many of these points might seem obvious, the practitioners Encore spoke to believe that sometimes common sense is not that common, so it doesn’t hurt to remember the basics:
- Plan ahead.
Thorough research is essential; identify the key people and companies, their profiles and whether they’re a good match for your project. Who do you want to talk to and, most importantly, why? What are they interested in? You must set up meetings in advance. Remember that everyone’s schedules fill up quickly. You’ll also have to be flexible in terms of your schedule– last minute cancellations, reschedulings and new meetings should be expected.
“You need to be on people’s radar so they can make time for you,” said Griff the Invisible producer Nicole O’Donohue.
“It’s often difficult to do this on the ground, and disheartening if you arrive and can’t get the meetings you want, so hit the ground running,” added Mackie.
Porchlight Films producer Liz Watts recommends the use of permanent worldwide database Cinando: “Everyone will end up registered on that, and it’s very valuable, with information about sales agents and
distributors, what they’re selling and buying.”
- Give yourself a buffer day at the start.
The market experience is relentless so you may need it to get over jetlag, or to minimise potential problems caused by unexpected flight delays.
- Get a sense of the event.
“Walk around the market and observe what the sales agents are selling,” suggested Mackie. “Get a sense of the volume and type of product out there. You are competing with all of it.”
- Build relationships as a long-term strategy.
With meetings and social functions taking place all day and night, providing countless networking opportunities, the social aspect is crucial. You never know when a deal can be made; at a boardroom table
or at the bar, but no matter the location, attendees must always remember they’re still in a business environment where public drunkenness and extreme pushiness will be frowned upon – unless you’re Charlie
Sheen or Lindsay Lohan.
Relationships need to develop organically, so don’t expect things to happen overnight. Instead, think of making contacts and building relationships as a longterm investment.
“The social element is and always will be a big component. It’s a great opportunity to meet people who may play a big part in your life and career. Be pushy, but not too pushy. You learn by going, doing and surviving,” said Antony Ginnane.
“Unless there’s 3-4 months of previous conversation, it’s quite hard to sit down at Cannes and sign a document saying someone’s going to give you an advance of X money. It’s very rare,” explained Watts. “You
have to be realistic. It’s mostly an opportunity to be face to face with people, and sales agents and distributors want to know whom they’re going to give money to.”
“Don’t expect to close deals at the market. Much of the work is done incrementally, and even if you don’t sell your project, think of it as relationship building for a project that might suit the agents,” added Mackie.
For Nicole O’Donohue, the social component of a market is an opportunity to get to know people better outside the usual 10-30 minute meetings, and to get a feel for whether you’re like minded and would want to
make the commitment of working together: “It allows you to continue conversations in a more relaxed setting, which often leads to new introductions.”
“The etiquette is to remember you are talking to a human being, not an automatic teller,” said Fairbairn. “Be courteous, be punctual, be organised. Go to as many social events as you can. You will need to talk the talk
and walk the walk – keep in touch with Screen Australia representatives who are at the market to find out who is there and what events to attend. And remember, etiquette continues after you get home too. Follow up
with people and follow through on your commitments.”
- Respect other people’s time.
As head of Arclight Films, Gary Hamilton knows a thing or two about demanding schedules, so his advice is to respect the fact that everybody at an international market is there on a very short time frame.
“If anybody has a lot of time to spend with you, either they’re not very important, or they don’t really have much to contribute,” he warned. “Don’t waste people’s time. Even if they only give you 10 minutes and you may think that person is being rude, it probably means they’re interested and taking you quite seriously.”
Odin’s Eye Entertainment Michael Favelle sums it up like this: “Always be gracious and respectful of the time people give you, whether small or large”.
- Create high impact quality materials that will present your projects, your company and yourself as professionally as possible. Have your presentation available in multiple formats, in case your laptop or any
other gadget dies.
“Never rush for a market without proper materials, or third rate, unfinished trailers, etc.,” recommended Ginnane.
“You need to really know the project you’re pitching and be as prepared as you can be, with any supporting material, from a teaser trailer to visual references,” said O’Donohue. “A project stands out when the creatives pitching it are really passionate about it and able to talk about all aspects, from story to cast to finance plans.”
- Provide a few options, but not too many
Creatives usually have one or two projects that are close to their hearts and become their key priorities, but it’s always good to have materials relating to other projects in their slate.
“Sometimes you’re in a meeting and they’ll say ‘Well, we’re really not looking for X, we’re looking for Y’. If you’re ready, you can say ‘Hang on a minute, I actually have Y right here’,” said Watts.
Arclight’s Hamilton warns, however, that producers should not try to pitch too many projects at one particular time.
- Share and assess information
An international event is a place where attendees have their own business objectives, but also share vital information about potential contacts and the state of the market. Talking to others, particularly in sales/distribution, will help you get a feeling of the market mood.
“But don’t believe everything you’re told,” recommended Favelle. “If it sounds too good to be true, then 99 percent of the time, it is.”
Looking at the projects coming out of other territories and the different financing systems in other countries is another learning opportunity that should not be missed.
There are also actions and behaviours that should be avoided at all costs. Do not:
- Have unrealistic sales expectations
- Turn up without a plan
“Some common mistakes are not knowing what your project is worth, and not knowing who the target buyers in the key territories are,” said Ginnane.
eOne’s Charlotte Mickie believes “too many producers don’t do their homework”, and end up going to sales agents whose slate is dissimilar to the projects they’re trying to make.
Watts warned that you should never go into a conversation asking questions whose answers you should already know, and Hamilton agrees: “I feel people are wasting my time when they don’t know what we do. If
somebody comes to a meeting and we have to explain ourselves… they should know exactly what we do and then from that, they should be clear on what they’re trying to achieve.”
- Pitch 24/7 and try to force scripts onto people.
According to Watts, this type of event is about being able to be social and have conversations with people, but at the same time, “you don’t pitch to someone who’s in the bathroom.”
“Be polite and respectful of others. No one has an obligation to see you or listen to your pitch, and inviting oneself to a party is in very poor form… if you feel you must do it, do it with some humility,” suggested Charlotte Mickie.
“Every minute a sales agent is listening to you, they aren’t talking to a buyer, which is against the interest of producers. It is an unavoidable double blind, but something to keep in mind.”
“Don’t always feel the need to pitch. Don’t just pitch, have conversations,” advised Andrew Mackie.
Not to add any pressure, but always remember these final words from Antony Ginnane: “You only get one shot.”
For more information, http://www.encoremagazine.com.au/international-markets-then-and-now-7765
