Sell Your Own Damn Movie! [NOOK Book]

Overview

This is the 3rd volume in Mr. Kaufman's hilarious, how-to series for hard-working self-starters and hard-laughing, cheeky filmmakers. "Sell Your Own Damn Movie!" covers everything you need to do to get your finished film seen by festival-goers, movie-goers, DVD-buyers and web-goers around the world. You will be lead through a primer on the history of film distribution to a discussion of the many ways you can get your film out there, either through a reputable distributor or all on your own. From the realities of ...

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Sell Your Own Damn Movie!

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Overview

This is the 3rd volume in Mr. Kaufman's hilarious, how-to series for hard-working self-starters and hard-laughing, cheeky filmmakers. "Sell Your Own Damn Movie!" covers everything you need to do to get your finished film seen by festival-goers, movie-goers, DVD-buyers and web-goers around the world. You will be lead through a primer on the history of film distribution to a discussion of the many ways you can get your film out there, either through a reputable distributor or all on your own. From the realities of distribution, to utilizing the internet to self-distribution, Mr. Kaufman tells you in his habitually lucid and off-the-wall way. Inserts include interviews and pointers from veteran distribution pros as well as directors and producers who share their own front-line stories. Mr. Kaufman recounts his own raucous stories of marketing pleasures and nightmares from 35 years of movie-making experience, creating a uniquely useful and entertaining read.


Or, in Lloyd's inimitable words.


The most asked question at my worldwide popular, legendary, renowned master class is, "How do I get my no-budget, zombie giraffe flick distributed?” Well, have no fear, because the 3rd volume in Uncle Lloydie's how-to series of go-to guides for filmmakers reveals the secrets, methods and tricks (short of prostituting yourself and selling bodily organs) to getting your film distributed. With Troma, our legendary 35-year-old independent studio, Michael Herz and I have developed a low cost, high-impact method for low-budget film distribution, which has lead to a high-profile brand name and a catalog of over 800 titles! Now you can learn to get you movie out there, too. I will be your busty tour guide, sharing with you my hard-earned cinematic distribution know-how!


-LEARN! How I achieved box office success with my fowl chicken zombie masterpiece Poultrygeist, and everyone's favorite super-human hero from New Jersey, the Toxic Avenger, for practically no money!


-SMELL! The sewer that is mainstream distribution as I drag you through the muck, be-farting upon you the real scoop behind "indie” and mainstream distribution deals.


-MASTICATE! (No, not that kind of masticating) On the knowledge of DVD distribution as I es-chew the fat and get to the skinny of Do-It-Yourself DVD distribution. I will teach you the fundamentals of having a good website (like www.Troma.com) to boost your sales!


-FEAST! On my golden brown chicken puns as I cleverly cluck your brain out with the irrefutable knowledge of how I sold over 10,000 units of the 3-disc limited-edition Poultrygeist DVD in a matter of months!


YES! If you have any doubt that I will not be able turn your no-budget zombie giraffe opus into box-office gold, then put down this book proposal! No wait, pick it back up, pick it back up! This is a recession damnit, Troma needs all the money we can, er... I need to educate you filmmakers looking for distribution gold (brown)! After reading my book, any damn filmmaker will be able to "Sell Your Own Damn Movie!”


Featuring expert advice from those who have successfully sold their films:
* David Cronenberg (Director of The Fly, Crash, A History of Violence)
* Oren Peli (Director/Producer of Paranormal Activity)
* Ted Hope (Producer of Crouching Tiger, Hidden Dragon, In the Bedroom, Happiness)
* Brad Kembel (Executive Vice President of International Distribution at Summit Films; Twilight)
* James Gunn (Writer/Director of Super, Dawn of the Dead, Slither)
* Jonathan Wolf (Executive Vice President, Independent Film and Television Alliance and Managing Director, American Film Market)
... and many more who have sold their own damn movies!

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Editorial Reviews

From the Publisher
"While Kaufman fills his book with wacky anecdotes and reprints of goofy emails with his editor, there are occasional glimpses at the man behind the personality. Lloyd is a highly educated and very shrewd man who has spent the majority of his life fighting for the 'little guy'. As the chair for IFTA, he battles for net neutrality and equality to artists regardless of privilege. For as many small production companies that burst onto the scene only to disappear seemingly overnight, Troma has maintained a strong presence for almost forty years and shows little sign of disappearing any time soon."—HorrorTalk.com

"Some may know and love him best as the co-founder of Troma, Tromadance and the creator of The Toxic Avenger. Others may recognize him as the purveyor of breakthrough talent like the creators of "South Park," Trey Parker and Matt Stone. He's also known for authoring books that address that ins and outs of filmmaking such as "Make Your Own Damn Movie: Secrets of a Renegade Director." However best you know him there's no denying the influence Lloyd Kaufman has had on filmmakers and audiences for more than 40 years - and who better to let you know it than Lloyd Kaufman himself."—Cinespect.com

"Lloyd Kaufman is the man largely synonymous with Troma Entertainment, known for its creation and distribution of low-budget horror (and otherwise generally cheesy) flicks like Toxic Avenger and Poultrygeist. And he's damn proud of it. As he should be: Troma is responsible for giving Matt Stone and Trey Parker, Oliver Stone, and Billy Bob Thornton their movie debuts as actors and/or directors. Kaufman continues to extend a hand to the younger generation with a series of books about filmmaking, including his latest, Sell Your Own Damn Movie!."—AdultSwim.com

"Forget the studios and national distribution, Lloyd counsels; try for week long runs at small theaters. He provides some advice for promotion and also gives examples of money/ terms to expect i.e. get a deposit against a percentage of the gross. And, Don't forget to get everything in writing. He also explains how to lose $40,00 on $30,000 of ticket sales. That's the sort of information you probably don't find in every book."—NotesOnVideo.com

"Last night, Kaufman descended on NYC's famed Strand Book Store to a packed house of Troma fans, independent filmmakers, and wide-eyed onlookers. With the help of members of the Troma team, Kaufman proceeded to teach the audience how to effectively "sell our own damn movie." As a long time Troma fan, this was an exceptional opportunity to learn about all of Kaufman's successes and obstacles through the course of his legendary career."—LocalBozo.com

"In addition to Lloyd's warped sense of humor, and ability to digress, this book includes a lot of interviews and stories from people who - somehow - made a bit of a success of themselves. I think these stories can be summed up by: Every failure is the same, every success is unique."—NotesOnVideo.blogspot.com

"In a series to help aspiring filmmakers to realize their dreams and make the best of a financially challenged situation. This low budget film school continues with his latest,Sell Your Own Damn Movie!, which tells you what to do with your masterpiece once everything is shot and edited."—gordonandthewhale.com

"Covers everything you need to do to get your finished film seen by festival-goers, movie-goers, DVD-buyers and web-goers around the world. Inserts include interviews and pointers from veteran distribution pros as well as directors and producers who share their own front-line stories."—fearsmag.com

"This is purely a suggestion for the filmmakers out there. I find his own brand of film school books to be full of equal parts valuable information and hilarious insights into the life of the independent artist. Just finished Sell Your Own Damn Movie, and recommend the entire series to anyone seriously thinking about producing, directing, and everything else."—UnstableGround.com

"SELL YOUR OWN DAMN MOVIE covers everything you need to do to get your finished film seen around the world. Kaufman recounts his own frontline stories of how Troma Entertainment has successfully distributed movies for over 35 years, and devotes equal time to insightful interviews with distribution pros. You will learn formulas for success from the distributors of mainstream studio releases like TWILIGHT and PARANORMAL ACTIVITY, as well as from the distributors of "no-distribution budget" movies such as SITA SINGS THE BLUES and BOMB IT."—AmericaScreams.com

"Underground film making icon Lloyd Kaufman, the President of Troma Entertainment and Creator of 'The Toxic Avenger,' as well as 'Terror Firmer,' 'Tromeo and Juliet' and 'Poultrygeist: Night of the Chicken Dead,' will discuss his extremely humorous and informative new book, Sell Your Own Damn Movie. Sell Your Own Damn Movie! covers everything you need to do to get your finished film seen by festival-goers, movie-goers, DVD-buyers and web-goers around the world. Inserts include interviews and pointers from veteran distribution pros as well as directors and producers who share their own front-line stories."—FPUSADailyPlanet.com

"While his sense of humor may not be everyone's cup of tea, one cannot discount the breadth of knowledge he brings to the table when it comes to making a career in independent cinema. Each one of his books have been inspiring and informative, but equally realistic and sobering, with this volume proving to be the most eye-opening of all. In his previous books, we met the passionate, eccentric filmmaker side of Lloyd Kaufman, but, in Sell Your Own Damn Movie, we get to see the shrewd businessman that he truly is. You'll read chapters of this book and shake your head in amazement at just how much this tenacious little fella's been able to accomplish for all of these years without so much as a single suit looking over his shoulder (at least not one that he didn't hire to keep him reeled in). Like all of the books in the "Damn" series, Sell Your Own Damn Movie should be considered essential reading for anyone considering a career in film, especially those who are making/have made a movie they intend to shop around outside the mainstream. This book is chock full of sound advice delivered in an easily digestible, humorous, and, most importantly, practical-yet-realistic fashion. Very highly recommended."—Horrorview.com

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Product Details

  • ISBN-13: 9781136040337
  • Publisher: Taylor & Francis
  • Publication date: 9/10/2012
  • Sold by: Barnes & Noble
  • Format: eBook
  • Pages: 280
  • File size: 10 MB

Meet the Author

Lloyd Kaufman is one of the very few genuine auteur filmmakers. He has written, produced, and/or directed more than 25 films, including "The Toxic Avenger", "Terror Firmer", "Tromeo and Juliet", and "Poultrygeist: Night of the Chicken Dead". Kaufman is president of the world-famous Troma Entertainment, the oldest and, arguably, the longest-running truly independent film studio in history. He is also the president of the IFTA (Independent Film & Television Alliance), whose members produce more than 400 independent films and countless hours of television programming each year and generate more than $4 billion in distribution revenues annually.

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Read an Excerpt

Sell Your Own Damn Movie!


By Lloyd Kaufman Sara Antill

Focal Press

Copyright © 2011 Lloyd Kaufman
All right reserved.

ISBN: 978-0-240-81521-3


Chapter One

A History of Film Distribution, 10,000 B.C.–Present

It is impossible to understand the intricacies of how to sell a movie today without understanding how the film industry has developed and changed over the past several decades. And because the history of film distribution is so directly tied to the development of the film industry itself, I thought it might be a good idea to start at the beginning. And so here, gleaned from my studies of Chinese civilization at Yale in the 1960s, is a short history of the world, by Lloyd Kaufman.

A few thousand years ago, God created the heavens, the earth, and, most important, the Chinese. And God so loved the Chinese that he gave them the divine privilege of inventing the motion picture. That's right, friends—the most important invention of our time was actually developed by the Chinese thousands of years ago. It all began early in the fifth century B.C. when a young, hairless Chinese boy by the name of Sam Levine was born in a manger in Shanghai. There weren't many Levines in Shanghai, however, and young Sam was better known by the nickname Mo-Ti. What the hell Mo-Ti means, I have no idea. I can only assume the moronic nickname came about because he was a very thirsty child, and everyone knows that Chinese people love tea. My mother used to call me Mo-Popov, so who am I to judge?

Alas, as little Mo-Ti grew up in the slums of Shanghai, he began to notice something strange. Using careful observation, Mo-Ti noticed that when light shined through a small hole in a wall, the image of whatever was in front of that light would be projected, upside down, on the opposite wall. Now, I bet you are scratching your head out there and thinking, "Wha??" But you see, Mo-Ti was a smart little guy, and what he discovered that fateful day would change history in ways that no one could have guessed. Using what he saw, Mo-Ti began to understand properties of light and accurately described a "camera obscura," which everyone knows is a rare type of obscure Chinese camera.

Now, from this revelation, it was a simple step from still camera to motion picture camera, and Mo-Ti and his Chinese brothers took that step boldly, inventing the modern 35mm film camera in 476 B.C. With this intellectual leap, Chinese society was thrust out of the Dark Ages and into an enlightened period that we now call the Renaissance. When Chinese travelers to Europe first showed the ignorant natives their films, the Europeans were amazed. Word of the magical Chinese moving pictures spread across the land. The Last Temptation of Toxie: The Toxic Avenger Part III became a particular favorite of the Gauls, while the Romans preferred lighter fare such as The Wedding Party, staring Robert De Niro's great-great-great-great-great-great grandfather, Silas De Niro. The slow-witted Europeans quickly came to worship the Chinese as gods, which kind of pissed off the real God who had created the Chinese in the first place, but at that point, there was really nothing he could do about it. With Europe, and later the rest of the world, conquered without bloodshed, humanity entered the Golden Millenia, a period of peace and brotherly love that has lasted for more than 2500 years, right up to the modern day, so named because Chinese people like the color gold. All hail Mo-Ti, our lord and savior.

But, of course, none of this really happened. It did get me a D in Chinese History and Culture 1011. I was able to graduate, however, so it can't be completely untrue. Maybe I should have spent more time studying for my Chinese classes instead of watching movies and frolicking naked with Thomas, my roommate. But then I wouldn't be the distinguished and respected film director that I am today, so there's an upside to everything.

There was, in fact, some guy named Mo-Ti who looked in a glory hole and saw an upside-down image on the other side. And anyone who can look in a glory hole and be more interested in the properties of light than the three-inch penis on the other side deserves more than a passing mention here. But unfortunately, there was never any leap from theoretical camera to motion-picture camera, and poor little Sam "Mo-Ti" Levine died, penniless, after choking on some egg foo young. And so it is written.

For the next 2200 years or so, nothing much happened. Some buildings were built, some people were born, some people were killed. Zoos were created for the entertainment of the rich, Haiti made a pact with the devil, and lots of Indians were murdered with smallpox blankets. I mean, this was really uninteresting stuff, and I feel like, even in this short paragraph, I have already devoted too much time to it.

And then, finally, after a long period of worthless pursuits, someone decided that the world was kind of a drag. That someone was Thomas Edison, inventor extraordinaire. And so, he started inventing a shit-ton of stuff like light bulbs and phonographs and disposable underwear. The guy was a genius! You know why? It wasn't because he invented stuff like shoelaces and mochaccinos. It was because he paid other people to invent things and then he put his name on them and applied for the patents. And once he had the patent, he got all the money. So, of course, Edison was mafia-like with his patents. He was the James Cameron of his day! Which actually makes his invention of the Kinetoscope all the more interesting. Let's get it out of the way up front that Edison did not actually invent the Kinetoscope, which is Greek for "magic box that you can watch porno clips in." But he put his famous name on the patent and that's all that really matters. That is, he put his name on the U.S. patent. For some bewildering reason, unbeknownst to me or www.edisonfunfactsforkids.com where I am getting the bulk of this information, Edison neglected to get an international patent for his one-man proto-film projector. Now, you may be thinking to yourself, "Wow, that Edison guy was a real dummy! How did he ever manage to invent Cadbury Eggs and umbrellas?" But you would be wrong. Cadbury Eggs weren't even invented in America. I would think if you, dear reader, were an expert in anything, it would be Easter chocolate. I mean, as a self-loathing Jew, even I know a little something about Easter food. Frankly, I'm a little disappointed in you.

Regardless of his reasons, the fact that Edison had no legal claim on the Kinetoscope in any place other than the United States was actually a boon to the motion picture industry that was about to be born. This freedom meant that other people, some of them even smarter and more passionate about film than Edison, were able to tinker and improve on Edison's invention. What began as one dude paying 25¢ to jerk off to Annabelle Whitford Moore's Butterfly Dance became hundreds of people at a time paying $12.50 to jerk off to Nicole Kidman in Moulin Rouge. See how great technology is?

Once motion picture cameras and projectors were invented, it was only natural that buildings would spring up to display these amazing marvels called movies. And thus, the movie theater was born. At first, anyone could own a movie theater. All you needed was a little cash and some gumption. There weren't very many movies to play, so it may not have been the best business investment, but you could do it. When the major studios started coming up, they wanted to get in on the action, so they bought their own theaters. This vertical integration was absolutely perfect—the big studios owned the talent on the screen, the costume and set designers, the costumes and sets themselves, the cameras, the editing equipment, the editors, the cafeterias, the musicians, the press relations, and, finally, the theaters. Now, at this point, keep in mind that most people could not go out and make their own damn movie. There were no small, cheap cameras like there are today, and there were no computers on which to edit. So the major studios made all the movies, and then they showed them in the theaters that they owned. It just sucked for anyone else who owned a theater or anyone who didn't want to work for the studio boss. You know who else didn't like it? The U.S. government. Apparently, it was illegal.

The United States v. Paramount Pictures, Inc, in 1948, changed everything. The Supreme Court decided that the major studios could no longer own movie theaters. They also couldn't force the owners of other theaters to buy and show a bunch of shitty movies for every decent one. This decision didn't just change which movies were shown in what theater—it actually contributed to the destruction of the studio system. When a studio could no longer count on a theater having to play its cheap movies, it had to start being a little more selective about the movies it chose to make. This led to higher production costs. Within a few years, the era of the major studio was over, and the rise of the independents had begun. And that is when I, Lloyd Kaufman, became a man.

A GLIMPSE OF REALTY

I am sitting in an Irish pub on 23rd Street. The music is loud and a large group of frat boys is causing loud havoc at a table near me. I glance up and make eye contact with one of them. He smiles at me. I smile at him and nod my head slightly. He knows I am one of them. My co-writer, Sara, scribbles furiously in a notebook, straining to capture every word of brilliance that I am spilling. I sip my vodka tonic.

"That's great," says Sara. "I can probably get part of the first chapter from your Chinese stuff."

"Great, great," I say, pleased with myself. This book is going to be a breeze. "So, what more do you need?"

"Well," Sara pauses. "I guess if you just talk a little bit about how to sell a movie?"

I put down my vodka tonic. "You can't sell a movie these days. It's all fucked."

"Well, yeah," she says. "But I mean just something about how to sell a movie today, since you've talked about the history."

"It's impossible! The whole thing is fucked. We can't even sell Poultrygeist: Night of the Chicken Dead, on which we spent $500,000. We haven't made a cent on it!" I'm getting really worked up now, which I think is getting the frat boy across the aisle a little excited. "How is someone supposed to sell a movie when the theaters are tied to major megaconglomerate corporations that own everything. Poutlrygeist played in one theater in New York for what, two weeks?"

"A week and a half, actually. Indiana Jones opened on Wednesday and kicked out your fowl movement."

"That's right! We were the highest-grossing screen in the country, but no matter how well you do, they'll kick you out for Step Up 2: The Streets.

"Yeah."

"Damn right, yeah. Did you want to get an appetizer?"

There is silence at our table. I take another sip of my vodka. A Chinese woman walks up to me holding a handful of DVDs.

"Movies, movies," she says, hauntingly.

I brush her away.

"DVD. Movie," she says again as she wanders away.

I take another sip.

"Maybe I should have seen what she had," I say, jokingly. Suddenly, I am hit with inspiration. I slam the glass of vodka down.

"That's what this book should be!" I exclaim, triumphantly.

"Hmm?" says Sara.

"Piracy. Anticopyright. That's the future!"

I sip my vodka, and I wink at the frat boy.

(Continues...)



Excerpted from Sell Your Own Damn Movie! by Lloyd Kaufman Sara Antill Copyright © 2011 by Lloyd Kaufman. Excerpted by permission of Focal Press. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

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Table of Contents

Chapter 1 Understanding the Big Picture of Movie Distribution from 1974-Present
Chapter 2 Should You Have a Distributor for Your Movie? Am I Giving my Baby Away?
Chapter 3 Doing Distribution Yourself
Chapter 4 Tools for Distributing Your Own Damn Movie or How to Be Like Troma and Kick Ass without Breaking the Bank or Going to Jail
Chapter 5 Distributing Your Own Damn Movie Outside the US
Chapter 6 Utilizing Film Festivals When You Have Distribution or When You Don't
Chapter 7 How to Deal with Critics and Talk to the Press or How to Get Publicity Without Blowing Your Brains Out
Chapter 8 Promoting and Publicity, or How to Compete with $200 Million Dollar Burger King Promotions
Chapter 9 Distributing Your Film Via the Internet or Finding the Holy Grail of Riches on the Internet

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