2014 Production Conference
The 2014 Independent Film & Television Alliance’s annual production conference took place on April 25, 2014 at the Intercontinental Hotel in Century City, CA. The conference kicked off with a keynote speech from independent film’s go-to fixer Cassian Elwes and concluded with two panel discussions on finance and production along with marketing and distribution. Below, please also find a link to photos from the event.
Cassian began his keynote by discussing the “Comic Book Error” and how it is changing the profitability of independently distributed films. Elwes brought up films like Thor and Superman Returns as examples of films with huge audiences, huge budgets, and huge profits, but lacking in originality. Elwes then explained how studios are making fewer movies, and capitalizing on franchises (Elwes referenced The Fast and The Furious) so they can have bigger budgets. The solution for independents, Elwes proposed, was in meeting the desire of the movie going audiences for originality. He stated how audiences want to see independent films that aren’t big budget blockbusters, and mentioned that this year’s award season highlighted independent films that were also box-office successes. Cassian encouraged the attendees to make films that counter to this comic book error and said, “Save the soul and generation of young movie goers.” He encouraged educating young audiences on illegal downloading and its repercussions in this industry. “Straight to DVD business is done,” Elwes claimed as he segued into the potential theatrical distribution has for independent films. He closed his speech by calling the audience to action saying “I want to challenge the system, I dare you to do the same.”
Following Cassian’s Keynote, the first panel, Getting It Made: Finance and Production, took the stage. The panel, moderated by Pierre David (Reel One Entertainment), included Daniel Baur(K5 International), Hillary Bibicoff (Holmes Weinberg, PC), Nicholas Chartier (Voltage Pictures), Kirk D’Amico(Myriad Pictures), Mark Damon (Foresight Unlimited), and Michael Ryan (GFM Films). Pierre began the discussion on the market for video and why bankers are putting money into films that may not get distribution or recoup costs.
Mark Damon exclaimed “You can’t rely on theatrical,” explaining that talent box office bonuses and other external factors pull from the return to the investors. He mentioned that one of the only recent films to recoup investments for producers is Lone Survivor. Nicolas Chartier added that Dallas Buyers Club hasn’t made any money back for the producers and investors.
Daniel Baur advised the crowd to go after films they really like, because distributors can smell it. The panel also touched upon financial planning for films. Michael Ryan joked “You have to have an enormous amount of balls to put money into films.” Hillary Bibicoff advised everyone in attendance to make sure you know where you are getting your money back from. Kirk D’Amico continued to explain that attaching certain talent no longer guarantees an international pull.
Before concluding, the panelists answered the audience’s questions about pitching projects and generating interest in their films.
The second panel, Reaching the Audience: Marketing and Distribution was moderated by Kathy Morgan (Kathy Morgan International). Panelists included Kevin Goetz (Screen Engine LLC), Avi Lerner (Nu Image/Millennium Films), Ted Mundorff (Landmark theaters), Terry Press (CBS Films), and Rena Ronson (UTA Independent Film Group). Kathy introduced the panel and asked what they thought was working in theatrical and what the market needed? The panel used a number of different film examples to help drive their points home. The conversation really centered on having a film that meets a certain market demand. Kevin Goetz used the film The Guilt Trip as an example of attracting different demographics. Seth Rogen draws a younger male audience while Barbara Streisand peaks older women’s interest. Ted Mundorff used the film Don Jon as an example of how not to release a film theatrically. He stated that the wide release of the film really hurt it in the long run. The panel also discussed what’s important in marketing a film. Avi Lerner explained how the lead actor and cast are essential in the market. Rena Ronson added that getting your film tested is an integral part of the process and should be an expense planned in the budget. Most films initially test as a “C” “D” or “F” and this feedback can help improve it before the theatrical release. Goetz concurred and jokingly thanked her for plugging his business, then explained that you cannot depend on home entertainment the way you used to, so it is important to plan the theatrical release appropriately and, “Go big on Friday.”
This was IFTA’s 15th Annual Production Conference. For photos from the Production Conference please visit: . For more information about IFTA please visit: http://www.ifta-online.org/
About The Independent Film & Television Alliance (IFTA)
The Independent Film & Television Alliance (IFTA) is the global trade association for the independent motion picture and television programming industry. Headquartered in Los Angeles, the organization represents more than 150 member companies from 23 countries, consisting of independent production and distribution companies, sales agents, television companies and financial institutions engaged in film finance. IFTA is dedicated to protecting and strengthening its Members’ ability to finance, produce, market and distribute independent films and television programs in an ever-changing and challenging global marketplace.
IFTA members produce more than 400 independent films and countless hours of television programming generating more than $4 billion in distribution revenues annually. The organization’s premiere event, the American Film Market, the largest Film Market in the world, takes place every year in November in Santa Monica.
About Cassian Elwes
Elwes began his producing career with 1983's "Oxford Blues" starring Rob Lowe and Ally Sheedy and quickly went on to make another 29 films, including "Men At Work," with Emilio Estevez and Charlie Sheen, and "The Chase" with Sheen.
In 1995, Elwes joined William Morris and headed William Morris Independent for 15 years. He financed such indie hits as "Slingblade" and "The Apostle,” both of which were nominated for multiple Oscars. "Monster's Ball" was their follow up, which won the “Best Actress” Oscar for Halle Berry, the first African American woman to do so.
Elwes is considered an expert in the field of arranging financing and distribution for independent films having done so for 283 films during his tenure at William Morris Independent.
Since leaving William Morris Independent 4 years ago, Elwes has been involved in arranging financing and distribution for 30 films including “Lawless,” directed by John Hillcoat, and starring Shia LaBeouf and Tom Hardy. The thriller “The Paperboy,” directed by Lee Daniels, starring Matthew McConaughey and Nicole Kidman, and “Ain’t Them Bodies Saints” starring Rooney Mara, Casey Affleck and Ben Foster, which was nominated for a Gotham Independent Film Award for “Best Feature.”
Elwes produced the hit period drama “Lee Daniels’ The Butler,” which featured an all-star cast headed by Forest Whitaker and Oprah Winfrey. He also executive produced “All Is Lost” directed by J.C. Chandor and starring Robert Redford and executive produced and arranged financing for the Oscar winning hit “Dallas Buyers Club” directed by Jean-Marc Vallee, starring Matthew McConaughey, Jared Leto and Jennifer Garner.
29.04.2014 | Editor's blog