1st Edition

How to Work the Film & TV Markets
A Guide for Content Creators





ISBN 9781138800656
Published July 31, 2017 by Routledge
296 Pages

USD $42.95

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Book Description

How to Work the Film & TV Markets takes independent filmmakers, television and digital content creators on a virtual tour of the entertainment industry’s trade shows — the circulatory system of the entire global media landscape. This book highlights the most significant annual events around the world, details a dossier of all the players that frequent them and examines all the elements that drive the market value and profitability of entertainment properties. In-the-trenches insights from our modern, real-world marketplace are contextualized into immediately implementable practical advice. Make the most of your finite investments of funds, time and creative energy to optimize your odds for success within the mainstream, business-to-business circuit but learn how to select, apply and scale prudent, proven principles to drive your own Do-It-Yourself/Direct-to-the-Consuming-Crowd fundraising, distribution and promotional success.

Heather Hale demystifies these markets, making them less intimidating, less confusing and less overwhelming. She shows you how to navigate these events, making them far more accessible, productive — and fun!

This creative guide offers:

  • An in-depth survey of the most significant film, TV and digital content trade shows around the world;
  • An overview of the co-production market circuit that offers financing and development support to independent producers;
  • An outline of the market-like festivals and key awards shows;
  • A breakdown of who’s who at all these events — and how to network with them;
  • Hot Tips on how to prepare for, execute and follow up on these prime opportunities;
  • Low-budget key art samples and game plans;
  • A social media speed tour with a wealth of audience engagement ideas.

Visit the book’s space on www.HeatherHale.com for additional resources and up-to-date information on all these events.

Table of Contents

Introduction

This Guidebook = Orientation + Compendium + Almanac + "How-To" Manual

Who this Book Is For

The Goal of this Book

 

PART I THE MARKETS

 

Chapter 1 What Is a Market?

Market Establishing Shot

     Exhibition Space

     Screenings

     Educational and Networking Opportunities

What’s the Difference Between a Market and a Festival?

     Confusion Abounds

     Festivals Versus Markets

    Should You Go to Either? Both? Why?

Aren’t Film and Television Totally Different Industries?

You Might Be an Independent If . . .

 

PART II THE GLOBAL FILM INDUSTRY

 

Chapter 2 To Hollywood, Bollywood, Nollywood — and Beyond!

Hollywood

Bollywood

Nollywood

Hollywood’s Oligopoly

     The Big Six

     The Mini Majors

Fierce Film Competition

 

Chapter 3 The Players on the Film Market Stage

Film Distributors

International (Film) Sales Agents (ISAs)

Aggregators

Producer’s Representatives

Collection Agents

Exhibitors

Market Makers

 

THE FILM MARKETS

 

Chapter 4 Le Marché du Film (The Cannes Film Market)

International Profile

The Producers Workshop

The Producers Network

"Goes to Cannes" Works in Progress Screenings

Cannes Investors Club

The Village International

NEXT Pavilion

Marché Mixers

Doc Corner

Cinando

 

Chapter 5 The European Film Market (EFM)

Venues

     Potsdamer Platz

First Timers

EFM Industry Debates

EFM Drama Series Days

American Independents in Berlin

Creative Europe Media (Media-stands.eu)

EFM Asia

LOLA at Berlinale

EFM Startups

Meet the Docs

Meet the Festivals

 

Chapter 6 The American Film Market (AFM)

AFM Conference Series

     Roundtables

MyAFM

Exhibitors

The Film Catalogue

Buyers

The Independent Film & Television Alliance® (IFTA)

Don’t Be a Lobby Lizard

 

Chapter 7 Regional Film Markets

Hong Kong FILMART

     Hong Kong-Asia Film Financing Forum

     Business of IP (BIP) Zone

     Expo Hong Kong

Asian Film Market

     Korean Blockbusters

Tokyo International Film Festival Content

Market (TIFFCOM)

Ventana Sur

London Screenings

 

PART III THE WORLDWIDE TELEVISION AND DIGITAL MEDIA BUSINESS

 

Chapter 8 Mise en Scène

The UK and the US

Germany

The BRIC Block

     Brazil

     Russia

     India

     China

Turkey

Africa

 

Chapter 9 The Studio Scene: LA Screenings, the Upfronts (and NewFronts)

The LA Screenings

The Upfronts

The NewFronts

Staggering Odds of Scripted TV

 

Chapter 10 The Players on the TV Market Stage

Distributors

     Broadcast Networks

     Cable Networks

     Satellite TV

     Telcos and ISPs

     Over the Top Television (OTT)/Internet Networks

Syndicators

     The Coveted 100th Episode

     Strip Shows

     Deficit Financing

    Time Buy or Barter Syndication (Client Supplied Programming)

     Station Groups

Aggregators

Exhibitors

Market Makers

 

THE TV MARKETS

 

Chapter 11 The MIP Markets

The MIPs

Back at the Palais

Access to it all via MyMIP and Mobile Apps

MIPTV

     Welcome to the Club(s)!

     MIPDigital Fronts

     MIPFormats

     MIPDoc

MIPCOM

     MIPJunior

MIPCancun (the Latam TV Buyers Summit)

Asia TV Forum & Market (ATF)

 

Chapter 12 National Association of Television Program Executives (NATPE)

Professional Pitch Opportunities

     First Show of the Year

     NAPTE Hotels

Live Stream Virtual NATPE

Content Without Borders: NATPE Europe

Awards

 

Chapter 13 Realscreen

Realscreen Summit

     Luncheon Roundtables

     Meet a Mentor

     Meet an Expert

     Speed Pitching: Now You’re Talking — FAST!

     30 Minutes With . . .

     Master Classes

    Summit Showdown Pitching Contest

     Awards

Realscreen West

Realscreen London

Realscreen Magazine

RealXchange

Kidscreen Summit

BCON Expo

Stream Market

 

Chapter 14 Regional TV and Serialized Video Content Markets

Bogota Audiovisual Market (BAM)

DISCOPs 115

     DISCOP Africa

     DISCOP Abidjan

     DISCOP Johannesburg

     DISCOP Istanbul

     DISCOP Dubai

Hong Kong FILMART

MYCONTENT

TIFFCOM

World Content Market

 

PART IV CO-PRODUCTION MARKETS

 

Chapter 15 CineMart (IFF Rotterdam Co-Production Market)

Rotterdam Lab

 

Chapter 16 Berlinale Co-Production Market

Berlinale Co-Production Market Producer’s Lounge

Berlinale Directors

Rotterdam-Berlinale Express

CoPro Series (Drama Days)

Books at Berlinale

World Cinema Fund

Countries in Focus

 

Chapter 17 Other Major Co-Production Markets

Asian Project Market

Beijing Film Market

Boat Meeting

CPH:FORUM

CineLink Co-Production Market

DISCOPRO

Europe–Latin America Co-Production Forum

Frontières International Co-Production Market

Holland Film Meeting Co-Production Platform

IFP No Borders International Co-Production Market

IDFA Forum (Docs for Sale/IDF Amsterdam)

Moscow Business Square

Paris Co-Production Village

Arc 1950 Coproduction Village

Sofia Meetings and Balkan Screenings

TorinoFilmLab

 

PART V BEFORE: PREPARATION

 

Chapter 18 Start with the End in Mind

Why Are You Going?

What Can You Realistically Accomplish at This Market?

     But What If I’m Not Really Ready Yet?

 

Chapter 19 Know Your Product

High Concept

Format, Genre and Subgenre

     Sitcoms, One-Hour Dramas and Dramedies

     Scripted Serial Renaissance

     Reality Formats

          Protect Your Reality Format

 

Chapter 20 Know Your Target Audience(s)

But my film/TV show is for everyone . . .

Demographics

Four-Quadrant Film

Psychographics

Binge Watching and Time Shifting

 

Chapter 21 Polish Your Pitch and Marketing Materials

Great Title

Terrific Logline

Additive Tagline

Succinct Synopsis

Excellent Script

     Should I Bring Scripts to the Market?

    "Send the Script" Edutainment Story: The Courage to Love

 

Chapter 22 Develop Key Art

Key Art Versus Concept Art

Placeholder Key Art

Low-Budget Key Art Strategies

Teasers vs. Payoffs

Key Art Before Actors Are Attached

Raw Assets

Key Art Comps

Focus Groups and Gender Preferences

Good, Fast, Cheap: Pick Two

Facebook and Twitter Banners and Avatars

One Sheets

Market Catalog

Video

     Trailers

     Screeners

     Sizzle Reels

     Talent Reels

     Presentation Tape/Completed Scenes

     Proof of Concept Pilot

     Rip-O-Matics

     Animatics

Vision Statement

Awesome Verbal Pitch

     Share Your Passion

     Pitch Perfect: Water Cooler 101

 

Chapter 23 What Goes Into a Pitch Package?

Cast Wish Lists

Bios

Executive Summary

Let’s Talk about Comps, Man

     Analyze Your Comps

Schedule

Budget

     Production Budget has Zero Correlation to Box Office     

Prints and Advertising

    Think Outside the Schedule and Budget Box

Sales Estimates

Pre-Sales

Waterfalls

Production Budget has No Correlation to Box Office

TV Cash Flow Analysis

The Do’s and Don’ts of Reality Show Pitch Proposals

 

Chapter 24 Gearing Up For Each Event

Research the Event

Who Are You Looking to Meet?

Research Your Prospects

Research the Other Attendees

Create Your Hit List

Start Doing Research

Study Each Company’s Website

The Right Titles for Your Hit List

Finding the Right Sales Agent for Your Project

Sort, Rank, and Order Your List

Plan and Prioritize Your Market Goals and Schedule in Advance

Badge Buying Advice

Business Cards

 

PART VI DURING: AT THE MARKET

 

Chapter 25 Prudent Market Scheduling and Logistics

Review Your Hit List

Pay Attention to Badge Clues

     Don’t Ignore Your Own Badge . . .

Ice-Breaking Wardrobe

Ice-Breaking Props

Market First Timers: Don’t Be Nervous

 

Chapter 26 Taking Meetings at the Market

Respect the Exhibitor’s Space and Time 236

Befriend the Gatekeepers

Establish Your Credibility

Define the Purpose of Each Meeting

Negotiating

     A Word of Caution: Bifurcating the Rights

     A Word of Caution: Check Those Definitions!

What to Leave Behind (If Anything)

Always Have an Answer For: "What Else Have You Got?"

Post-Meeting Housekeeping

 

PART VII AFTER: FOLLOW-UP

 

Chapter 27 Gauging Success

Deal or No Deal?

Year-Round Networking

 

PART VIII IMPORTANT ANNUAL ANCILLARY EVENTS

 

Chapter 28 Top Ten Market-Like Film Festivals

Festival de Cannes

     Opportunities

Toronto International Film Festival

     Opportunities

     Market-Like Elements

     Support for Canadian Films

Sundance Film Festival

     Opportunities

Sundance Institute Labs

Venice Film Festival

Berlinale (Berlin International Film Festival)

     Berlinale Talents Market Hub

SXSW (South by Southwest)

Tribeca Film Festival

International Film Festival Rotterdam

Sofia International Film Festival

Palm Springs International Film Festival

     Palm Springs Shortfest and Market

 

Chapter 29 Globally Significant, Pedigree-Building Film Festivals

AFI FEST

Austin International Film Festival

BANFF

Beijing International Film Festival

Buenos Aires International Independent Film Festival (BAFICI)

Busan International Film Festival

Champs-Élysées Film Festival Industry Days

Hong Kong International Film Festival

Les Arcs European Film Festival

Los Angeles Film Festival

Munich Film Festival

New York Film Festival

Raindance

San Sebastian Film Festival

Singapore International Film Festival (SGIFF)

Telluride Film Festival (Colorado, USA)

Tokyo International Film Festival

 

Chapter 30 Television Festivals

ATX Television Festival

Banff World Media Festival

Celtic Media Festival

Edinburgh International Television Festival

FESPACO (The Festival PanAfricain du Cinéma et de la television de Ouagadougou)

Festival International de Programmes Audiovisuels

FesTVal Spain

ITVFest (Independent Television Festival)

Monte-Carlo Television Festival

New York Television Festival

SCAD’s aTVFest

SeriesFest

VerCiência Brazil

 

Chapter 31 International Documentary Festivals

Hot Docs

International Documentary Festival Amsterdam

Sunny Side of the Doc

     Asian Side

     Latin Side

 

Chapter 32 Awards Shows

Key Film Awards

     The Oscars (Academy Awards)

     Film Independent’s Spirit Awards

     German Film Awards (the Lola; Deutscher Filmpreis)

     Asian Film Awards

     Hong Kong Film Awards

     Spanish Film Awards (the Goya; Los Premios Goya)

     The MTV Movie Awards

Key Television Awards

     The Emmys

     NATPE’s Reality Breakthrough Awards

          The Brandon Tartikoff Legacy Awards

    Realscreen Awards

Both Film and TV Awards Shows

     British Academy Film and Television Awards (BAFTAs)

     The Britannia Awards

     Golden Globes

     The People’s Choice Awards

     TV Land Awards

     Streamy Awards

     Razzies

     EGOT

 

Chapter 33 Overlapping Industries’ Events

Consumer Electronics Show (CES)

CinemaCon (formerly ShoWest)

NAB

PromaxBDA Conference

US–China Film Summit

The World Animation and VFX Summit

Midem

Internet and Television Expo (INTX, formerly The Cable Show)

 

Chapter 34 Significant Consumer Events

Comic-Con International: San Diego

Entertainment Expo Hong Kong

 

Chapter 35 Denouement

Index

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Author(s)

Biography

Heather Hale is a film and TV director, producer and screenwriter of original programming, including the indie comedy Rolling Romance (2018), the thriller Absolute Killers (2011), the Lifetime Original Movie The Courage to Love (2000), as well as several award-winning syndicated series and two Emmy-winning PBS series. She was the Independent Film and Television Alliance’s Industry Liaison for the 2013 American Film Market as well as the Vice President of Event Programming for the National Association of Television Program Executives, where she helped design and launch the TV Producers' Boot Camp. She often serves as NATPE’s official pitch prep consultant, preparing producers to pitch to financiers and distribution executives. Heather speaks and consults around the world, customizing retreats and workshops and is always writing, producing, directing and raising funds for film and television projects.

Stay up-to-date with Heather and Heather Hale Productions at www.HeatherHale.com

Reviews

"For years, I've watched producers and other film creatives spend countless dollars to attend markets such as AFM, Cannes and MIPCOM only to leave discouraged. Simply put, they didn't plan ahead and understand how to work the markets. No one knows this area better than Heather Hale. With How to Work the Film & TV Markets, Heather not only provides content creators a wealth of information designed to help remove the intimidation factor and anxiety inherent in attending a market, but also provides a clear path toward maximizing your precious time and, by virtue, increasing your odds of success. This is essential reading for anyone looking to drum up interest in their projects. Not to be missed."

—Richard "RB" Botto, Actor, Producer, Screenwriter; Founder and CEO of Stage 32; Author of Crowdsourcing for Filmmakers: Indie Film and the Power of the Crowd

"Years of visiting the film and TV markets provide a certain level of knowledge of this complex, global dance of finance, development, networking, co-productions, and the like. With Heather Hales’ go-to guide in hand, the complexity of the annual cycle of these crucial markets is remarkably clear and easy. Hales’ extensive knowledge and insider tips will guide you to a whole new experience of attending such markets, saving time, money and embarrassment. It’s simply superb with constantly-updated key info and tips – worth every penny, and my planned gift to industry friends."

—Gabrielle Kelly, Screenwriter, Producer, AFI Screenwriting Faculty

"Heather Hale has a keen prospective on the workings on in the film and television marketplace. A must-read for anyone that has a project and needs to know how to maneuver through the challenging aspects of sales and distribution."

—Valerie McCaffrey Producer, Casting Director