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Eric Futterman2d ago
Festivals & Markets

I've enjoyed submitting, winning, placing and being accepted into quite a few film festivals. The biggest benefits come from feedback that has demonstrably enhanced my work. I'm grateful for that. I also like some of the prizes, especially screenwriting software like Final Draft. Unfortunately a lot of these festivals make the promise of valued networking with producers and directors who are looking for material. I have found, even in the festivals where I took the top price, that doesn't really materialize.  Interested in everyone's thoughts. 

Christopher Fink5d ago
Financing · Reply to “No Budget Movies - What are your favourite examples?”

Going back years, there was The Blair Witch Project which was one of the primal "found footage" films, shot on a shoestring but picked up funds to supplement it after a cut was circulated. Still, it was a microbudget. Of course there was Paranormal Activity shot as a microbudget that was a big hit and Paramount distributed it. But in terms of microbudget films I liked the most, Clerks is right up there. Christopher Nolan's debut film, "Following", was very good and had a budget of $6,000. Kind of a baragin for the career it launched for him. But in the modern day, it sure seems like horror and darker films are the genres that succeed best for microbudgets. They can use a central and unusual gimmick as the core to build tension and fear and often can just use single locations or minimal locations to tell the story. Technically, dramas could use the same single/minimal locations, cast, effects, etc. but they can't offer something different from bigger dramas where horror and darker films can find an edge or unusual approach to offer something different from more expensive films. Something to consider for folks deciding on a genre to shoot as a microbudget film, how can you offer something different from bigger-budget films?

Christopher Fink5d ago
Industry News & Discussion · Reply to “Doctor Who”

@sarah-rebecca-levy I think a majority of Doctor Who actors, or at least close to a majority, have been Scottish so it would certainly make sense. I think the lesson learned from the Disney and Gatwa misfires is that the success of the series is not bigger-budget effects or novel casting (if an actor won't commit to the role and to promote their own series, it's simply not the right actor to cast as The Doctor) but the enjoyable relationship between The Doctor and his companions and portraying The Doctor as a dedicated hero. The best episodes seem to be ones that put the characters in moral conflicts.  It just doesn't seem that complicated to follow what has worked for decades. Reinventing the wheel as a hexagon may be "new", but that won't make it work as well.

SR
Sarah Rebecca Levy6d ago
Industry News & Discussion · Reply to “Doctor Who”

I hope so too! I heard they’re looking into Scotland as a potential home location for filming, and I for one would love to see another on-screen Scottish Doctor! I have high hopes for the new season, especially since its engine allows for such a high cast and plot line turnover rate. 

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Alexia Melocchi

CEO · Producer · Entrepreneur

Alexia Melocchi is an award-winning producer, international distribution expert, author of three books, and member of the Producers Guild of America, with more than three decades of experience in the entertainment industry.
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Christopher Fink
Christopher Fink

President · Producer / Writer / Director

Christopher Fink is a WGA member who has written films and series projects for companies including Disney Studios and Paramount Pictures. His independently produced films currently stream on Amazon Prime, Roku, and Tubi.
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Mitchell Galin
Mitchell Galin

Producer · Writer

Award-winning producer of film, television and theater. Credits include Pet Sematary, Creepshow, and the miniseries Dune, The Stand and A Season in Purgatory, which earned nine Emmy Awards. The Road to Freedom: The Vernon Johns Story won a Christopher Award and two Monte Carlo awards, and his documentaries have won numerous faith-based awards.
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Amy Lanier
Amy Lanier

Producer · Consultant

Producer and consultant with deep connections across publishing, music, Broadway, film and television. Produced Cats and Starlight Express in Germany and Carrie on Broadway, and built the Literary Department at KMR Talent Agency.
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Chris Bialek
Chris Bialek

Distribution · Sales

President of EAC Distribution and consultant to worldwide motion picture and TV buyers, with a career in international distribution, financing and co-production. His slate includes Basic Instinct, Total Recall, Terminator 2 and Platoon.
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Debra Fink
Debra Fink

Marketing & Advertising Executive

Vice President, Entertainment & Special Projects at The Hollywood Reporter, driving revenue growth and strategic partnerships across print, digital, social and live events, and representing major media brands at film festivals and markets worldwide.
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Michel Vandewalle
Michel Vandewalle

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Senior media executive and producer with 40+ years across film, television, music and digital media. Co-founder of Eyes & Ears of Europe and European Film Academy member; juror for the International Emmy Awards and the Golden Nymph Awards in Monte Carlo.
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Alexandra Yacovlef
Alexandra Yacovlef

Entertainment Executive · Film Finance

Entrepreneur and entertainment executive with 30+ years in film finance, global distribution and production. One of the first European women to own a U.S. film distribution company; co-founder of Little Studio Films and author of Machiavelli Princess.
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Stephen Buchsbaum
Stephen Buchsbaum

Senior Entertainment Executive

Entertainment executive with 30+ years across production, post-production, film finance and distribution. Led The Post Group’s pioneering file-based pipelines for CSI and The Amazing Race, and founded Creative Edge, which built early web applications for the Los Angeles Dodgers and Staples Center.
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