Please Write A Review of Road Dog on Amazon

For those of you that have already purchased your copy of Road Dog I would really appreciate it if you could go to my Amazon page and write a nice review. Just click Here and you will be magically transported to my Amazon page.

If you haven’t your bought a copy of Road Dog yet please check out my trailer.

Road Dog Book Trailer from The Angry Filmmaker on Vimeo.

I want to thank Martin Vavra @ Galaxy Sailor Productions for making this Trailer for me.

Hell yes, I want to my copy of Road Dog Right Now!

It’s only $17.95 + $3 shipping and handling (U.S. Only)

Add to Cart

If you live outside the U.S. please contact me at botherme@angryfilmmaker.com and I can get you a quote on what it would cost to send you a book.

Thank you all very much for your support.

Road Dog Book Signing and Reading March 7th

On March 7, 2017 at 7:00 pm I’m reading from Road Dog and signing books at O’Connor’s 7850 SW Capitol Hwy, Portland, 97219.

Don Campbell and Whit Draper from the Sportin Lifer’s will be on bass and guitar respectively playing along as I read. This could get crazy!

Here’s a .pdf of the poster for your collection…

RoadDog poster

But what if you can’t make it and you don’t have a copy of my book? I can fix that all you have to say is…

Hell yes, I want to my copy of Road Dog Right Now!

It’s only $17.95 + $3 shipping and handling (U.S. Only)

Add to Cart

If you live outside the U.S. please contact me at botherme@angryfilmmaker.com and I can get you a quote on what it would cost to send you a book.

Thank you all very much for your support.

The Fourth Proof of Road Dog is a Winner!

I just inspected the 4th Proof of my book Road Dog and it looks good. Finally. It’s been a long road.

I have just placed the first order for books and they will arrive sometime the week of Feb 13th. As soon as I receive them I’ll sign ’em and send out the copies that have been pre-ordered so there’s still time to get your order in.

Hell yes, I want to Pre-Order my copy of Road Dog Right Now!

It’s only $17.95 + $3 shipping and handling

Add to Cart

Check out our Road Dog trailer courtesy of Martin Vavra and Galaxy Sailor Productions

Thank you all very much for your support.

You Can Still Pre-Order Road Dog

“Coming from a man branded as “Angry,” Road Dog is full of joy and love. What a trip! I was there (in parts), and I much prefer Kelley’s memory to my own. I love this book!” – Daniel Boyd, author/filmmaker, Chillers, Carbon, Salt.

 

Hell yes, I want to Pre-Order my copy of Road Dog Right Now!

It’s only $17.95 + $3 shipping and handling

Add to Cart

Road Dog

rd_front_cover_cmyk-for-web

“When Moses and I hit the road, it was scary, demanding and a shit ton of fun. Fierce storms, terrifying fog, icy roads, uncontrollable laughter, and oftentimes far too much alcohol. Without that big old dog I’m not sure how I would’ve survived.” – Kelley Baker

Road Dog Promo from The Angry Filmmaker on Vimeo.

Pre-order Road Dog right now for $17.95 + $3 shipping and handling

Add to Cart

(If you’d like to read a chapter from Road Dog check out When I Fight Authority)

With no distributor interested in his independent films, Kelley Baker, the Angry Filmmaker, ripped a page out of the punk rock handbook and went looking for his audience in a used minivan with his faithful 120 pound Chocolate Lab, Moses. Every fall and spring they traveled the country showing his films at art house theaters, film festivals, colleges, and biker bars. Continue reading “Road Dog”

The Seven Deadly Sins of Filmmaking #8 Podcast

 

If it’s Monday then this must be Podcast #8.

Yes, I took some time off, it’s summer but I’m back and I’ll be posting the next few each week and we’ll see where we end up. So anyway…

Once again I will recap how these Podcasts came about for those who haven’t heard or can’t read…

A couple years ago after watching hundreds of students films and films by new filmmakers, William Akers (Author of Your Screenplay Sucks!) sat down and wrote out The Seven Deadly Sins of Filmmaking for his students. His goal was to put a laminated list of these sins in to every camera bag at school so when students went out on their shoots they would have one more reminder of things not to do.

He passed his list around to some of his friends and other Independent Filmmakers in the film business for input and we added more until the list swelled to eighteen.

On one of my frequent trips to Nashville over a glass of wine or four, William decided we should record a group of Podcasts.

William continues to call it The Seven Deadly Sins of Filmmaking (even though there are eighteen) because it has such a classical sound to it.

For the next couple months I’m going to re-post these, one every week, so come back and listen. And if you can’t stand the suspense and want to listen to them all at once, you’ll find them all here on my website under the menu button that says, PODCASTS.

I’m sure you have other Filmmaking Sins that are not included in our list but we think this is a pretty good place to start. So gather round filmmakers and take a listen. This shit is more entertaining than sitting in a classroom.

This weeks edition is called “Never Cast People Who Are The Wrong Age”

What the Hell does this mean? Really? You have no idea?

Re-write for the character. If you can’t get the right person to play a part you’ve written, then re-write the part. Always pick the best Actor!  But wait there’s more.  And for that…   Listen to the damn podcast!

We’ll be getting in to production stuff, yeah actual filmmaking, coming up in later podcasts.

The 7 Deadly Sins of Filmmaking # Eight – Never Cast People Who Are The Wrong Age

 

Go ahead, click on it. Don’t be afraid. It’s just some good old filmmaking advice from your favorite Angry Filmmaker.

And don’t forget to share and/or like me on Facebook.

Check in later this week for articles links and more film related stuff.

Five Links to Articles That Real Filmmakers Need to Read

 

If you’re a Poser or think you know all of this shit cause you’ve watched a bunch of DVD extras then don’t fucking bother. If you actually want to learn something then check these articles out.

Eight Legal Tips for Documentary Filmmakers

http://www.indiewire.com/article/8-legal-tips-for-documentary-filmmakers-20150709

 

Attention Documentary Filmmakers: Four Things to Understand About Fair Use

http://www.indiewire.com/article/attention-documentary-filmmakers-4-things-to-understand-about-fair-use-20150402

4 Tactics For Talking To Your Audience When You Run Out Of Things To Say

http://www.seedandspark.com/content/4-tactics-talking-your-audience-when-you-run-out-things-say?utm_source=newsletter&utm_medium=email&utm_campaign=20150701

FanDependent Films – A New Distribution tool?

http://fandependent.tumblr.com/

More John Cassavetes work –

http://www.cinephiliabeyond.org/john-cassavetes-the-man-and-his-work/

A special thanks to Indiewire, Seed & Spark, Fandependent, The Film Collaborative, Sherry Candler, and John Rangel for turning me on to these articles.

You can thank me later. And keep coming back to my website and checking out the blog. You never know what you might learn here…

Sheri Candler Interview 12-12-10

Sheri Candler of Sheri Candler Marketing & Publicity. Interview 12-12-10

Sheri Candler and I started talking about a year ago. She had seen one of my posts and contacted me. Over the months we spoke often, became friends and finally got to physically meet at the Flyway Film Festival on my last tour.  I think she has a lot of good things to say about marketing and distribution.  Who is Sheri Candler?

Sheri Candler is an inbound marketing strategist who helps independent filmmakers build identities for themselves and their films.  Through the use of online tools such as social networking, podcasts, blogs, online media publications and radio, she assists filmmakers in building an engaged and robust online community for their work.

Sheri was involved with promoting 2009 NFB Cannes Short Film Corner winner “Sebastian’s Voodoo”; “Butterflies,” one of the first films to utilize the YouTube rental program; 2010 Slamdance official selection “YELLOWBRICKROAD;” and the feature documentary “Ride The Divide” which utilized a unique hybrid distribution strategy partnering with LiveStrong and mountain biking organizations.

She collaborates with Jon Reiss, author of “Think Outside the Box Office,” and participates in his TOTBO workshop series by teaching filmmakers about utilizing social media and building personal brands; she consults with non profit film distribution, marketing & filmmaker education organization The Film Collaborative; she writes articles for Microfilmmaker Magazine covering the issues of marketing and distribution for microbudget films; and she is a featured expert in the new “Guerilla Filmmakers Pocketbook” by Chris Jones, Genevieve Jolliffe & Andrew Zinnes.

She can be found online at www.shericandler.com, on Twitter @shericandler and on Facebook Sheri Candler Marketing and Publicity.

And now Part One of my interview…

KB: How did you get in to the crazy business?

SC: I graduated from the University of Alabama with a Bachelor’s in Broadcasting and Film so I had taken film, radio and TV production courses. After seeing that my talents didn’t lie in filmmaking, I chose the broadcast track and went to work after college in TV and radio working at various stations including a stint at Radio 7 Moscow, Russia as the morning and evening drive time English news announcer.

While I had studied marketing as part of the curriculum in school, I wasn’t that enthusiastic about it until I moved to Vladivostok Russia with my husband where he was in charge of developing a cellular telephone company from the ground up and they needed someone with Western marketing training. So out came the textbooks and I set about making the marketing plans and hiring Russian personnel to help get a marketing department up and running. I found that I actually enjoyed the work, much more so than media production and spent a lot of time researching, studying and experimenting on making the company successful. It was B2C work. It turned out to be the best performing of all the Russian cellular entities in the company and from there we moved to the corporate headquarters in London.

There wasn’t any work for me in the corporate office, so I took a job that incorporated my knowledge of broadcasting and marketing and started working as the Marketing Manager of a Japanese broadcast equipment manufacturer. My territory was the Middle East, Africa and Europe dealing with the dealerships in each country. So B2B work.

We moved back to the States and I started working with a local film festival as the marketing and sponsorship manager and this is where I started meeting filmmakers again. It was 2008 and the time when distribution started getting harder to obtain but the means to reaching people directly using social media and online tools were far easier than in the past. I started thinking that rather than despair at all the job rejections I was getting at distributors and studios, maybe I should just work directly with filmmakers and that is what I have been doing.

KB: I am an Independent Filmmaker and I am going to get my film in to Sundance, why do I need someone like you?

SC: HA! My first question would be what makes you think so? With over 10,000 entries this year, what connections do you have, what stars do you have, what labs have you participated in that would make you think you’ll get in? Not to mention a superior film. But, I’m game, so you did get in.

I see my role as marketing a film, with publicity as only one tool in the mix. I want to help you break down who your audience is, specifically not generally, and figure out how to reach them best. Most filmmakers going to Sundance have not done this. They STILL think they will just hire a sales agent who will bring them distribution deals with no thought about who the audience is or building up a following. Doing that work all along in production will only HELP you in getting your film sold to a distributor if that is what you want or having leverage to get a good hybrid deal where you sell to the audience you have built up and they sell to the audience you can’t easily reach. I’m all about retaining as much control over your work as you can. I am not at all about signing over all rights to one entity.

I think you should use a traditional publicist who is very connected with major media to get you and your film in the spotlight. But you had better have some cash stashed to pay that person because those connections come from years of work and they aren’t cheap. At a place like Sundance, those connections can really make a difference. I’ll freely admit that I don’t have those connections yet, but I can certainly work with that person to get marketplace attention from all sides.

Most traditional publicity firms are not focused on affinity press (bloggers, grassroots outreach, data mining for influencers and cultivating those relationships for a film, using social media the most effectively i.e. NOT as an advertising mechanism), but that is where I focus and having as much time in advance of a launch is key to being successful because working up those relationships and keeping them interested takes time. Hopefully you are starting well in advance of your acceptance.

KB If I am looking for someone to do Marketing & Publicity for my film, what should I look for?

SC: My friend Jon Reiss has coined the term the PMD, the Producer of Marketing and Distribution. That is the person on your team responsible for this work, and ONLY this work, while you are in preproduction, production, post production and distribution. There really aren’t many people experienced in all the facets of this work yet. Some come from a publicity background, some from sales, some from advertising, some are filmmakers who are more interested in marketing than making films.

I think you need to look for a combination of skills, enthusiasm and willingness to learn on the job. There are some skills necessary to starting the job though:

-A big picture thinker, but can handle getting the details taken care of. If the production has money allocated to put together a small crew, the PMD would be the person to hire specialists like graphic designers, web designers, publicists with connections etc. People who are highly trained in one area. If the production can’t afford all that, then the PMD will be doing a lot of learning and beg/borrowing.

-Marketing training is pretty essential. Distribution in some fashion is not that difficult to figure out, it is the marketing and attention getting for a project that determines its ultimate success. A good strategy and implementation of the strategy is key.

-Great writing skills. There is a load of writing to this job. Blog posts, articles, press releases, pitch letters, synopsis, advertising copy, newsletters, eblasts, introductory emails, festival submissions applications, just tons of writing so ask for a writing sample.

-Online research skills. When paring down your audience to a granular degree, this person needs to be able to find out where those people can best be reached. It may not even be online, but you can still find that out using the internet.

-Great communication skills. Someone who is comfortable talking to people both online and offline. The person you work with in this role will be the face of your project. They are speaking in the name of the film in every piece of communication. You want to be able to trust them in front of your potential audience and with your career. This is why I say not to leave this job to interns who rotate in and out and are a little young and immature. The impression that this person makes in representing your film to the public needs to be professional.

-Great listening skills. Not only will this person be talking to audience, they will also be using tools to listen to what people are saying, what they care about, what is happening in the world that your film might be positioned with.

They will also be forming relationships with influencers, organizations, publications, bloggers, festivals, and screening venues. This has to be done with tact and a real attitude of friendship. If this person is constantly shilling or coercing with no thought to what your production can do for these people, the response will not be as you hoped.

-Knowledge of online tools. Without huge budgets for media spend, you will be relying on using social networking to spread the word on your film which are free, but slow. You should be looking for someone who demonstrates they know how to use social networking. I don’t mean they have a lot of “friends” and “followers” but they actively use it every day in engaging ways. What you are trying to do with social networking is build a network or expand the one you already have, so take a look at how they have built their own and how they speak to them online.

Don’t underestimate the enthusiasm factor though. Even if a person has a lot to learn, they MUST be as passionate about your production as you are. This is a very long and hard slog and someone who is only there because of a paycheck or until a better offer comes along is not going to do the best job for you. I would take passion and a willingness to learn over highly trained and couldn’t care less about what they are marketing.

Check back for part two of this interview.

She can be found online at www.shericandler.com, on Twitter @shericandler and on Facebook Sheri Candler Marketing and Publicity.