Harvey Weinstein on Promoting a Movie: Be A Performer! (Via No Film School)

So this is most likely going to be a week of link spamming and short commentary while I write new material for my standup sets. Sorry not sorry.

This article from No Film School got me thinking a little bit about how we promote ourselves. Scottish people have a tendency for being pretty much unable to sell themselves. Which is a shame cause we have a lot to offer, culturally speaking.

I’ve seen loads of comedy and music nights that fail to draw any sort of attention just on the grounds that they can’t excite their audience. I myself gave up my job in door to door sales on the grounds that I just couldn’t excite my prospective customers into buying in – not into the product, but buying into me. But how do you excite a complete stranger into buying in to your baby?

Well, if you’re Harvey Weinstein, you treat yourself like a performer:

Speak in short one sentence answers and don’t go on with all the legalese.  Talk about the movie as a movie and the effect it will have on the audience from an emotional point of view.

If you continue to be boring, I will hire an actor in New York to pretend that he’s Errol Morris.  If you have any casting suggestions, I’d appreciate that.

Keep it short and keep selling it, because that’s what’s going to work for you, your career and the film.

Lets get a discussion going. Where do your problems lie in promoting your work or yourself? Chat amongst yourselves in the comments!

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Danny Boyle’s 15 Golden Rules of Filmmaking (Via MovieMaker Magazine)

I was recently linked to this article in MovieMaker (via the No Film School guys) about Danny Boyle’s 15 Golden Rules of Filmmaking. I’ve never been his biggest fan – Slumdog was alright, Trainspotting was terrific, don’t get me started on Sunshine – but his constant adherence to his own style and his own methods are something I can respect in a filmmaker.

This article contains some of his hard and fast rules of the trade, but one particular maxim that caught my eye was the idea of film happening “in the moment”…

What’s extraordinary about film is that you make it on the day, and then it’s like that forever more. On that day, the actor may have broken up with his wife the night before, so he’s inevitably going to read a scene differently. He’s going to be a different person.
I come from theater, which is live and changes every night. I thought film was going to be the opposite of that, but it’s not. It changes every time you watch it: Different audiences, different places, different moods that you’re in. The thing is logically fixed, but it still changes all the time. You have to get your head around that.

Any budding directors out there want to share their own rules for making movies? Leave them in the comments!