Why we need PMDs (Producers of Marketing and Distribution)

In my first guest column for ScreenDaily in November of last year, I introduced what I call the new 50/50. This idea is to convey to filmmakers that half of their work is making the film, half of their work is connecting the film to an audience.  

As a filmmaker, I know how difficult adopting these new tasks of marketing and distribution are. I also know how they can interfere with making new films – and there have been a fair amount of complaints lately from filmmakers about being responsible for doing this additional work. 

However, just like most filmmakers do not make their films on their own, they should not be distributing and marketing those films on their own. I would argue that from now on, every film needs one person devoted to the distribution and marketing of the film from inception, just as they have a line producer, assistant director, or editor. This person is part of your team from inception, not tacked on at the end of the process.

This is why last autumn, just before sending Think Outside the Box Office to print, I came up with the concept of the Producer of Marketing and Distribution or the PMD. I gave this crew position an official title of PMD because without an official position, this work will continue to not get done. I gave this position the title of producer because it is that important. (For someone learning the ropes, you can start them at coordinator then move them up to associate producer and so on).

Creating a crew position will cause people to seek jobs as a PMD, train to become a PMD, apprentice as a PMD just as people do this for any film crew position. (I’ve already received emails from people excited to become PMDs.) Without a title, it won’t happen. The creation of this crew position should spur schools and institutes to create curriculums in order to train people to fill this role and other people will write books about it (just as there are a plethora of books on how to be a line producer). 

I look forward to a near future in which filmmakers/directors will be able to put out calls for PMDs just as they do for DPs and editors – and that they will get an equal volume of applications. Directors will develop long term relationships with PMDs that “get them” just as they do with DPs, editors, and producers etc.

Responsibilities of the PMD include:

1.  Identify and engage with the audience for a film.

2.  Development of a distribution and marketing strategy and plan for a film in conjunction with the entire team.

3.  Create a budget for said plan.

4.  Assemble and supervise the necessary team/crew elements to carry out the plan.

5.  Audience outreach through organizations, blogs, social networking, online radio etc.

6.  Supervise the creation of promotional and (if necessary due to the lack of a separate transmedia coordinator) transmedia elements: including the film’s website script and concept for transmedia, production stills, video assets - both behind the scenes and trans media, promotional copy and art.

7.  Outreach to potential distribution and marketing partners such as sponsors, promotional partners, various distribution entities, publicists.

8.  When appropriate, engage the distribution process as designed.

9.  Supervise the creation of deliverables. 

I have created a number of educational activities to help recognize the creation of this position and help filmmakers take control of the distribution and marketing of their films.  The first was the book mentioned above which I feel is the first training manual for the PMD.  The second is a distribution and tools website www.ultimatefilmguides.com.

Finally, I am beginning a series of Think Outside the Box Office (TOTBO) Workshops throughout the world kicking off in London next week on May 8-9 followed by Amsterdam, New York, Vancouver, Los Angeles, Perth, Adelaide, Sydney, Melbourne, San Francisco and Boston. All of these resources should help define the position and the duties of the PMD and I encourage filmmakers to take advantage of these opportunities to learn and grow in their abilities and their craft.

Los Angeles-based Jon Reiss has made films including Bomb It, Better Living Through Circuitry, and Cleopatra’s Second Husband; his directorial work also includes commercials and music videos. He is a digital distribution expert and the author of Think Outside The Box Office.