Film Selection

After my last post,  Adam asked if I might explain the film selection process in more depth, so here goes...  This is my process, and is probably different to the way other film programmers go about it, so don't take this as being the only way.


The films that play in cinemas are supplied by film distributors.  These are the people who hold the rights to the titles and decide where each film will play and on what terms.  Many of the major distributors are affiliated with a studio (Fox, Paramount, Sony) and will handle the films produced by that studio.  I do deal with the majors, but because mine is a niche cinema, I tend to deal more often and more successfully with smaller distributors.


The distributor makes an offer of a title and outlines the terms.  Terms include what percentage of the box office takings the cinema pays to the distributor in exchange for the right to screen the film.  For a big blockbuster title, this can be 55% or more in the first week.  The percentage goes down the more weeks you play a film.  A big part of my job involves negotiating the terms.


The terms will also include the number of sessions per day the film is expected to be given, and the length of the run.  It's always a challenge when you're sent terms that include a 4 week run of 2+2 (2 daytime sessions, 2 evening) because basically you're committing to dedicating one screen entirely to one film for 4 weeks.  This is particularly hard if the film does not perform well in its opening weeks because you really don't want a film that's making no money taking up screen space when there are other titles getting minimal sessions that could be making more.


As to how I actually choose the films, well, I watch them.  Not every single film I program of course - I wouldn't have time to eat - but the majority of them.  Some I watch in the cinema on film, others I watch on my computer on DVD.  I watch them to see if they are enjoyable.  I watch them to see if there is some specific market or interest group that could be targeted.  I watch to see if there will be an audience for it.


I have very diverse taste, personally, but I know I am more drawn to dark, complex human stories, so I have to temper my own reaction to films that are outside my own taste.  Generally, I know if I loathe a film, it will do well; if I love it, it probably has an audience of 3.  But I recognize that, and will program the films I hate, and might turn down a film I love (although I really hate doing that).


Often I see films that would work in my cinema, but I can't get the distributor to give it to me.  There is a lot of competition, and for smaller titles, playing 7 cinemas in the local area just means no one makes any money.  


I hope that answers your question, Adam.  Is there anything else you'd like to know?  Anything anyone wants to know?

What do I do?

A while ago I asked you, my lovely blog readers, what you'd be interested in hearing about and Adam wanted to know more about my job as a cinema manager.  It's a big job, and I could probably write numerous posts about the various facets of it, but I'll give you a brief overview for now.  If anyone has anything they particularly want to know about, I can dedicate a special post to that...

My actual title is Cinema Operations Manager, which basically means I'm in charge of everything.  The cinema I run is part of a small chain, but each location is different so we can't run like a traditional chain in that respect.  Mine is a niche cinema.  We run 8-9 film festivals per year and will host up to four or five events per week.   These can be anything from fundraiser screenings to live music events or conferences.  This week's bookings include live music from Ireland, a schools' Shakespeare festival, the beginning of the gay and lesbian film festival and a three day conference for an environmental organization.

And that's on top of running a diverse film programme.  Wonder why I never have time to write???

I choose the films that play here, and while that may sound glamorous, it's not really.  It's hard work and there is almost as much disappointment involved as there is with querying a novel.  Every time I approach a distributor about a title I'd like to play, I risk rejection.

I have a fantastic team working for me, but they are all (with the exception of my two projectionists) casuals who have lives outside the business.  This can make rosters difficult at times, but we scrape by.  Whenever I find I'm struggling to fill shifts, I hire new people.  At peak times I can get 60 resumes a week, so there is never a shortage of people wanting to work here.

So there is film programing and staff management involved.

We also have a bar which we often rent out for parties and other functions separately from the theaters.  And of course, the bar and candy bar side of the business involve stock control and ordering.  And then there's the reporting.  And serving people.  And cleaning theaters.  Painting.  Maintenance work.  Newspaper advertising and other promotional activities.  Publicity and marketing is a huge part of my job, and one which I struggle to find enough time for.  I write weekly newsletters for a mailing list of over 2500 people and keep the website updated along with Twitter and Facebook for the cinema (although I do have a guy who helps with this).

Phew!  I'm tired just looking at all that.  And I feel like it only scratches the surface of what I actually do...  Is there anything you'd like to know more about?

Time and finding more of it

I'm getting frustrated.  I want to write.  I want to write a lot.  I need to write a lot.  But there are not enough hours in the day or the week to get as much done as I want to get done.

The last three or four weeks, I've had to work both Saturday and Sunday which has cut into my writing time a bit.  This week I have to work Thursday night and go to a screening on Wednesday morning.  Wednesdays are the one day I can count on getting a lot of writing done because I don't work and my younger son is at daycare while my older one is at school.  I can usually guarantee myself at least 3 hours of uninterrupted writing time.  But not this week.

And not next week either because I will have to take son #2 to a school visit.

So I'm pretty much limited to mornings (before 7am) and evenings (apart from the 3 I work) for the next couple of weeks.  And that just isn't enough.  This story is demanding to be written.  It wants to be poured out onto the page.  I'm afraid if I don't purge it, it'll get lost somewhere, or stagnate.

How do I find more writing time?  As it is I survive on about 5 hours a night sleep.  I don't think I can cut that down any lower without losing my mind.  But then, if I don't write this story, I'll probably lose my mind too.  There are many out there who will say I already have...

How do you find enough time to write?  What else could I sacrifice to get myself a little more?

Obsession

I have a long history of obsession going back to childhood.  In fact, it's unusual for me not to be in the throes of one obsession or another.  Sometimes it's a book I'm obsessed with, or an actor, or musician, or film.  Sometimes it's even an idea.

At the moment my obsessions are all about the new book I'm writing.  The external things I'm obsessed with (a specific album by one incredible guitarist) are tied up with the story I'm writing, which I'm also very much obsessed by.  It's interesting, because the two things are feeding each other in a way I've never experienced before.

Perhaps this is why this particular book feels like it's writing itself.  All the stars are aligned right, at least for this first half of the book.  I'm a little afraid to dive into the second, because the things that obsess the characters in that part of the story are not things I want to become obsessed with.  Been there.  Done that. Got the scars to prove it.

But a little darkness never hurt anyone, right?  I have to plunge forward, allow things to get messy and dangerous for my young lovers.  It's all part of getting to that happy ending.  Or in this case, bittersweet ending.

Do you get obsessed by things while you're writing?  Do you fill your writing space with photographs and trinkets that represent your themes and characters?  Am I verging on insanity because I do?

A question about sex

As you know, I'm working on a new book.  It's going very well and I'm really loving writing it.  But I'm a little concerned about the pacing and timing of events.  So I thought I might just ask all of you for your opinion on a pretty serious plot point in the book: the first time my MCs have sex.

It's YA.  She's 17; he's 19.  She's a virgin; he's not.  They don't fall in love at first sight exactly, but there is a definite attraction from the first time they meet.  If they have sex 3 weeks after they first meet, is it too soon?  There are mitigating circumstances, but in general, do you think that's too quick?

The general feeling I've gotten from friends and associates is that it's not, but I want to be sure before I commit to keeping that scene where it is.

I'd love to hear your opinions and reasons why it may or may not work, so let me know.  Thanks!

Always a critic

It's funny how doing something for a job or taking things seriously changes the way you look at them.  I watch films for a living (well, part of it) and doing that has completely changed the way I look at movies.  I find it really hard to just sink into a film these days and just enjoy it.  I'm always thinking about who the audience will be, and how easy it will be to sell.

It's the same with reading.  I find I'm far more critical of what I read now because I can't turn off my inner editor.  Little things like repeated words or mis-used commas really bug me.  If a story becomes too unbelievable, I can't suspend my disbelief and go with the author.

I miss the days where I could look at cinema or read without critiquing, but my eyes have changed.  My perception has altered.  I have become far more discerning.  A film has to be pretty fantastic to provoke a positive reaction from me.  Most just get a 'meh'.  A book has to have me totally gripped, dying to turn the next page for me to ignore the little niggly things that bug me.

Do you find it hard to turn off your inner critic?

Music

I know music is really important for a lot of writers and they make playlists to map their books, or need to listen to certain songs or albums to write certain scenes.

I can't listen to music while I write.  Well, not music with lyrics in English.  I can listen to classical music, or jazz or stuff like Sigur Ros that have lyrics I can't understand, but anything else distracts me.  And that's proving a problem with my new book because it is about music.

I have numerous songs that have inspired me and musicians whose signature styles are informing my characters, but I can't listen to this stuff while I'm writing.  I've put together a playlist of songs that are templates for the ones the band in my book play, and have a very definite idea of the style and tone of the songs the guitarist writes as opposed to the one the singer writes.

I've been listening obsessively to this playlist when I'm not writing, and certain songs have been trapped in my head for days.  But I can't listen to them while I'm writing.

Do you listen to music while you write?  Do the lyrics distract you?