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“You’ve got juice,” I wrote in all caps and underlined twice in my Film Independent Forum notebook. Your girl loves merchandise. When asked for advice for filmmakers trying to “break in,” Alexander Ulom (director, ends) reminded us to be firm in our creative vision and to remember, “You’ve got juice.” Something that is often forgotten amid the endless sea of pitch meetings, networking notes, and scripts waiting for the green light. At the Independent Film Forum, among the digitally-focused panels, the way these filmmakers didn’t wait for permission from studios and executives was. They knew they had something and carved out a way to bring it to an audience.
Vertical Storyboard moderated by Wendy Calhoun (Executive Producer; Rookie Feds, Empire), this meant experimenting with new formats. “Empire Classics on stage A lion in winterwith its Shakespearean heritage stakes and established itself in the world of hip hop. A familiar classic reimagined as a pop-culture-infused prime-time broadcast soap felt fresh. Microseries plays into the same exercise,” says Calhoun, who also executive produces and directs the microdramas.
In Breaking the Big Screen, moderated by Missy Lane (film and television producer), we hear from a generation of filmmakers who have had the opportunity to learn, experiment and publish in real-time as part of the ‘YouTube Generation’. And part of real-time publishing is almost instant audience feedback. Digital creators have the ability to meet their audience where they are in the moment. Which means you can literally give people exactly what they ask for. if you listen This doesn’t mean you should ignore your inner compass, but trust yourself enough to listen to your audience without losing sight of what’s true for you.
Vivian Wang (writer; Sleeping with my billionaire enemy, Alpha King Error) tells us that vertical audiences are looking for direct entertainment. It’s humbling and empowering to know that he’s not making art for himself. “We design for the audience and we know what they want,” Wang says, adding that after a long day, people are looking for relaxation and entertainment. “People don’t watch things on their phones to learn a lesson.”
But people are watching. Lunar Ticks, a bilingual writing group founded by Wang, has had a billion views of the series they’ve written and localized, all in about three years. according to ReutersAbout 66 million monthly active users watch microdramas in the United States, and the format generated $1.5 billion in revenue this year. It’s no wonder we’re seeing more and more traditional Hollywood players moving to mobile platforms. But aside from the revenue potential, the format also gives storytellers the ability to connect with their audience, and quickly. This is something that all digital creators have in common. Cathy Fishel (comedy writer, cartoonist) captivated an entire generation with her ability to take ideas home in the car and turn them into reality. Cartoons on social networks Just a few days later.
Where traditional development cycles can take years, verticals go from page to launch in months. (I’m told the average cycle from idea to premiere is three!) Tiffany Yvonne Cox (Writer/Director, Leaving Mr. Wrong to Mr. Right; actor, reasonable doubt) talked about going to “one’s own school” and expecting perfection. Cox independently produced her own vertical series to put herself on the map, and now writes and directs micro-dramas in between acting on TV shows. For most, there is no plan to give up the horizontal world. Verticals are simply the latest platform.
Now that YouTube has passed its 20th anniversary, it’s hard to remember when it was the new platform on the block. But there was a time when thick lines crossed between digital creatives and traditional Hollywood. Today, an Oscar winner eating hot wings online is almost expected during awards season. and starting in 2029, Academy Awards Streamed on YouTube. I ask, half-jokingly, will TikTok be next?
Dawn Yang (Global Head of Entertainment and Microseries, TikTok) talked about how TikTok offers a unique viewing experience. “We’re offering new ways to watch with people who aren’t in your social circle, but who love the same content as you,” Yang said. And the spectators not only look, but stick around. by research It’s a war It tells us that vertical platforms have overtaken streamers when it comes to mobile engagement. The report states that “US consumers now spend more time per day watching micro-dramas via mobile apps than they do watching Netflix, Disney+ or Amazon Prime Video on mobile devices.”
With data like this, we have to wonder what “penetration” looks like. The consensus in both panels was that no one knows because it is changing under our feet. In the digital age, art can move at the speed of technology. By the time you finish reading this article, ten new formats will be available to download in the palm of your hand. That being said, the panel audience still wanted tips on how to get in, even if we had no idea what was in the house. Advice ranged from, “Go see movies with friends” to “They’ll find you when you’re ready.” Mark Duplass’sThe cavalry is not coming“The speech is a must watch.
The panelists also touched on bad advice. During the making of his first film, many told Nicolas Curcio (writer; Game house, a goat), “That’s your one shot,” but Curcio disagrees. He says that unlike Eminem’s song, “You wanna give it your all, but it’s never your one shot. There’s a million stories of people who didn’t get it right (on the first try) but then they got it right.” Other over-the-top industry advice included focusing on getting an agent or manager first. The panel generally agreed that having representation is great because they can get you in the room, but it doesn’t guarantee work. Focus on making your content something you believe in The YouTubers behind this summer’s horror hits It started: doing what they believed in and building an audience that then followed them to the box office.
Where the YouTube panel focused more on the transition from social platforms to the big screen, the vertical storytellers were more interested in how the mobile screen can be the destination itself. We’re not there yet, but many vertical producers like Elizabeth Dell and Hernán López envision a world where microdramas reach the same cinematic heights that television has. Before David Lynch did Twin Peaks (1990), People said that television would never get there either.
PS What is microdrama, you ask? Check out our latest The film is an independent article Delve deeper into what they are, where they came from, and why they’re here to stay.
Find the full panel discussions on Film Independent’s YouTube here.
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