As with a lot of my colleagues, I looked at all the films that had inspired me and assumed a lot regarding how they got out into the world. I assumed there were a lot of rules; I assumed that there was a right and wrong way to approach a distributor and I assumed there was a set way a film was released into the world; and for a long time in independent film, that was the case. No one tells you who is supposed to reach out to whom—do you call the distributors or do they call you? For example, the distribution deal for my first feature came out of a kind yet informal email exchange with someone from The Orchard, but is that typical? At the end of our chat, Rebecca suggested we join forces and create a distribution resource for filmmakers that could help break down the walls between artists and gatekeepers. To create this resource, I reached out to the distributors who are currently acquiring and releasing independent films and asked them a series of questions:. What follows is a breakdown of the distributors who were willing to participate and be transparent in giving an inside look at their process. All distributors are welcome on this list regardless of size or release model. I must admit that I was surprised by the findings of the conversations I had with distributors and so in addition to the tangible information, I want to provide these takeaways feel free to come back to this after you read through the distributors responses :. At a time where we can barely predict what will be the most successful distribution model six months art and the art of making money independant film distrabution of time, why are independent storytellers acquiescing to giving away our rights for so long?
The Art of the Deal
Movies shot on shoestring budgets were getting into Sundance left, right, and center, and many were acquired for seven figures or more. The floodgates opened up for private equity investment, and we saw a huge surge of original content being produced and released. Those were the good old days. But everything good must come to an end. Anyone and everyone with a Mini DV camera started making movies, and the marketplace became absolutely flooded with new content. This trend of course grew exponentially as better cameras like 24p capable DSLRs hit the market, giving ultra-low budget films the ability to compete visually with much higher end productions. From a strictly practical standpoint, this was a great thing. Filmmakers could now go out and make movies for virtually no money, and still walk away with a finished product that had great production value…. But ultimately this over saturation led to the death of the independent film market as we knew it.
He’s not wrong ; industry-wide, we are struggling to finance our movies, let alone make ends meet in a market that is constantly in flux. So, what is a filmmaker to do? Zacuto ‘s five-part series has some answers. Watch all five videos and see below for the most important takeaways. The key to being marketable as a filmmaker, says Weiss, is to become a jack of all trades. And you can start your own production company, then move to the bigger stuff. It’s American Idol. I always ask students coming out of film school, ‘Would you rather do weddings and corporate jobs and make one short film a year, or work at Starbucks and make one short film a year? They say Starbucks. That’s the wrong answer, according to Weiss. Film students can’t expect to come right out of the gate and be offered their directorial debut.
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Enter your mobile number or email address below and we’ll send you a link to download the free Kindle App. Then you can start reading Kindle books on your smartphone, tablet, or computer — no Kindle device required. To get the free app, enter your mobile phone number. Would you like to tell us about a lower price? If you are a seller for this product, would you like to suggest updates through seller support? At each stage of the filmmaking journey, you will be tested to overcome obstacles and endure setbacks. Given your heavy workload and expansive responsibilities as a filmmaker, including everything from hiring, production to distribution and marketing, your job is a juggling act. This eBook provides comprehensive practical techniques and strategies to move you gracefully through the rough terrain of producing an independent film that resonates and reaches your intended audience. Read more Read less. Kindle Cloud Reader Read instantly in your browser. Latest magazine issues you may like. Page 1 of 1 Start over Page 1 of 1.
By Ted Hope
An independent film , independent movie , indie film or indie movie is a feature film or short film that is produced outside the major film studio system, in addition to being produced and distributed by independent entertainment companies. Independent films are sometimes distinguishable by their content and style and the way in which the filmmakers’ personal artistic vision is realized. Usually, but not always, independent films are made with considerably lower budgets than major studio films. Generally, the marketing of independent films is characterized by limited release , often at independent movie theaters , but they can also have major marketing campaigns and a wide release. Independent films are often screened at local, national, or international film festivals before distribution theatrical or retail release. An independent film production can rival a mainstream film production if it has the necessary funding and distribution. A number of filmmakers declined or were refused membership to the trust and came to be described as «independent». At the time of the formation of the MPPC, Thomas Edison owned most of the major patents relating to motion pictures, including that for raw film. The MPPC vigorously enforced its patents, constantly bringing suits and receiving injunctions against independent filmmakers. Because of this, a number of filmmakers responded by building their own cameras and moving their operations to Hollywood, California , where the distance from Edison’s home base of New Jersey made it more difficult for the MPPC to enforce its patents.
Don’t Miss:
Sound for Film and Television. Digital Intermediates for Film and Video. Film Art an Introduction. Practical Power Distribution for Industry. Producing and Directing the Short Film and Video. Film Studies: The Basics. Encyclopedia of Early Cinema. Although this may be good news for aspiring filmmakers, it also means that the oversupply of independent films on the market has caused acquisition ddistrabution to dramatically decrease. As a result, producers and investors rarely recover their initial investment in the films they make.
But don’t be discouraged! Use this book to learn the realities of the market in advance and map out a winning distribution plan. This comprehensive manual for filmmakers and producers dedicated to film distribution and the marketplace could mean the difference between getting your film out to the public and keeping it «in the.
Self-distribution and other alternatives to traditional distribution are also considered. As well, you’ll hear some success stories from producers and hear exactly what buyers are seeking. Stacey Parks has worked with dozens of hungry filmmakers to get their films a distribution deal and knows how frustrating the whole process can be.
Let her tell you how you can take moeny of your filmmaking career and start getting your work seen by audiences distrabbution a few little-known distribution mooney.
Looks like you are a new visitor to this site. Welcome to Hope For Film! Come participate in the discussion, and I encourage you to enter your email address in the sidebar and subscribe. It’s free! And easy! If you have any suggestions on how to improve this website or suggestions for topics fjlm don’t hesitate to write in to any of the blogs. You can also follow me on Twitter or Facebook. Very few companies in todays climate are true distributors — rather they ary as sub-distributors to larger entities which we detail at length in our eBook. Furthermore, take the time to establish these relationships yourself since you understand the territory as opposed to the international space and you have limited language barriers dietrabution any. Similar to the practice of real estate — these entities are brokers makng have relationships within the market that allow them to sell internationally. Sales Agents are a crucial piece of the puzzle as they have the necessary relationships with buyers enabling you to execute sales abroad over the course of your agreement. These terms are typically three years and enable long-tail economic revenue when properly implemented. Distributors are guarded and need to be assured monney the content they are buying will be delivered on time, as promised and with the necessary elements to pass Quality Control assurances. Press your contacts and foster new relationships. More than anything, keep the cost of your production low enough to have a chance at recouping with a reasonable buy-out figure from a sales team.
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