It’s a new year, Oscar Campaigning is in full swing and that must mean one thing….Sundance is upon us!
There is no doubt that Sundance is the best launching pad for documentaries in the US if not the world. 10 of the 15 Oscar Shortlisted Docs premiered at Sundance, including the highest grossing doc of the year, 20 Feet from Stardom. Furthermore almost 90% of all docs had some form of domestic distribution secured.
There has been a lot of chatter about the recent New York Times article talking about too many films entering into a shrinking marketplace. I am usually quite the pessimist and cynic, but in this instance it is one of the best things that could have happened for film. THERE IS NO EXCUSE NOT TO HAVE DISTRIBUTION.
THERE IS NO EXCUSE NOT TO HAVE DISTRIBUTION. Looking at the films from last year’s festival, it becomes clear that the options are endless. And many films have combined approaches for their DIY. Netflix is distributing the audience award winner, The Square starting January 17. The film had a small DIY theatrical with the help of Participant Media, but that’s not the end of it. When it debuts on Netflix, it will also be available on GATHR only expanding the film’s reach.
With all this said, every filmmaker should be making distribution plans from the beginning. Put money aside to cover a festival premiere (publicist, lodging, travel, prints, etc) and for the strong possibility of a self financed release. Perhaps you’ll never have to use it. But it is better to be prepared.
Now with my rant out of the way, here’s a look at how the film’s from last year’s festival fared in distribution.
EVERY SINGLE US DOCUMENTARY and DOCUMENTARY PREMIERE selection had some form of domestic distribution, but multiple world doc films have yet to line something up in the States.
TV DOCS (HBO, SHOWTIME, CNN):
HBO acquired TV rights to or produced 7 documentaries from last year’s festival.
Gideon’s Army, Life According to Sam (whose subject passed away this week), Manhunt, and Valentine Road all world premiered in the US Documentary Competition. The Crash Reel and Which Way is the Front Line From Here? The Life and Time of Tim Hetherington screened as documentary premieres and the network acquired world doc entry Pussy Riot – A Punk Prayer for $1,000,000.
Not only does the network connect these films with far more viewers than they could reasonably expect in a theatrical release, but these films are also some of the critical favorites. Four of the seven films are on the Oscar shortlist for documentaries and a fifth won an Emmy.
HBO is not the only TV player in town.
CNN Films partnered with Magnolia on Blackfish. The film has been seen by over 20,000,000 people worldwide and grossed north of $2,000,000 in the US. It made the Oscar Shortlist and has been cited as a key reason Sea World’s revenue is down over 30% this year. The acquisition was for $1,000,000, split between the network and Magnolia and certainly profitable for the latter. The company also had Pandora’s Promise which grossed $66k theatrically, but got hundreds of thousands more views on the TV screen via the broadcaster.
Three of the five highest grossing Sundance docs from last year were about singers/musicians (3 of the top 5 were also sold by Submarine and 4 of the top 5 were distributed by Radius-TWC or Magnolia) Clearly, they are resonating with a larger audience and the top players in documentaries recognize this. What’s truly impressive though is two of these films were day and date releases.
Sound City was a self financed release and dominated iTunes while also grossing over $400,000 in the care of Variance Releasing. While Variance handled the theatrical release of Sound City and Dave Grohl and his team did their own direct distribution through VHX, Gravitas Ventures handled the traditional VOD release of the film both in North America and internationally, including on iTunes. The film has grossed north of 7 figures on VOD since Gravitas Ventures launched it almost a year ago. Muscle Shoals has managed just under $700,000 with Magnolia at the helm, but theirs is a traditional distribution situation and the acquisition amount was not stated. Twenty Feet From Stardom also had a traditional release and has grossed just under $5 million and is RADIUS-TWC highest grossing film to date. The film, acquired for just over a $1 million, is also a top performer digitally and has been selling well internationally.
SELF FINANCED IS POPULAR
Over 25% of Sundance 2013 docs pursued some form of self-distribution.
Running From Crazy, Blood Brother, The Square, God Loves Uganda, American Promise, Linsanity, When I Walk, Sound City, Pandora’s Promise and the yet to be released Citizen Koch all went for self financed theatricals.
Linsanity and Citizen Koch both raised over $100,000 on Kickstarter for their theatrical releases. Linsanity has made $299,408 in cinemas. This more than justifies the DIY campaign and assuming they didn’t pour extra money into the release would net them just over $100,000 before digital and other ancillary are factored in.
The Square, which is the first Netflix Documentary pick up, had a small Oscar Qualifying run that turned into a little bit more and helped the film make the shortlist. It has grossed over $50,000 to date. That threshold was also exceeded by fellow shortlist film God Loves Uganda. Variance is releasing God Loves Uganda and should either film make the final Oscar cut you can expect additional revenue. That said, neither release appears to be profitable on its own. Variance said a few years ago they wouldn’t do a release for under $20,000 and cinemas do take a large chunk of revenues. Add the cost of Oscar Campaigning and the absence of the Netflix deal and God Loves Uganda clearly needs the Oscar nomination to boost its bottom line for digital (It will air on PBS later this year).
Running From Crazy quietly earned $33k, When I Walk did not report totals and Blood Brother has grossed over $50,000, but all through TUGG screenings. Blood Brother’s total is at once impressive and instantly disappointing. The film won the audience and grand jury awards, but failed to generate major buyer interest. ITVS has TV and Cinedigm has digital rights, but the film has become one of the lower grossing performer’s for a major festival award winner. At the same time, it screened at festivals left and right and, while skipping week long engagements, has screened at churches and small towns around the country. It may ultimately reach $100,000 via TUGG.
While Sundance continues to push for a lot of political docs, they are far from the best performers at the box office. After Tiller is a great film, but hardly a Friday night date movie. Festival revenue has provided a boost for the Oscilloscope release, but with under $70k in theatrical and a solid push for Oscar (it was not shortlisted) feels like a disappointment. Similarly award winners The Square and Blood Brother also are far from the top of the pack at the box office.
Meanwhile, over 1/3 of the World Doc films have nothing lined up for the States and Fire in the Blood is the lowest grossing Sundance Doc from last year that reported box office totals. It still has made about $20k and much of it from TUGG.
Other underperformers include Cutie and the Boxer, which was not day and date, and The Summit, which was one of the biggest doc deals at low 7 figures from Sundance Selects, but failed to pass $300k theatrically. Compared to films like Dirty Wars (IFC) which pulled in $371, 245 and Inequality for All (Radius-TWC) grossing $1.1 million, the buy was a bust.
Next week, we’ll take a look at how the narrative films from Sundance 2013 fared in release.