Incentives make your film an attractive buy
New services and new thinking finally are starting to take hold at major festivals and in the independent film world in general. Productions that can bring donation money, matching funds and/or strong promotional partners to the negotiating table have an advantage when it comes to landing significant distribution.
-At Sundance, the BFI offered up to $51k in matching funds to help market the US distribution of their 3 funded films in the festival.
-At Toronto (TIFF), Vimeo offered a $10k advance for world premiere films that gave them a 30 day exclusive streaming VOD window. 13 films accepted the offer and have started to premiere on the service.
–Linsanity, Big Joy: The Adventures of James Broughton, Love and Air Sex (AKA The Bounceback), Before You Know It, Citizen Koch have all raised distribution funds on Kickstarter and are using those funds for risk free theatrical releases.
While sales deals lagged at Sundance this year, all 3 BFI funded films secured distribution. Those films are the only World Dramatic and World Doc titles that have sold since the festival. The clear advantage of offering marketing dollars coupled with the ease of selling English dialogue to an American cinema audience attracted 3 smaller distributors to make early buys they may not have otherwise and guaranteed US distribution for films that may not have found it. It’s hard to argue with free marketing money and support from the country of origin. Though $51k is unlikely to make much of a difference to sway a major studio interested in wide release films, DISTRIBUTION INCENTIVES certainly won’t hurt the chances of a deal because everybody wins in that scenario.
Also coming out of Sundance, Strand Releasing snagged Lilting, the newly formed Amplify made their first acquisition ever with God Help the Girl and Drafthouse Films caved in to 20,000 Days on Earth. Let’s take a closer look at these three distributors.
Strand Releasing put 11 films into theaters last year and only 1 grossed over $50k.
Amplify is new to the game, but not really. Variance has been putting DIY/service releases into theaters for a while. Half their films last year grossed under $60k.
Drafthouse Films released 6 movies last year. Of those, 2/3 did not gross over $50k
Obviously, some of the films make much more in the digital marketplace after their theatrical release (or in some of these cases, during the release as many are day and date), but the point can’t be lost. Incentives really do attract distribution attention. They are like coupons for distributors and help to reduce risk.
I can bet you right now that there are dozens of filmmakers who are kicking themselves for turning down Vimeo’s offer at TIFF. Especially since the offer didn’t interfere with distribution offers for a film like Cinemanovels, that made an agreement for a traditional US distribution deal on top of their $10k advance from Vimeo.
Looking at the filmmakers who have used Kickstarter to secure funds for distribution, there is a wide range in how the films performed and a few have yet to be released, but they effectively created a risk free theatrical model. Their distribution funding was donated, there is no investor to repay so they can keep the revenue. I feel comfortable saying that in almost every case, each film will make more money than they would have in a traditional theatrical distribution arrangement. Very smart!
As I get ready for the “spam on steroids” that is SXSW, I encourage filmmakers to think of what they can offer that will make their films an attractive buy. There are so many events and screenings at any given time, it’s impossible for an organization like ours to cover them all, but if I know a film has incentives in place, it makes a huge difference when I prioritize my schedule. The film market is no different than any other business. Your film is a commodity and making a good product isn’t enough. You have to come to the table with something else to offer. Don’t wait until it’s too late. Don’t risk having a premiere with no incentives in place. Strategize now! Get partners on board, build relationships with an audience, raise extra funding through crowdfunding (this brings money AND an audience to the table) and show you know the market for and business of your art.
Bryan Glick February 26th, 2014