by Orly Ravid, Founder, The Film Collaborative

Orly Ravid is an entertainment attorney at Mitchell Silberberg & Knupp (MSK) and the founder of The Film Collaborative with 15-years of film industry experience in acquisitions, festival programming, sales, distribution/business affairs, and blogging and advising. She also contributed to the Sundance Artist Services initiative.

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Filmmakers usually think selling their film to distributors means that they will handle the whole release including theatrical, home video, and of course now digital/VOD. One category of distribution that is often overlooked, or not fully understood, however, is educational distribution. It can be a critical class of distribution for certain films, both in terms of reaching wider audiences and making additional revenue. For a certain type of film, educational distribution can be the biggest source of distribution revenue.

What is it?

When a film screens in a classroom, for campus instruction, or for any educational purpose in schools (K-university), for organizations (civic, religious, etc.), at museums or science centers or other institutions which are usually non-profits but they can be corporations too.

This is different from streaming a film via Netflix or Amazon or renting or buying a commercial DVD. Any film used for classes / campus instruction / educational purposes is a part of educational distribution and must be licensed legally. Simply exhibiting an entire film off of a consumer DVD or streaming it all from a Netflix or Amazon account to a class or group is not lawful without the licensor’s permission unless it meets certain criteria under the Copyright Act.

Initially, this was done via 16mm films, then various forms of video, and now streaming. These days, it can be selling the DVD (physical copy) to the institution/organization to keep in its library/collection, selling the streaming in perpetuity, renting out the film via DVD or streaming for a one-time screening, or exposing the content to view and at some point (certain number of views) it is deemed purchased (a/k/a the “Patron Acquisition Model”).

What type of films do well on the educational market?

In general, best selling films for educational distribution cover topics most relevant to contemporary campus life or evergreen issues such as: multiculturalism, black history, Hispanic studies, race issues, LGBTQ, World War II, women’s studies, sexual assault, and gun violence; in general films that cover social and political issues (international and national); health and disability (e.g. autism); and cinema and the arts. A great title with strong community appeal and solid perception of need in the academic community will do best (and the academic needs are different from typical consumer/commercial tastes).

At The Film Collaborative, we often notice that the films that do the best in this space sometimes do less well via commercial DVD and VOD. This is true of films with a more historic and academic and less commercial bent. Of course, sometimes films break out and do great across the board. Overall, the more exposure via film festivals, theatrical, and/or social media, the better potential for educational bookings though a film speaking directly to particular issues may also do very well in fulfilling academic needs.

Sourcing content

Across the board the companies doing educational distribution get their content from film festivals but also simply direct from the producers. Passion River and Kanopy, for example, note that film festival exhibition, awards, and theatrical help raise awareness of the film so films doing well on that front will generally perform better and faster but that does not mean that films that do not have a good festival run won’t perform well over time. Services such as Kanopy, Alexander Press, and Films Media Group collect libraries and get their films from all rights distributors and those with more of an educational distribution focus as well as direct from producers. These services have created their own platforms allowing librarians etc. to access content directly.

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Windowing & Revenue

There are about 4,000 colleges in the US and about 132,000 schools, just to give you a sense of the breadth of outlets but one is also competing with huge libraries of films. Educational distributors such as ro*co films has a database of 30,000 buyers that have acquired at least one film and ro*co reached beyond its 30,000 base for organizations, institutions, and professors that might be aligned with a film. All rights distributors often take these rights and handle them either directly, through certain educational distribution services such as Alexander Press (publisher and distributor of multimedia content to the libraries worldwide), Films Media Group / Info Base (academic streaming service), or Kanopy (a global on-demand streaming video service for educational institutions), or a combination of both. There are also companies that focus on and are particularly known for educational distribution (even if they in some cases also handle other distribution) such as: Bullfrog Films (with focus on environmental), California Newsreel (African American / Social Justice), Frameline Distribution (LGBTQ), New Day Films (a filmmaker collective), Passion River (range of independent film/documentaries and it also handles consumer VOD and some DVD), roc*co films (educational distributor of several Sundance / high profile documentaries), Third World Newsreel (people of color / social justice), Women Make Movies (cinema by and about women and also covers consumer distribution), and Swank (doing educational/non-theatrical distribution for studios and other larger film distributors). Cinema Guild, First Run Features, Kino Lober, Strand, and Zeitgeist are a few all rights distributors who also focus on educational distribution.

Not every film has the same revenue potential from the same classes of distribution (i.e. some films are bound to do better on Cable VOD (documentaries usually do not do great that way). Some films are likely to do more consumer business via sales than rentals. Some do well theatrically and some not. So it is no surprise that distributors’ windowing decisions are based on where the film’s strongest revenue potential per distribution categories. Sometimes an educational distribution window becomes long and sales in that division will determine the film’s course of marketing. But if a film has a theatrical release, distributors have certain time restrictions relative to digital opportunities, so that often determines the windowing strategy, including how soon the film goes to home video.

The film being commercially available will limit the potential for educational distribution, and at the same time, the SVOD services may pay less for those rights if too much time goes by since the premiere. Hence it is critical to properly evaluate a film’s potential for each rights category.

Revenue ranges widely. On the one hand, some films may make just $1,000 a year or just $10,000 total from the services such as Kanopy and Alexander Street. On the other hand, Kanopy notes that a good film with a lot of awareness and relevance would be offered to stream to over 1,500 institutions in the US alone (totaling over 2,500 globally), retailing at $150/year per institution, over a 3-year period, and that film should be triggering about 25% – 50% of the 1,500 institutions. Licensors get 55% of that revenue. On average, a documentary with a smaller profile and more niche would trigger about 5-10% of the institutions over 3 years.

More extreme in the range, ro*co notes that its highest grossing film reached $1,000,000, but on average ro*co aims to sell about 500 educational licenses.

If the film has global appeal then it will do additional business outside the U.S. All rights and educational distributors comment that on average, good revenue is in the 5-figures range and tops out at $100,000 +/- over the life of the film for the most successful titles. The Film Collaborative, for example, can generate lower to mid 5-figures of revenue through universities as well (not including film festival or theatrical distribution). Bullfrog notes that these days $35,000 in royalties to licensors is the higher end, going down to $10,000 and as low as $3,000. For those with volume content, Alexander Street noted that a library of 100-125 titles could earn $750,000 in 3 years with most of the revenue being attributable to 20% of the content in that library. Tugg (non-theatrical (single screenings) & educational distribution) estimates $0-$10,000 on the low end, $10,000 – $75,000 in the mid-range, and $75,000 and above (can reach and exceed $100,000) on the high end. Factors that help get to the higher end include current topicality, mounting public awareness of the film or its subject(s), and speaking to already existing academic questions and interest. Tugg emphasizes the need for windowing noting the need for at least a 6-month window if exclusivity before the digital / home video release. First Run Features (an all-rights distributor that also handles educational distribution both directly and by licensing to services) had similar revenue estimates with low at below $5,000, mid-range being $25,000 – $50,000, and high also above $75,000.

Back to windowing and its impact on revenue—Bullfrog notes it used to not worry so much about Netflix and iTunes because they “didn’t think that conscientious librarians would consider Netflix a substitute for collection building, or that instructors would require their students to buy Netflix subscriptions, but [they] have been proved wrong. Some films are just so popular that they can withstand that kind of competition, but for many others it can kill the educational market pretty much stone dead.” Yet, theatrical release is usually not a problem, rather a benefit because of the publicity and awareness it generates.

Passion River explains that filmmakers should not be blinded by the sex appeal of VOD / digital distribution—those platforms (Amazon, Hulu, iTunes, Netflix) can and will wait for hotter films on their radar. An example Passion River offers is Race to Nowhere which sold to over 6,000 educational institutions by staying out of the consumer market for at least 3 years. This type of success in the educational space requires having the right contacts lists and doing the marketing. But I would say, consider the film, its revenue potential per rights category, the offers on-hand, and then decide accordingly.

Stay tuned for Parts 2 & 3, which will go into the nitty gritty details of educational distribution.

The legal information provided in this publication is general in nature and should not be construed as advice applicable to any particular individual, entity or situation. Except as otherwise noted, the views expressed in this publication are those of the author(s). This alert may be considered a solicitation for certain purposes.

February 18th, 2016

Posted In: Distribution, education, Legal

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Yes the above title is a reference to my favorite Baz Luhrman film.  The fact is that The Cannes Film Festival is truly in its own class. For domestic distribution, it is arguably the best launch pad for foreign language films and can be a high profile place to premiere English language movies too. The problem is that many of the American films are star driven, have large budgets by indie standards and/or have distribution secured before arriving. If your American film isn’t a massive media machine, you will not be premiering at Cannes and honestly you wouldn’t want to.

Cannes signs

In looking at how the films from Cannes 2012 festival have performed, one has to note that over 60% of the films acquired for US came from 5 distribution companies (and their subsidiaries). TWC, SPC, IFC, Strand Releasing, and Film Movement dominated the acquisitions zone.

Moonrise Kingdom (Focus, worldwide gross $68, 263, 166), Lawless (TWC, worldwide gross $53, 676, 580), and Killing Them Softly (TWC, worldwide gross $37, 930, 465) all had distribution deals attached when they premiered. All are three of the highest grossing independent films from 2012, but only Moonrise Kingdom could be classified as a hit. In fact Killing Them Softly is arguably a massive failure, failing to recoup its budget in its US theatrical and getting a rare F Cinemascore. TWC’s pick up from Cannes 2012, The Sapphires, has been a modest performer in its 8 weeks of theatrical release so far this year grossing just over $2 mil.

Sony Picture Classics (SPC) has long been a dominant distributor of high art foreign films and they acquired Amour, No, and Rust and Bone. All the films grossed $2,000,000 + in the US however the titles are a mixed bag. Amour grossed less than prior year’s foreign language Oscar entry, but still was a $6 mil plus performer stateside. Rust and Bone failed to get an acting nomination for Marion Cotillard and ended its domestic run with $2,062,027. Internationally, Rust and Bone slightly outperformed Amour, but both had international grosses of around $20 mil. Only No exceeded expectations. Though it has done less than ¼ of what Rust and Bone has internationally, it has actually out grossed it here in the US and it’s still playing in theaters! It’s a rare box office success for a Director’s Fortnight selection. That said, all three are the three highest grossing foreign language films acquired out of Cannes. If you’re foreign, GO FOR SPC! GO FOR SPC! GO FOR SPC! I repeat GO FOR SPC!

IFC/IFC Midnight/Sundance Selects combined for a whopping 10 acquisitions! That’s more than many companies release in a year! They chose not to report grosses though for Antiviral and The Taste of Money which is an alarming sign, even for their VOD business model. Clandestine Childhood failed to gross $10k and none of their films managed over $1,000,000. Their highest grosser (On The Road) has leveled off at over $720k so far, but was not day and date VOD and considering the film played in as many as 107 theaters in a given week, it is clearly a disappointing performer. The Ken Burns directed,The Central Park Five managed just under ½ that with $325k and surprisingly missed the Oscar documentary short list. It will likely have a long life on other platforms. Someone in Love, The Angels Share and Beyond the Hills all grossed over $100k, but only The Angels Share (conveniently in English) could be considered a modest hit as it just crept past $250k. Sightseers was released a week and a half ago and does not look likely to pass $50k. The horror remake Maniac comes out later this year.

Behind IFC is Strand Releasing who acquired 6 films! Though Strand has been around for 20 years+ this is an unprecedented amount. In The Fog, Polluting Paradise, and Mekong Hotel have yet to be released. White Elephant failed to break $10k, and Post Tenebras Lux and Paradise: Love are still in the early stages of release with neither likely passing $50k domestically.

Other low end performers include Cinema Guild’s Night Across the Street with $13,035 domestically and Well Go USA’s Dangerous Liaisons which has reported $54,000 in box office. Both films were in the Director’s Fortnight which often gets overshadowed by the main competition. Think of it as the difference between being in the Next section and the US Dramatic section at Sundance.

Performing on the low end of the main competition films is Oscilloscope’s Reality which has yet to break six figures. The director’s prior film, Gomorrah, grossed over $1.5 mil in the US.

Performing better was Holy Motors handled by the now defunct distribution division of Indomina. It grossed $641,000 despite being literally impossible to describe. However, that is less than half the gross of Samuel Goldwyn’s Renoir which is still averaging over $100,000 a weekend. Despite never playing in more than 100 theaters, this film  has quietly amassed a total of $1,484,197, making it the highest grossing film from Un Certain Regard’s program last year. It has also done more than double the box office of Entertainment One’s Cosmopolis and Lee Daniels surprise awards contender The Paperboy. Both films suffered from mediocre reviews and the fact that Zach Efron and Robert Pattinson’s fanbase can’t legally see an R Rated film by themselves.

Films yet to be released include four Film Movement acquisitions (Three Worlds, Alyah, Broken, and La Sirga), Breaking Glass has Laurence Anyways which is easily its biggest acquisition to date, Magnolia has best actor winner The Hunt, and Gkids took the animated Ernest and Celestine.

Now all of this brings me to Mud. The Matthew McConaughey and and Reese Witherspoon starrer has been something of a breakout and looks poised to pass $20 mil by the end of its theatrical run.  It has grossed over $2,000,000 for four weekends in a row now and has yet to play on over 1,000 screens. This film did not win any awards at the festival and in fact left the festival without US distribution. It did not get a pick up until August 2012 and was introduced to US audiences at the Sundance Film Festival 2013. With an A list cast, strong reviews and a distributor (Lionsgate/Roadside Attractions) who knows exactly how to handle this kind of film, it did finally find its way. Its international grosses are just barely over $3 mil, but that’s only from two territories.

Less than half of the films from the Critic’s Week, Un Certain Regard, and Director’s Fortnight have received distribution in the US. Many never will. All but one of the Competition films has yet to find one which helps pad the totals. If you have a foreign film, this is arguably your best bet to launch for a Stateside distribution deal. If you’ have an American film, it can provide great publicity, but create bad press to last a lifetime leading up to your release. American bigger budget indie tent poles will continue to use TIFF and Cannes to launch, but for every Moonrise Kingdom or Silver Linings Playbook,  there are easily 3x as many Killing Them Softly’s. The Cannes endorsement on a foreign film especially though can drive up arthouse audiences in digital environments and older audiences at this thing called a video store. A few even still exist.

A look back at last year’s Cannes titles:

Film Distributor Gross Program Section
Post Tenesbras Lux Strand Releasing $7,096 Competition
Clandestine Childhood IFC $9,017 Director’s Fortnight
White Elephant Strand Releasing $9,673 Un Certain Regard
Night Across the Street Cinema Guild $13,035 Director’s Fortnight
Augustine Music Box Films $13,616 Critic’s Week
Paradise: Love Strand Releasing $17,356 Competition
Sightseers IFC $19,037 Director’s Fortnight
In Another Country Kino Lorber $25,079 Competition
The We and the I Paladin $42,172 Director’s Fortnight
Dangerous Liaisons Well Go USA $54,000 Director’s Fortnight
Reality Oscilloscope $72,577 Competition
Beyond the Hills Sundance Selects $110,490 Competition
Like Someone In Love IFC $222,695 Competition
The Angels Share IFC $248,567 Competition
The Central Park Five Sundance Selects $325,653 Special Screening
Holy Motors Indomina $641,000 Competition
The Paperboy Millenium Entertainment $693,286 Competition
On The Road IFC Films/Sundance Selects $720,828 Competition
Cosmopolis Entertainment One $763,556 Competition
Renoir Samuel Goldwyn $1,079,000 Un Certain Regard
The Sapphires TWC $2,015,509 Midnight
Rust and Bone SPC $2,060,565 Competition
No SPC $2,163,379 Director’s Fortnight
Amour SPC $6,732,661 Competition
Mud Roadside Attractions $11,656,971 Competition
Killing Them Softly TWC $15,026,056 Competition
Lawless TWC $37,400,127 Competition
Moonrise Kingdom Focus Features $45,512,466 Competition
Antiviral IFC Midnight BO NOT Reported Un Certain Regard
Trashed Blenheim Films BO NOT Reported Special Screening
The Taste of Money IFC Midnight BO NOT Reported Competition
You Ain’t Seen Nothin’ Yet! Kino Lorber Competition
Maniac IFC Midnight Midnight
Laurance Anyways Breaking Glass Un Certain Regard
The Hunt Magnolia Competition
Thérèse Desqueyroux MPI Pictures Out of Competition
In the Fog Strand Releasing Competition
La Sirga Film Movement Director’s Fortnight
Mekong Hotel Strand Releasing Special Screening
Polluting Paradise Strand Releasing Special Screening
Ernest and Celestine Gkids Director’s Fortnight
Broken Film Movement Critic’s Week
Alyah Film Movement Critic’s Week
Three Worlds Film Movement Un Certain Regard


May 23rd, 2013

Posted In: Distribution, Film Festivals, International Sales

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By Bryan Glick

Just because you didn’t premiere at Sundance or Cannes doesn’t mean you’re out of luck. Though not living up to the sales quota of last year, there are two dozen premiere films from SXSW that have sold in the U.S. Here’s a wrap up of the film sales from SXSW.

Anchor Bay stuck with their niche and took North American rights to two midnight entries Girls Against Boys and The Aggression Scale, while Cinedigm (who recently acquired New Video) went for U.S. Rights to In Our Nature and the midnight audience award winner Citadel. Pre-fest buys include Crazy Eyes which went to Strand Releasing for the U.S.  and Blue Like Jazz courtesy of Roadside Attractions. Blue Like Jazz was promptly released and has since grossed close to $600,000 theatrically in North America.  Lionsgate is handling DVD, VOD, and TV through their output deal. Meanwhile Crazy Eyes just started its theatrical run on two screens pulling in a little under $5,000 in its first week.

Millennium Entertainment took the gross out comedy The Babymakers and yet another midnight film, The Tall Man was bought for the U.S. by Imagine.  If you’re a midnight film at SXSW, odds are things are looking up for you. The same could be said for The Narrative Spotlight section where two thirds of the films have since been acquired including The Do-Deca Pentathlon  taken by Red Flag Releasing and Fox Searchlight. Red Flag is handling the theatrical (The film grossed $10,000 in its opening weekend off of 8 screens) while Fox Searchlight will cover the other ancillary markets. The Narrative Spotlight Audience Award Winner, Fat Kid Rules the World was bought by Arc Entertainment for North America and Frankie Go Boom was the first film to reap the benefits of a partnership with Variance and Gravitas.  It will be released in the U.S. on VOD Platforms in September via Gravitas followed by a theatrical in October courtesy of Variance.

And though they did not premiere at SXSW, both Dreams of a Life and Electrick Children had their U.S. premieres at the festival and have since been bought.  U.S. rights to the documentary Dreams of a Life were acquired by Strand Releasing. Meanwhile, Electrick Children was snatched up for North America by Phase 4. Phase 4 also nabbed North American rights to See Girl Run.

Sony Pictures and Scott Rudin took remake rights to the crowd pleasing Brooklyn Castle while HBO acquired domestic TV rights to the doc The Central Park Effect.  Meanwhile, after showing their festival prowess with their success of last year’s breakout Weekend (which was sold by The Film Collaborative’s Co President, Orly Ravid), Sundance Selects proved they were not to be outdone and got the jury prize award winner Gimme The Loot for North and Latin America.  Fellow Narrative competition entry Gayby sold its U.S. rights to Wolfe Releasing, a low 6-figure deal. That deal was also negotiated by TFC’s Orly Ravid. And not to be outdone, competition entry, Starlet rounds out the Narrative Competition films to sell.  It was acquired for North America by Music Box Films.

S2BN Films’ Big Easy Express became the first feature film to launch globally on iTunes. It will be released in a DVD/Blu-Ray Combo pack on July 24th by Alliance Entertainment followed by a more traditional VOD/Theatrical rollout later this year.

Other key deals include Oscilloscope Laboratories acquiring North American Rights to Tchoupitoulas, Snag Films going for the US Rights of Decoding Deepak, Image Entertainment’s One Vision Entertainment Label aiming for a touchdown with  the North American rights to The Last Fall and Factory 25 partnering with Oscilloscope Labs for worldwide rights to Pavilion.

Final Thoughts:  Thus far less than one third of the films to premiere at SXSW have been acquired for some form of domestic distribution. While that may seem bleak, it is a far better track record than from most festivals.  In The U.S., SXSW is really second to only Sundance in getting your film out to the general public. The festival also takes a lot of music themed films and more experimental projects with each theme getting its own designated programming section at the festival. Those films were naturally far less likely to sell. The power players this year were certainly Anchor Bay and Cinedigm each taking multiple films that garnered press and/or have significant star power. Other companies with a strong presence and also securing multiple deals were Strand Releasing and Oscilloscope.  Notably absent though is Mark Cuban’s own Magnolia Pictures and IFC (Though their sister division Sundance Selects made a prime acquisition). Magnolia did screen Marley at the festival, but the title was acquired out of Berlin, and IFC bought Sleepwalk With Me at its Sundance premiere.

While it is great that these films will be released, it also worth mentioning what is clearly missing from this post. There is almost no mention of how much these films were acquired for. The fact is films at SXSW don’t sell for what films at Sundance do and it is safe to assume that the majority of these deals were less than six figures with almost nothing or nothing at all getting a seven figure deal.

As for the sales agents, Ben Weiss of Paradigm and Josh Braun of Submarine were working overtime, with each negotiating multiple deals.

SUNDANCE UPDATE: Since the last Sundance post, there have been two more films acquired for distribution. Both films premiered in the World Documentary Competition. The Ambassador negotiated successfully with Drafthouse Films who acquired U.S. rights for the film which will premiere on VOD August 4th followed by a small theatrical starting August 29th.  Also finding a home was A Law in These Parts which won the jury prize at this year’s festival.  Cinema Guild will be releasing the film in theaters in the U.S. starting on November 14th. 75% of the films in the World Documentary Competition now have some form of distribution in the US.

A full list of SXSW Sales deals from SXSW is listed below. Box office grosses and release dates are current as of July 12th.

Film COMPANY TERRITORIES SALES COMPANY Box Office/
Release
See Girl Run Phase 4 North America Katharyn Howe and Visit Films
Starlet Music Box Films North America Submarine
The Babymakers Millenium US John Sloss and Kavanaugh-Jones Theatrical Aug 3rd
DVD Sept 10th
Citadel Cinedigm US XYZ Films and
UTA Independent Film Group.
The Aggression Scale Anchor Bay North America Blu-ray/dvd Epic Pictures Group
Girls Against Boys Anchor Bay North America Paradigm
Tchoupitoulas Oscilloscope North America George Rush
Gimme The Loot Sundance Selects North and Latin America Submarine Entertainment
The Tall Man Image Entertainment US CAA and  Loeb & Loeb August 31st
Elektrick Children Phase 4 North America Katharyn Howe and Paradigm
Blue Like Jazz Roadside US The Panda Fund $595,018
Crazy Eyes Strand US Irwin Rappaport $4,305
In Our Nature Cinedigm US Rights Preferred Content
Brooklyn Castle Sony Pictures Remake Rights Cinetic Media
Scott Rudin
The Central Park Effect HBO US TV Submarine Entertainment
Gayby Wolfe US The Film Collaborative
The Do Decca Pentathlon Fox Searchlight North America Submarine Entertainment $10,000
Red Flag Releasing
Fat Kids Rules The World Arc Entertainment North America Paradigm
Decoding Deepak Snag Films US N/A October
Big Easy Express Alliance Entertainmnet Worldwide DVD/VOD Paradigm and S2BN July 24th DVD/Blu-Ray
Big Easy Express S2bn Worldwide Itunes Paradigm and S2BN Available Now
The Last Fall Image Entertainment North America N/A
Pavillion Factory 25 Worldwide N/A Jan
Oscilloscope Labs
Frankie Go Boom Gravitas US Rights Reder & Feig and Elsa Ramo VOD Sept
 Variance Theatrical Oct
Dreams of a Life Strand releasing US Rights eone films international Aug 3rd

 

July 18th, 2012

Posted In: Distribution, Film Festivals, Theatrical

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Many films enjoy their greatest success both on an awareness and financial level via HYBRID THEATRICAL / NON-THEATRICAL screenings. The film “For the Bible Tells Me So” had a successful two-year run.  We (under our previous company New American Vision) worked non theatrical screenings for END OF THE LINE to screen at over 200 venues. Caitlyn Boyle worked many screenings of the film after us. The film  “Age of Stupid” made 6-figures in profit from automated house-party screenings.

Documentaries,issue-oriented films and niche films lend themselves to this model and it can absolutely be done by yourself or with a professional company, it all comes down to how much time and energy you have to do the work entailed. TFC recommends asking filmmakers who have tapped into a similar niche that your film targets for tips and advice on reaching the audience. Educational / Institutional distributors such as Bullfrog and Cinema Guild can definitely get you bookings you could not get yourself simply by virtue of having the right database, so investigate ahead of time. You may want to hold off on regular DVD and digital distribution if this is part of your plan, non theatrical screenings are a window after all.

On the THEATRICAL side, we recommend you check out our recent blog on the topic and remember there’s a lot you can do on your own (including booking theatres). We recommend comparing the realistic upside with the investment. If you can’t come close to the recoupment on the cost of theatrical booking, really weigh whether it is worth it. Beware of service companies charging too much. We did just learn of a narrative film that self-released and grossed $650,000 and will actually profit from the release overall because that theatrical screening campaign elevated the profile of the film and therefore it got the DVD, digital and TV business the investors were hoping for. We’ve been ask not to name the film, sorry.  In any case, examples like this can go both ways so be careful and get educated *before* the release.

August 25th, 2010

Posted In: Marketing, Theatrical

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