We thought we’d start off 2015 with a bit about digital platforms that filmmakers can utilize directly, without giving rights to a distributor and without necessarily having to go through an aggregator. When I say “platform,” what I mean is a place on the Internet that film viewers would go to consume cinema. While filmmakers are always encouraged to distribute off their own websites and social media pages, that is not the subject of this blog. To accomplish DIY off the film’s site and social media pages, filmmakers are encouraged to work with Distrify or VHX, for example. For now we cover the following distinct platforms that filmmakers can directly access: MUBI, FANDOR, VIMEO, WOLFE ON DEMAND, and DOCURAMA (just a tad, and more will be discussed in a few weeks).
MUBI is a curated video-on-demand subscription service.
MUBI describes its offering as a hand-picked selection of the best cult, classic and award-winning films from around the globe. “Every day MUBI’s in-house film experts select a great new film and you have 30 days to watch it. So there’s always 30 brilliant films to enjoy. We have a huge audience of passionate cinephiles from every corner of the planet who watch, rate, review and share great cinema.” See more at mubi.com/about.
Q: How film viewers can access it?
The service is the only subscription service available worldwide (193 territories). So whether you are in Venezuela or Vancouver you’ll be able to experience a beautiful collection of 30 hand-picked films. MUBI works on the web, mobile devices, internet-connected TVs and games consoles. On MUBI’s mobile apps you can download films and watch offline.
Financial model of platform How audiences pay (if at all) and how do filmmakers make money:
MUBI brings one new film to the platform every single day. Each film plays on the platform for a 30-day window. Revenue is split 50/50 with the filmmaker (or whomever is the rights holder) based on views over the 30-day run. A MUBI membership costs around $4.99 USD in most countries for a month or £2.99 in the UK or €4.99 in the EU.
Deals Offered to Filmmakers:
MUBI typically licenses films for a 2-year period, non-exclusive. They license by territory, but also do global deals or groups of territories.
How Films Get Onto MUBI:
MUBI takes films directly from filmmakers and also from studios, distributors and aggregators.
Q: What does your company do to drive audiences / consumers to this platform?
“Beyond the normal channels (digital, social, offline) we work in partnership with festivals and organisations [organizations] like Cannes, Berlinale, MoMa, AFI, Lomokino, Picturehouse Cinemas, we curate seasons and retrospectives, host screenings, run events… the list goes on! Also, in the UK (one of our focus countries) we have a mutli-level advertising campaign launching in 2015.”
[This question is almost never answered by any businesses so don’t hold it against MUBI for not answering.]
Speaking from experience, however, we at TFC have enjoyed seeing hundred of dollars that eventually added up to some small version of thousands for a film that did not do better business anywhere else. In fact, I would say MUBI was a source of revenue that was particularly useful for a smaller art house film that would not be sought out on the more commercial platforms such as iTunes.]
What MUBI does to market films:
“We have huge communication channels offline and off. When a title is selected as the ‘film of the day’ all these channels are directed towards promoting that film. The difference with MUBI, for the filmmaker, is that instead of your film sitting in a library of a thousand films, your film is one of just thirty. Every day we send out a dedicated ‘Film of the Day’ email to hundreds of thousands of people globally, the email features “Our Take” – the reasons why we selected the film and why it’s worth watching. We build editorial context around films rather than leaving them fighting alone. We run one of the most respected online sources for film criticism, Notebook. So if your film is on MUBI it’s less about creating a long-term revenue stream and more about exposure for the film in a targeted, well-contextualised burst which can be a great complement to (or continuation of) a theatrical or DVD release. A film is on MUBI for 30 days but for those 30 it is the centre of our attention. It works for the audiences and filmmakers alike, great films can find people that want to watch them.”
Special initiatives MUBI has brewing (this is from December 2014):
New from MUBI: iPad and iPhone App
Fandor can be accessed via apps available through iTunes (iPhone, iPad) and Google Play (Android phones and tablets including Kindle Fire), and as a channel on Roku.
Fandor offers an extensive and rich library of over 6000 films, from around the world, in over 500 genres, and of all lengths, handpicked for people who love the transforming experience of great cinema. Fandor fulfills the promise of an online cinematic experience, marrying curation with contextual information for a global community of film lovers and filmmakers.
Fandor Availability / Accessibility:
Fandor is available in the US and Canada, accessible anytime to subscribers.
Financial model of platform—How do audiences pay (if at all) and how do filmmakers make money:
Fandor members subscribe on an annual ($90) or a monthly ($10) basis. Both subscription types offer a 2-week free trial. Subscription revenue is shared, with 50% going to the film rights holders, divided based on availability and audience viewership.
Deals Given to Filmmakers:
Because our model is a revenue share, the amount that filmmakers earn will vary based on viewership. 20% of the shared revenue is split among all films on the platform; the remaining 80% is allocated based on seconds of viewing to individual films.
Fandor Gets Films Direct From Filmmakers And Distributors:
Fandor has partnerships with hundreds of distributors and approximately 125 filmmakers (direct).
What Fandor does to drive audiences / consumers to its platform:
“We have an extensive marketing program that includes advertising, social outreach to over 160K fans, public relations, personalized email and integrated promotional campaigns. We also have a network of 4 blogs that addresses Fandor customers (The Fandorian), film aficionados (Keyframe), the film industry (Hope for Film), and filmmaker-to-filmmaker (Hammer to Nail).”
Fandor’s response to our request to share revenue ranges for films on its platform:
“We’re a private company and typically don’t share our financials and membership data.”
Special initiatives Fandor has brewing:
“We have two initiatives currently targeted to film festivals (Fandor|Festival Alliance) and to filmmakers (FIX). These initiatives are part of a larger effort to build relationships across the film world as part of a larger mission to advance and preserve film art and culture.”
See the release explaining these…
An example of a Fandor marketing campaign:
“Probably the best example is the Shocktober campaign we did for October. We showcased a different horror film each day through the month of October. The campaign was integrated across our ads, our website, our social networks, and email. We also did two video trailers. I’ve attached a .gif we used for social and email, and following are links to the videos. The campaign culminated in a day/date release of the remastered THE CABINET OF DR CALIGARI on Halloween.”
VIMEO ON DEMAND
Vimeo allows one to distribute films, series, and videos with all the power of Vimeo, its community, and its legendary
HD player. Anyone can use Vimeo On Demand – from established and first-time filmmakers to creators of video tutorials or video performances. “Vimeo On Demand helps creators distribute feature films, documentaries, series, episodes, TV shows, instructional videos, and more. It puts all the control in the hands of creators, who can choose to offer buy and rent options at their own prices, sell on Vimeo and their own website, worldwide or in select countries.”
Vimeo On Demand is available worldwide and allows viewers to watch films on pretty much any screen, from computers and tablets to connected TVs, all in full HD (even 4K!). Vimeo On Demand is a global, open platform where any filmmaker can sign up and start selling their videos.
Financial model of platform:
Vimeo On Demand offers creators the ability to sell their movies to rent or own. “Viewers pay by credit card or PayPal. Creators earn 90% of the net revenue from every sale—which is the best deal in the film business!”
Vimeo accepts films first-time filmmakers and distributors.
Q: What does your company do to drive audiences / consumers to Vimeo?:
“Vimeo has 170 million monthly visitors and more than 30 million registered users. We regularly promote curated selections of movies from Vimeo On Demand to this massive audience on-site, via email and on social media. We also have ongoing paid marketing campaigns and publisher partners working to bring viewers to Vimeo On Demand.”
“Vimeo On Demand has been proud to power some of the most successful direct distribution releases ever. We are not allowed to share our users’ revenue data.”
What Vimeo does on marketing front for its films:
“Our Audience Development team is actively working to market films via our own platform as well as through digital advertising, social media marketing, and a growing list of publisher partners. Vimeo On Demand is the only direct distribution platform that brings a built-in audience and markets films on the platform.”
[NOTE: My colleague David Averbach has informed me that there is a way, for filmmakers who are allowed to offer VOD off their film’s website, but not other external sites, to hide Vimeo On Demand videos from vimeo.com.]
WOLFE ON DEMAND
The worldwide LGBT digital movie-watching platform!
Accessibility / Availability:
The platform showcases more than 150 films, more than 100 of which are available worldwide.
TVOD (Transactional Video on Demand via Internet) and Streaming (rental)
$3.99 streaming and $14.99 download for features.
$2.99 streaming and $9.99 download for docs.
Revenue to Filmmakers:
WOD split is 50/50. Wolfe have also entered into a strategic relationship with Vimeo and WOD will soon live on their platform. Wolfe’s site is powered, in part, by Distrify which takes a cut of revenues, as will Vimeo. Wolfe also notes that the partnering with Vimeo will also involve additional marketing opportunities.
Direct with Filmmakers and Distributors:
“We work with all kinds of filmmakers directly as well as distributors.”
Q: What does your company do to drive audiences / consumers to this platform?:
“Wolfe has been in the business of releasing LGBT films since 1985. With 30 years in the business we have the experience, relationships community good will and connections to help connect films with the audiences who want to see them. We utilize our mailing lists, social media, advertising, PR, community outreach and creative marketing as well as a wide array of other marketing tools and strategies. Wolfe’s strength is in consumer marketing. We dedicate considerable resources to unique programs domestically and abroad to drive traffic to WolfeOnDemand.com.”
[Like the others, Wolfe did not disclose.]
Special initiatives Wolfe has brewing:
Yes, stay tuned for some exciting news to be announced in late January 2015.
We’ll be covering this one in a few weeks as information is being updated…
As the name suggests, this platform focuses on documentaries.
The channel is available on iOS, Roku, XBox, Amazon Fire, Western Digital, Opera, to name a few.
We will send proper information about Docurama in a few weeks. For now, TFC recommends working directly with these platforms when they are a fit for your film. We will update about other platforms as we learn of them, if we think they are worthy of focus.
Happy direct digital distribution,
The Film Collaborative
Orly Ravid January 14th, 2015
By Orly Ravid and Sheri Candler
In the past 2 posts, we have covered knowing the market BEFORE making your film and how to incorporate the festival circuit into your marketing and distribution efforts. This post will cover terms you need to know; whether a foreign distribution agreement is in your film’s future and what to do if it isn’t; the patterns, or windows, that need to be considered in your release. Just to be clear, we are targeting these posts mainly to filmmakers who seek to self finance and actively control their distribution. If that is not your plan, the usefulness of these posts may vary.
Distributors; platforms; aggregators; self hosting sites; applications
If you are new to the distribution game, here are some terms you now need to be familiar with.
Distributors (ie. A24, Oscilloscope, Fox Searchlight, Sony Classics, The Weinstein Company, Roadside Attractions) take exclusive rights to your film for a negotiated period of time and coordinate its release. These companies often acquire independent films out of the most prestigious film festivals and pay decent advances for ALL RIGHTS, sometimes even for ALL TERRITORIES. A signed and binding contract takes all responsibility for the film away from its creator and places it with the distributor to decide how to release it into the public. Distribution through these entities entails theatrical, digital, DVD, educational, leisure (airline/hotel/cruiseship).
Platforms (ie. iTunes, Amazon Prime, Google Play, Hulu, Netflix, cable VOD) are digital destinations where customers watch or buy films. Viewing happens on a variety of devices and some allow for worldwide distribution. Mainly platforms do not deal directly with creators, but insist on signing deals with representative companies such as distributors or aggregators.
Aggregators (ie. Premiere Digital, Inception Media Group, BitMAX, Kinonation) are conduits between filmmakers/distributors and platforms. Aggregators have direct relationships with digital platforms and often do not take an ownership stake. Aggregators usually focus more on converting files for platforms, supplying metadata, images, trailers to platforms and collecting revenue from platforms to disperse to the rights holder. Sometimes distributors (Cinedigm, FilmBuff) also have direct relationships with digital platforms, helping reduce the number of intermediaries being paid out of the film’s revenue.
Self hosting sites (ie. VHX, Distrify, Vimeo on Demand) are all services that allow filmmakers to upload their films and host them on whatever website they choose. Vimeo on Demand also hosts the video player on its own central website and has just integrated with Apple TV to allow for viewing on in-home TV screens.
Applications for many digital platforms can be found on mobile devices (smartphones and tablets),Over the Top (OTT) internet-enabled devices like Roku, Chromecast, Apple TV, Playstation and Xbox and on smart TVs. Viewers must add the applications to their devices and then either subscribe or pay per view to the platforms in order to see the film.
What about international?
In the latest edition of our Selling Your Film book series, Amsterdam based consultant Wendy Bernfeld goes into great depth about the digital distribution market in Europe. Many low-budget, independent American films are not good candidates for international sales because various international distributors tend to be attracted to celebrity actors or action, thriller and horror genre fare that translate easily into other languages.
Rather than give all of your film’s rights to a foreign sales agent for years (often 7-10 years duration) just to see what the agent can accomplish, think seriously about selling to global audiences from your own website and from sites such as Vimeo, VHX, Google Play and iTunes. The volume of potential viewers or sales it takes to attract a foreign distributor to your film is often very high. But just because they aren’t interested doesn’t mean there is NO audience interest. It simply means audience interest isn’t high enough to warrant a distribution deal. However, if you take a look at your own analytics via social media sites and website traffic, you may find that audience interest in foreign territories is certainly high enough to warrant self distributing in those territories. Look at this stats page on the VHX site. There are plenty of foreign audiences willing to buy directly from a film’s website. Why not service that demand yourself and keep most of the money? Plus keep the contact data on the buyers, such as email address?
Often, sales agents who cannot make foreign deals will use aggregators to access digital platforms and cut themselves into the revenue. You can save this commission fee by going through an aggregator yourself. In agreements we make with distributors for our Film Collaborative members, we negotiate for the filmmaker to have the ability to sell worldwide to audiences directly from their website. If you are negotiating agreements directly with distributors, the right to sell directly via your own website can be extremely beneficial to separate and carve out because sales via your website will generate revenue immediately. However, this tactic is now being scrutinized by distributors who are allowing direct to audience sales by filmmakers, but asking in their agreement for a percentage of the revenue generated. It is up to the filmmaker to decide if this is an acceptable term.
If you do happen to sell your film in certain international territories, make sure not to distribute on your site in a way that will conflict with any worldwide release dates and any other distribution holdbacks or windowing that may be required per your distribution contracts. An example: You have signed a broadcast agreement that calls for a digital release holdback of 90 days-6 months-1 year or whatever. You cannot go ahead and start selling via digital in that territory until that holdback is lifted. Instead, use a hosting service that will allow you to geoblock sales in that territory.
Know your windows.
If you do decide to release on your own, it’s important to know how release phases or “windows” work within the industry and why windowing was even created.
The release window is an artificial scarcity construct wherein the maximum amount of money is squeezed from each phase of distribution. Each window is opened at different times to keep the revenue streams from competing with each other. The reason it is artificial is the film continues to be the same and could be released to the audience all at one time, but is purposely curbed from that in order to maximize revenue and viewership. The Hollywood legacy window sequence consists of movie theaters (theatrical window), then, after approximately 3-4 months, DVD release (video window). After an additional 3 months or so, a release to Pay TV (subscription cable and cable pay per view) and VOD services (download to own, paid streaming, subscription VOD) and approximately two years after its theatrical release date, it is made available for free-to-air TV.
Now, there is a lot of experimentation with release windows. Each release window is getting shorter and sometimes they are opened out of the traditional sequence. Magnolia Pictures has pioneered experimentation with Ultra VOD release, the practice of releasing a film digitally BEFORE its theatrical window and generally charging a premium price; and with Day and Date, the practice of releasing a film digitally and theatrically at the same time. Many other distributors have followed suit. Radius-TWC just shortened the theatrical only window for Snowpiercer by making it available on digital VOD within only 2 weeks of its US theatrical release. During its first weekend in US multiplatform release, Snowpiercer earned an estimated $1.1 million from VOD, nearly twice as much as the $635,000 it earned in theaters.
So, while there are certainly bends in the rules, you will need to pay attention to which release window you open for your film on what date. For example, it might be enticing to try to negotiate a flat licensing fee from Netflix (Subscription VOD or SVOD window) at the start of release. However, from a filmmaker’s (and also distributor’s) perspective, if the movie has not yet played on any other digital platforms, it would be preferable to wait until after the Transactional VOD (TVOD) window in order to generate more revenue as a percentage of every TVOD purchase, before going live on Netflix. If the transactional release and subscription release happen at the same time, it cannibalizes transactional revenue.
Also, sites like Netflix will likely use numbers from a film’s transactional window purchases to inform their decision on whether to make an offer on a film and how big that offer should be. Subscription sites such as Netflix also pay attention to general buzz, theatrical gross, and a film’s popularity on the film’s website. There is value in gathering web traffic analytics, email database analytics and website sales data in order to demonstrate you have a sizable audience behind your film. This is useful information when talking to any platform where you need their permission to access it. Caution: Netflix is not as interested in licensing independent film content as it once was. If your film is not a strong performer theatrically, or via other transactional VOD sites; does not have a big festival pedigree; or does not have notable actor names in it, it may not achieve a significant Netflix licensing fee or they may refuse to license it for the platform. Netflix is no longer building its brand for subscribers and it has significant data that guides what content it licenses and what it produces.
Also be aware that some TV licensing will call for holding back Subscription VOD (SVOD) releases for a period of time. If your film is strong enough to achieve a broadcast license deal, you will need to wait before making a subscription release deal. On the other hand, holding out too long for a broadcast distribution offer might cause the publicity and interest you’ve generated for your film to dissipate.
If your film is truly a candidate for theatrical release, most cinemas will not screen a film that is already available on TVOD or SVOD services. In fact, most of the chain cinemas will not screen a film that is available in any other form prior to or at the same time as theatrical release.
The way you choose to release your film is a judgment call in order to reach your particular goal. All decisions have consequences and you will have to live with the decisions you make in releasing your film. Like all decisions, you base them on what you know at the time with no guarantee as to how they will turn out.
Sheri Candler July 16th, 2014
Tags: aggregators, Distrify, independent film distribution, Orly Ravid, release windows, Sheri Candler, SVOD, The Film Collaborative, theatrical distribution, TVOD, VHX, Vimeo on Demand, Wendy Bernfeld
The month of October seems a good time to look at films in the horror genre and we will be releasing a series of posts all month long that addresses the business of releasing these films.
Long the domain of ultra low budget filmmakers everywhere, horror audiences are now spoiled for choice when it comes to finding a film that terrifies. Yes, everyone with access to a digital camera and buckets of fake blood seems to be honing their craft and turning out product by the thousands. Unfortunately, most of it is high on splatter and low on story and production value. That may have made up the majority of the horror film sales 7 years ago, but distribution advances paid for such films are now exceedingly low (maybe $5K per territory, IF there is a pick up at all) and now the genre is perfect for the torrent sites.Unless you plan to make films as an expensive hobby, the pressure to produce a stellar horror film that people will talk about (see The Conjuring, Insidious, Paranormal Activity) is very high.
The trouble for filmmakers creating in this genre is there is so much being made of questionable quality, it is like asking audiences to find a needle…in a stack of needles (hat tip to Drew Daywalt). The same challenges for fundraising, marketing, and distribution that plague every production, plague horror films as well. To get good word of mouth, the film HAS to be great and have a significant marketing push.
At a recent event hosted at the LA Film School by Screen Craft entitled Horror Filmmaking: The Guts of the Craft, several involved in the horror genre talked about budgeting and distributing indie horror films. All agreed the production value bar has to be raised so much higher than everything else in the market in order to get people to part with their money for a ticket when competing with studio films. Talent manager Andrew Wilson of Zero Gravity Management pointed out that comments like the film did a lot with so little doesn’t hold water with audiences outside of the festival circuit. “You still need it to be good enough to get someone to come into a theater and pay $12…the guy who is going to pay $12 doesn’t care that you did a lot for a little bit of money. They want to see a film that is as good as the big Warner Bros release because they are paying the same amount of money to see it.” While you may be thinking, “I don’t need my film to play in a theater,” and that may be, the films seeing the most revenue in this genre are the ones that do.
The panel also addressed selling horror films into foreign territories. While horror does travel much better than American drama or comedy, there are horror films being made all over the world and some are much more innovative than their American counterparts. France, Japan and Korea were cited as countries producing fantastically creative horror films. American filmmakers with aspirations of distributing their films overseas need to be aware of the competition not just with fellow countrymen, but with foreign talent as well.
Other film distributors are candidly talking about the complete decimation of the market for horror, largely brought on by the internet and piracy, but also a change in consumer habits. Why buy a copy to own of that low grade splatterfest when you can easily stream it (for pay or not) and move on to the next one? More where that came from. There was once big money in fooling audiences to buy a $20 DVD with a good slasher poster and trailer, but now they are wise to the junk vying for their attention and don’t see the need to pay much money for it.
In a talk given last year at the Spooky Empire’s Ultimate Horror Weekend in Orlando, sales agent/distributor Stephen Biro of Unearthed Films actually warned the audience of filmmakers not to get into horror if money was what they were seeking.”The whole system is rigged for the distributors and retailers. You will have to make the movie of a lifetime, something that will stand the test of time.” He confirmed DVD for horror is dead. Titles that might have shipped 10, 000 copies to retailers are now only shipping maybe 2,000. Some stores will only take 40 copies, see how they sell and order more if needed in order to cut down on dealing with returns. Of the big box stores left standing, few are interested in low budget horror titles. Netflix too is stepping away from low budget indie horror on the DVD side. They may offer distributors a 2 year streaming deal for six titles at $24,000 total, but there will be a cost to get them QC’d properly (which comes out of your cut, after the middlemen take their share of course!).
As for iTunes, there are standards barring graphic sex for films in the US and in some countries, they are now requiring a rating from the local ratings authority in order to sell from the iTunes Movie store. The cost of this can run into the thousands (based on run time) per country. Also, subtitling will be required for English language films, another cost.
The major companies in cable VOD (Comcast, Time Warner, Verizon etc) are now requiring a significant theatrical release (about 15 cities) before showing interest in working with a title. They are predominantly interested in titles with significant marketing effort behind them. The cable operators often do not offer advances and you must go through an aggregator like Gravitas Ventures to access. If the aggregator refuses your film, that’s it.
Selling from your own site via DVD or digital through Vimeo or Distrify is still an option, and the cut of revenue is certainly larger. But unless there is a budget and plan in place to market the site, traffic won’t just materialize. Still, for ultra, ultra low budget films (like made for less than $5,000) with a clear marketing strategy and small advertising budget, selling direct is the way to go. Certainly better than giving all rights away for free, for 7 years and seeing nothing. At least your film can access a global audience.
Here is Biro’s talk from Orlando. It runs almost an hour
If after reading this, you are still set to wade into the market with your horror film, stay tuned to future posts looking at the numbers behind some recent horror films and what options you’ll have on the festival circuit.
photo credit: <a href=”http://www.flickr.com/photos/markybon/102406173/”>MarkyBon</a> via <a href=”http://photopin.com”>photopin</a> <a href=”http://creativecommons.org/licenses/by-nc-sa/2.0/”>cc</a>
Sheri Candler October 3rd, 2013
Tags: Andrew Wilson, cable VOD, Distrify, Guts of the Craft, horror films, independent film distribution, iTunes, LA Film School, Netflix, Screen Craft, Spooky Empire's Ultimate Horror Weekend, Stephen Biro, Unearthed Films, Vimeo, Warner Bros, Zero Gravity Management
I feel like a broken record. There is nothing I am writing here that I have not said and written many times before. Still. After all that has gone on in distribution. The willful blindness of filmmakers believing in the Oz fairytale of going to a festival, A-list or otherwise, without putting in the work of building an audience around their film, with the hope of a big sale. It is an unsupported hope of a deal that does not merit the delay of doing the work to connect with fans. They may go with a very skilled sales agent, and yet the sale that is made, if any, is one that the filmmaker could have done directly without giving up rights to their film and possibly even have done without signing such agreements because the offer was too low.
To be honest, we’re big fans of doing distribution deals in tandem with direct distribution by the filmmaker, so it’s not doing the deal that bothers me, especially not if it’s a good offer and additional work is going to be performed by the distribution company in service of the film. What is a big deal is the lost marketing opportunity that comes from waiting for this mythical deal for too long. The failure to capitalize on all the buzz and press that happens at a festival which gives a small film the launch it needs to resonate with fans and convert them to purchasers. Too many times, the filmmaker is told (by the industry) to hold out for an offer that never comes. The real indie film landscape looks much more like Kansas after the tornado, rather than the Emerald City. There is no yellow brick road that leads everyone to “the wizard” with the money. We are all building our own road.
This myth of waiting for the big offer is perpetuated in the press and by the industry. A few films get lucky and go to Sundance, SXSW, Cannes etc., and, for one reason or another, a distributor pays a lot of money to buy them. Why does that happen? Sometimes “festival fever” is high among the buyers to compete with each other and pressure to make higher bids than they should. Sometimes it’s a new distribution company trying to prove itself by outbidding more established players. Sometimes it’s personal like wanting to produce the director’s next film. Sometimes a film warrants paying good money for it, so sure is the buyer that they have an audience winner, or film that will be critically acclaimed or a major award winner. In any case, that happens very few times a year to be sure. MOST deals these days (relative to the number of films made and even shown at festivals) are not like that.
Generally, the money offered upfront does not even make the investors whole. The money ultimately remitted to the investors does not yield a profit most of the time for films without big name cast or at the top of their genre category. It seems to me filmmakers focus on the exceptions, the success stories, and ignore the rest of the data.
I was asked via our Facebook page to estimate what the budget for LGBT films should be because it is the kind of films we have A LOT of experience handling. Based on all our work in that space, I can say if you make your film for more than $150,000, you are taking a big risk of remaining in the red. It may still be a risk that at that price, but if it has decent production value, a very good story and pops at the right festivals, you can do deals and DIY and monetize all revenue fronts to make that budget back… maybe even as much as $250,000. But again, that is the exception, not the rule because there are a lot of Ifs in that last sentence. Often the revenue outcome is less in fact. Time to get to know the real story, not the ones being perpetuated to show financial success as the norm.
What I am urging now is to be MINDFUL OF TIME and LOST OPPORTUNITY and not just search for the yellow brick road expecting the wizard to make magic happen for your film. There’s just not that much magic left. While there still is some talent “getting discovered” (and to be honest this is often happening first in lab programs, not at prestigious festivals), big deals being done, careers being made (this happens annually at Sundance and even SXSW), you need to be honest with yourself about where your work lies in that realm of possibility based on the elements you have in place right now. At least have a back up plan put into action that sets up the film for capitalizing on the audience you have been building and continue to build at first shot out in public. So many films lose that chance and it will never come again for them. The task is too arduous to start all over again after the glare of the initial media and attention dies down.
This would not be a Film Collaborative post if I did not share some data with you about what is happening with films that are building their own roads to “Oz.” More specifics will be provided in the next post because we are waiting for it to come in, but for now let’s take a look at one avenue that filmmakers are still questioning, selling streams from their own website.
At Sheffield DocFest, Sheri Candler talked to DIY platform DISTRIFY with whom TFC works as does Wolfe Video, for example. Filmmakers should think about using services such as Distrify for both the purpose of selling off one’s site(s) and/or if one’s conventional distributor partners with the service (in which case hopefully the filmmaker has an affiliate relationship and receives a healthy percentage from any sales they make from their own website). Distrify cautions that for the most part filmmakers think they can put a film on a platform and wait for the cash to roll in. “We have probably 3,000 films on the service now and I’d reckon that nearly half have never sold at all- because they’ve never told anyone that they are there!,” said Peter Gerard, co founder of Distrify. For stronger films that appeal to an identifiable niche, if filmmakers make the effort to audience-build and market to that audience, Gerard says those films sell a few thousand units… For the UK, for example, these numbers are compatible with conventional DVD sales and the market as a whole. A market that is a fraction of the one in the US.
Gerard also says “Mailing lists are still the most effective way to sell – our data shows that a well-written and well-targeted mail-shot converts at a much higher ratio than Facebook or Twitter posts. Gathering Facebook likes or followers is maybe somewhat helpful, but is primarily a vanity exercise. The top-performing films focus on direct links with people via emails, blogs, and real-life events.” All this stuff TFC’s been shouting about for years (build an email list, build relationships with fans etc) can be verified in the data! We want to add that building your Facebook and Twitter accounts can demonstrate appeal to distributors seeking to assess a title to buy so we still recommend it if you are looking to make a sale. And, in the US, it may help drive awareness for the sake of building demand on commercial platforms such as Netflix.
Gerard goes on to note: “I don’t think it helps most people to say this movie made $40k or this one made $20k. I think that can be misleading because I firmly believe there is no such thing as an “average low budget film” nor a “usual amount of marketing”. We work with a wide gamut of films, and success is measured very differently depending on a range of factors. We’ve had some filmmakers earning a few hundred bucks a week and re-investing that immediately into low-budget production of serial dramas or new films. We’ve paid Nigerian filmmakers 4-figure sums recently. A first-time filmmaker earned $10k in a few weeks on a super-niche short documentary and re-invested the profits into both charity donations and DVD production for selling on the ground via real-life social networks. All of these are considered big successes for the people involved.” One of TFC’s filmmakers will be a case study down the line as the film has been a standout performer on Distrify, but that is because of the filmmakers’ efforts, her long-standing brand, and also efforts of her distribution partner.
In another future post, we will be highlighting a filmmaker who has taken a completely different path to releasing his work. Rather than living in NYC or LA, he lives in Memphis, TN, a way cheaper place to live and to film in. He has built a respectable following of his own because he’s tapped into a specific niche (not LGBT) audience that is large enough to support the films he is making.
He seems happy and his sustainable filmmaking career is a refreshing reminder that it is possible to turn away from conventional wisdom on how things in the film business work. He’s is building his own road and it might never lead to Oz, but he is the wizard pulling the levers for his work in the “post tornado Kansas” that is today’s indie film landscape.
Orly Ravid July 18th, 2013