Specialty Box-office.
For those of you writing or producing a film that is rich in social content, it’s great to see that The Zone of Interest is making the most out of the educational market. Check this out:
“More than half the audience has been under 35 (through last weekend) thanks to avid young fans of A24, as well as Glazer’s unusual tale of an Auschwitz commander and his family living in a bucolic villa whose garden wall abuts the concentration camp and its horrors, which are only heard, never seen. Both have made it a significant work on the Holocaust for this generation. The film, which was shown at the United Nations last month, is touring college campuses with screenings done or skedded at Yale, Brown, Dartmouth, Vanderbilt, University of Chicago, University of Miami, USC, University of California San Diego, University of Wisconsin-Madison, Florida State University.”
As I was reading this, I couldn’t help but think about my own film, that has human trafficking film. I’m taking note of this, for when the film is greenlit. Exciting times.
https://deadline.com/2024/02/indie-box-office-zone-of-interest-a24-young...
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Thanks for all the advice, Stephen Folker! Much appreciated
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Trey, aggregators are usually a last resort rather than a first. They deal in volume and simply put their films up on platforms. If you believe that your film doesn't have potential to, say, get picke...
Expand commentTrey, aggregators are usually a last resort rather than a first. They deal in volume and simply put their films up on platforms. If you believe that your film doesn't have potential to, say, get picked up by Starz or Showtime domestically, or garner an MG in any international territory, then perhaps that's your best route, although it's safe to assume you won't recoup your budget. However, if you realistically think there's some potential upside, it's definitely worth submitting to and chatting with other distribution & sales entities. You can expect there to be some expenses and market fees - as long as they are transparent with these and they are reasonably capped, that is actually standard industry procedure. You also want to ensure that there's no cross-collateralization. I think a 2-year term may be challenging; however, you can ask for performance minimums with the right to take your film back if they don't meet these in the first two years, for example. There are plenty of shady operations out there, but there are plenty of reputable ones as well. If you ask around, you can usually get the low-down. :)
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Thank you everyone for jumping in with great insights!
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Robert Deege Thank you so much for this! Very insightful and helpful
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Trey Alessio Keep us posted as to what direction you go! And if you go the route of a traditional distributor, reach out to other filmmakers who have had their works distributed by said company and as...
Expand commentTrey Alessio Keep us posted as to what direction you go! And if you go the route of a traditional distributor, reach out to other filmmakers who have had their works distributed by said company and ask if they've made money (or their budget back). And there are a couple of groups on Facebook where you'll find all the info you need about predatory companies. Best wishes to you!!