Distribution

Abhijeet Aade Hi Abhijeet, I hope you are well.

Yes, owning the IP is one thing - and rendering it valueless is quite another!

Emil Soliman hello Emil, yes, long-term brand value has to be essential for the Streamers, but also the owners of any IP. Surely it must form part of any company’s strategy?

How are things with you? What are you working on at the moment?

Hi Geoff,

Absolutely. I agree that long-term brand value is becoming increasingly important, particularly for owners of strong IP. Theatrical exposure, audience awareness, streaming, and the long-term life of the property can all become part of the same strategy.

Things are moving forward with me. At the moment, I’m developing Beyond the Five Senses, a feature film based on real experiences from my life and my book Pharaoh in the Land of Cappuccino.

I’m currently working with a screenwriter on developing the screenplay, starting with the story map and timeline before moving into the full screenplay. I’ve also already had conversations with producers who have shown interest in the concept, but naturally they want to see a strong finished screenplay before moving further.

It’s an ambitious project, moving through Egypt, Italy, and Spain, with a substantial story and a number of events and locations. So right now my focus is making sure the screenplay is strong enough creatively and commercially to support that level of production.

I’m also developing several other books and film concepts, so there’s quite a lot happening at the moment.

I’d be interested to hear what you’re currently working on as well.

Best regards,

Emil

Geoff, I think that may be part of it too. The interesting shift for me is that theatrical no longer has to undermine the subscriber-first model. If the window is controlled carefully, Netflix can potentially gain box-office revenue, event status and publicity, then still bring the film to subscribers as a premium streaming title. It feels less like abandoning streaming-first thinking and more like widening the value of the same project.

Charmane Wedderburn yes, Charmane, we live in interesting and exciting times for multi-platform releasing.

Whether this will impact indie film is hard to tell, but doubtful. AMC itself calls it a “low-risk opportunity” - looking only for completed or fully financed films, no mention of advances, MGs, negative pickups. They are explicit they will not compete with the studios or their distribution partners... All of which in the ends means that there might be some space for new indies, but clean screens and block booking by the majors will still rule, and that they won't be paying more than other distributors...

You're welcome, Chase Friedman. Thanks for the insight. You worked on 200+ films. WOW! Congratulations! Did you run into any unexpected problems when you worked on a film?

Maurice Vaughan Constantly. The one that still gets me is when a film gets a great festival response and the team reads that as proof the audience exists. It is not the same thing. A festival crowd is people who came to see a film, any film. That is a very different group from people who will seek out your film specifically.

I have watched teams coast on a standing ovation for three months and then wonder why the VOD numbers were flat. The ovation was real. It just was not evidence of anything except that the room enjoyed the movie.

The other one is quieter. Filmmakers who built something real during production, an email list, a partner network, and then let it go cold for a year during post. When they came back the relationship had to be rebuilt from scratch. Attention is not a thing you bank.

@Shadow That is the right instinct, and starting before shooting is rarer than it should be. The intention point matters too. A film built for a specific community can start early because you know who you are talking to. A film still finding its shape sometimes cannot, and forcing it produces a generic audience that does not convert.

Thanks for the answer, @Chase. The third paragraph is something for filmmakers, writers, etc. to keep in mind.

thanks Karolina Ferguson That last point is the one I would underline. Knowing who your audience is changes what you make, not just how you sell it. The films that do best usually made that decision early rather than discovering it in post.

Laura Hammer While it’s not a re-release, the new Spider-Man brought me—a 60-year-old Goddess!—straight to the theater on opening day. And it was pure awesome (made even sweeter by my senior discount, LOL!). The storytelling was fantastic, and I loved every bit of it. That said, as a long-time Spider-Man fan, the one creative choice I couldn't fully get on board with was casting Zendaya as MJ. To me, MJ will always be that classic red-headed firecracker!

To your point about theatrical energy, though, it’s proof that whether it’s a shiny new blockbuster or a restored classic, people want the communal big-screen event right now. The magic of hearing a full theater react in real time just can't be replicated on a couch.

As for the re-release I’d drop everything to see on a massive screen? Give me a 4K anniversary theatrical run of The Last of the Mohicans or Jeremiah Johnson. Cinema that relies on sheer scale, environment, and physical score belongs in a dark room with a booming sound system!

My dad and I are X Files fans! Saw the 1998 movie in the theaters. I don't think I ever saw the 2008 movie, though, so will check this one out!

Laura Hammer Recently, my favorite re-release experience was Dogma for its 25th anniversary last year.

It’s one of my favorite movies, but I was six when it originally came out, so I obviously missed the chance to see it in theaters the first time around. Getting to finally experience it on the big screen felt really special, especially with Kevin Smith’s recorded Q&A panel afterward.

My husband surprised me with tickets, which made the whole thing even better. There’s something about seeing a movie you already know and love with a crowd that completely changes the experience. The laughs hit differently, the emotional beats land harder, and you notice details you’d never really paid attention to at home.

That’s one of the reasons I love this re-release trend so much. For people like me, it’s not always about revisiting something we saw theatrically years ago. Sometimes it’s finally getting the theatrical experience we missed the first time around.

And when there’s something extra attached, like a filmmaker Q&A, restoration notes, or anniversary material, it makes the screening feel like a real event instead of just another showing.

I’d absolutely keep showing up for more releases like that. For me, the best re-releases are the ones that make a familiar film feel communal and new again.

Oh, and one I would absolutely LOVE to see re-released on the big screen is Clue.

Especially after the recent news about Tim Curry, I think it would be such a wonderful celebration of his incredible performance. He’s endlessly quotable in that film, and I can only imagine how much fun it would be to experience it with a packed theater full of people laughing together.

Aww. I saw last night that some of the streamers put up movies including STEEL MAGNOLIAS and CLUE in tribute to Dolly Parton, Tim Curry and more greats that recently departed.

Sounds interesting, Nick. Can you share a little more about the series and what you're currently looking for on the distribution side?

aAshley Renée Smith, before the days of streaming, if there was a movie or TV show I particularly enjoyed, I’d make sure to pick it up (thereby ensuring I’d never watch it, as “I could watch it anytime I wanted”). That led me to get various Star Wars and superhero movies (including the infamous Star Wars Holiday Special), and TV DVD box sets, like the first three seasons of SCRUBS. I’ll still pick them up to increase my library (which I have proudly displayed in my living room). With ROMANTIC COMEDY 101 (my first screenplay) not being on any streaming service (yes, I check every so often), my physical copy is the only way I can watch it. Now that the threat of streaming services erasing content looms large, I always check at my local used bookstores to see if any of my favorite shows or movies find their way way (they have a nice selection of DVDs and VHS tapes).

What an interesting discussion. I recently came across some of my box set DVDs that I had kept, and even though I didn't have a DVD player I elected to keep them. I found this article which I thought was timely to your post Ashley: https://www.kiplinger.com/personal-finance/family-savings/you-dont-actua...

I'm glad I've kept all my DVDs, Laserdiscs, VHS and Blu-Rays. The problem with streaming services is that they don't always show the "correct" or favoured version of a film. A friend and I happened to switch over the television the other day and saw Moonraker was on. The scene where Jaws meets the young woman with braces was completely lost as when she smiles, SHE DIDN'T HAVE BRACES! That was the whole point of that scene where they "connect" because they both have metal in their mouths. Other movies like The Abyss won't ever get a full release because of the rat scene. There's way too many to mention but, just like vinyl records got a revival, I'm sure DVD will too.

Not many Ashley Renée Smith and honestly, not replacing everything. Mostly the Monsterverse and limited DC live-action movies. There's no point in replacing animated DC. I promise I'm not going nuts. It's a short list.

Ashley Renée Smith Exactly. I think that distinction between discovery and conversion is important. Physical media can give an existing audience a deeper way to engage with a film, but it probably isn't the best tool for finding that audience in the first place.

For independent filmmakers, that makes the audience-building side particularly important. Streaming, festivals, social media, and community engagement can create the initial discovery, while a physical edition can become something you offer to the people who have already connected with the film.

The crowdfunding angle is interesting too, because it could potentially turn that existing audience into a measurable demand before investing heavily in a physical release.

I’ve been diving deep into TikTok lately and realized it’s much more than just a "video platform." From a professional standpoint, it’s one of the best ways to archive knowledge and build real authority in your niche. If anyone is interested in the kind of topics we’ve been discussing here, I’ve started putting together some deep-dives and tutorials. You’re welcome to check it out if you’re looking for more context https://prstor.com/tiktok/followers/

Hi Neal!

I’m so sorry to hear about your family emergency - I hope everything is okay.

Yes, the webinar was recorded and you can access it anytime in your My Library section of your Stage 32 profile. If you have any trouble finding it or need any assistance at all, just let me know - happy to help!

Hi Max,

Thanks for sharing your enthusiasm for TikTok and building authority through content - it’s always great to see members exploring new platforms and ways to grow professionally.

Appreciate you being part of the community!

The point about understanding where the money actually flows is especially important in any fast-growing market. It's easy to focus on the opportunity without looking closely at the business model, costs, and revenue structure. I recently came across a similar breakdown of realistic vending machine profits: https://neuroshop.tech/blog/understanding-realistic-vending-machine-profits, and the same principle applies—understand the numbers before jumping in.

James Lagrimas The IP protection side of this is especially interesting. Vertical storytelling is developing so quickly that I think many writers may focus on the creative opportunity without fully understanding how packaging, financing, and deal structures can affect ownership and control of their work.

For independent writers and filmmakers, understanding those issues before entering a deal seems just as important as understanding the creative side of the format. It’ll be interesting to see how vertical storytelling continues to evolve and whether the business models eventually become more writer-friendly.

Revenue is strong due to a steady and increasing amount of cinema-goers. Of course inflation on ticket prices adds to the growth in income. In particular, Gen Z is heading to the box office in record amounts.

Jack Binder It’s encouraging to see audiences returning to theaters, but I think the more interesting question is what is driving that return. Theatrical attendance recovering doesn’t necessarily mean every type of film is benefiting equally.

For filmmakers, it could be a sign that audiences still value the communal experience of cinema when a film gives them a strong enough reason to leave home. The challenge now is understanding what makes a project feel like a “theater film” in an increasingly streaming-driven market. That distinction could have a big impact on how independent filmmakers approach development, marketing, and distribution.

Encouraging news. The real opportunity now is turning that renewed theatrical interest into something sustainable, especially for independent films competing for audience attention.

Zoltán Varga @abhigeetaade Absolutely! It feels like a breakthrough moment for cinema.

Jack Binder Absolutely, Zoltán. It’s an encouraging sign for the industry, especially if this momentum continues and creates more opportunities for diverse and independent films. Hopefully this is the beginning of a sustained recovery for theatrical cinema.

It's encouraging to see that strong box office results aren't being driven only by major studio releases. When well-positioned independent films perform beyond expectations, it reminds us that audiences are still willing to discover original stories.

Imagine what that would mean if it were due to more tickets sold instead of rising prices...

Jack Binder The most interesting part of this for me is the performance of the indie horror titles. The billion-dollar studio releases grabbing attention is expected, but seeing smaller genre films outperform expectations suggests there is still meaningful theatrical space for films that give audiences a strong reason to show up.

It also reinforces how important genre can be for independent filmmakers. A film doesn’t necessarily need a massive franchise behind it if the concept is distinctive enough and the audience knows exactly what experience they’re going to get. I’m curious whether this momentum will translate into more opportunities for mid-budget and independent films in theaters.

Abhijeet Aade Absolutely! Theatrical success opens the door for further opportunities for filmmakers and indie film.

Jack Binder Exactly. The important part is whether that momentum creates more room for independent filmmakers and original projects, rather than being concentrated only among established franchises. If audiences continue showing up for distinctive indie films, it could encourage distributors and exhibitors to take more chances on them.

Gurpreet Singh That's a smart evolution, letting people experience the world building alongside the story, not just the end result. Music and mood especially can say so much before a single frame is shot. When you get to that stage, I'd love to hear how you're thinking about the sound/tone side, that's very much where my head lives too.

Krenda Alice Thank you! I couldn’t agree more. Sound and music shape how an audience feels before a story is fully realized, and that’s something I want to explore much more intentionally. I’m still building that side of my creative process, so I’d genuinely enjoy exchanging ideas and learning from your perspective along the way.

Gurpreet Singh I'd genuinely enjoy that too. One thing I always come back to: sound doesn't have to wait for the finished film to start shaping how people feel about a story, even early teasers or mood pieces with the right music can tell people what a world feels like before they see a single scene. If it's ever helpful, happy to riff on tone/mood ideas together as your projects take shape.

Krenda Alice Sure !

Gurpreet Singh I think the distinction between building an audience for one project and building an audience around the kind of stories you tell is especially important. A single film may have a limited promotional window, but if people connect with your voice as a filmmaker, that relationship can carry into the next project.

I’m a filmmaker and screenwriter as well, and I’m trying to approach networking and audience-building as a long-term process rather than only promoting a finished film. The challenge, in my view, is making sure the content we share actually gives people a reason to care about the story and the filmmaker not just giving them constant promotional material.

I’d be interested to hear what kinds of behind-the-scenes or story-driven content have generated the most meaningful engagement for you.