Distribution

I four-walled my first film with “work-in-progress” screenings at four theaters (two local, two out of town) while also hitting some fests. Showing a short track record for ticket sales certainly helped with getting distribution. We ended up officially premiering on iTunes then went on to a good run with Netflix. Suffice to say it can be a solid part of a self-distribution strategy.

Michael Fitzer well done, Michael. It’s great to hear of your success. Thanks for sharing.

I love how in-depth this article gets, Amanda Toney!

Amanda Toney Thank you for sharing this, Amanda! Your insight into four walling is incredibly helpful, especially for independent filmmakers navigating distribution strategies. It’s inspiring to see how this approach can lead to not only profitable runs but also critical recognition. Congratulations on your feature film hitting theaters this month—wishing you great success with it and let us know how we can watch and come support!

CONGRATULATIONS, Amanda!

Sam Sokolow I'm excited to watch Abbott Elementary, Chicago P.D., Goosebumps: The Vanishing, S.W.A.T., the Super Bowl, Yellowjackets, and Black Mirror.

The global expansion of the industry is rolling strong! I am excited to meet with the Saudi Film Commission at Focus in London. Thanks for the share, Ashley Renee Smith.

FOCUS is going to be awesome! I can't wait to hear all about it when you're back!

This is an awesome article! Thank you for sharing, Maurice Vaughan!

You're welcome, Ashley Renee Smith. You're right. Awesome article and encouraging!

You'd approach distribution when the film is complete and ready to distribute.

Hi Reggie Cook - wishing you great success with your slate. I highly recommend this Stage 32 webinar on how to secure the best distribution deal for your film (and it happens to be on sale today :) - https://www.stage32.com/education/products/understanding-the-economics-o...

Don't do anything until you have secured financing, and set up things financially. When you're in pre-production, start contacting distributors, provide them information. During production you'll create EPK (electronic press kits) and provide to distributors to build interest. As production is wrapping up you can create the teaser trailer and send out. During post you'll follow up with a new trailer. Somewhere in all this you'll be fielding offers from distributors.

Sounds interesting.

Hello

My name is Demetrious Edwards,owner of The Original Outlaw tv.I’m trying to network with people in the entertainment world such as myself.My company is located in Macon Ga.I’ve completed 5 films this year that I wrote produced and starred in 2 of which I’ve received worldwide distribution.Im totally independent and hungry for more success.The movie list includes Picture me Roll’n,Double Trouble,Blessed or cursed,Peer pressure,Mountains in the water that just released on Thanksgiving and 7 Seals will be number 6 due to be released on Christmas Day.

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This is so powerful, Debbie Elicksen. We are in a moment when strories from everywher can be seen and heard. Art can truly change culture. Thank you for sharing!

I agree that much of the industry can feel like fluff. But, like buying a lottery ticket, if you don't take a chance, you'll never have the opportunity to win.

That said, independent creators need to set realistic goals if they hope to achieve any real success. Too often, new writers and filmmakers chase millions in funding for a project despite having no track record, spending money on pitch decks and detailed budget breakdowns that aren’t likely to get them anywhere.

A more effective approach would be to self-finance a short film and hire someone to help bring it to life.

Fellas, this is the wrong website to be against "hope" not tied to Commerce ($$).

Daniel J. Pico Well, you have some pretty well founded complaints, but you were told the truth: no one who actually applies to Sundance (or any film festival, or any film market) is doing anything other than feeding the system for those of us who don't do that. Honestly though, this is something that happens in film for more than one reason. You can't blame professional film makers. Amateur film makers are the willing victims of their own fantasies and, by definition, not professional and not in the business of making movies. They are, or may be, in an amateur community of people who are into a very expensive part of film fandom and a very expensive hobby. Producers "produce" - we don't consume. Consumers and amateurs buy pitching services, coverage and script analysis services, etc. and other ego-stroking services. Professionals frankly DGAF what other producers think about their show or their script as a product. It's a business and it's to make money. Producers bring together all the resources needed to create and get a very complex product to market - and we don't leave our marketing or market impressions to chance or the vagueries of an amateur film festival selection process which is overseen by amateurs (which they all are). We TELL consumers what to think about our product, and maneuver to MAKE them buy it to the extent that is possible, like in any other business. As Stephen Folker said above, you can't win a lottery of you don't buy a ticket. Professionals aren't in the business of buying lottery tickets - that is for dreamers.

I think some are taking the wrong message away from this post... Many who would like to make the jump to the next level of being a professional are still being taken in by these scams that use their own mythology to fleece those who haven't been warned. I'm warning them... I'm tired of the scams this industry has spawned for the desperate and hopeful alike especially in these more difficult times. I'm not willing to stand by and watch a generation of talent be exploited. These issues transcend just Sundance or Toronto, it's an industry wide epidemic of scamming the independent filmmaker, whether it be the Sales Agents, pitch festivals, or the distributors themselves it's all designed to Independents for everything they have including their films for zero dollars upfront, and ultimately nothing on the back end either. Approaching this industry as playing the lottery is insane logic, any business run that way will fail. We can't predict what the audience will or won't do, but we can change the system to give us a chance at success. Equitable splits with streaming platforms, VOD, and transparency with distribution, and If my movie cost $100,000 and you want to distribute it, put up a MG or don't waste our time. These are not huge asks you can't have property or product for free in any other industry why its excepted here is just part of the grift that they've convinced a generation of filmmakers they have to give up something to get their foot in the door, when they have no access to the door to begin with. Defend the system we have, because you've had success in it, I have had some too, but I know that the industry is changing quickly, and it will not be recognizable in the next 10 years, and if we don't carve off our own territory we will be left to work support roles if we are lucky, and if unlucky community college to learn new skills.

Daniel J. Pico Well yes, but consider a different industry. How stupid would it be to run to General Motors and say "hey, I have this idea for a new car, I would like you to give me the money to build it"? - no one would ever expect to be treated with anything but contempt by GM if they did that. Yet, that's what about 99% of independent filmmakers do... exactly that. Right? This is a business. How crazy is it to think that you should PAY to run ideas past a producer (or even do it for free) who would see you as a competitor if your ideas are good... and when ideas are not protected under copyright and legal fair game (and moral fair game, IMO) how much dumber is it? I feel your pain. But the rage should, respectfully, be channeled into business efforts. There are ways, and many more opening up.

One hurdle might be with licensing deals and ad deals. Freevee, while owned by Amazon, is probably operated as its own company with its own accounting and contracts. They may have known they would consolidate a while back, but had to finish out time commitments. I wonder if that was a plan even before the rebranding from IMBDTV, with Freevee as a stepping stone?

Yup, well as I have been saying for the last (over a) decade, the ONLY streaming model which will be economically viable is ad-supported. Even Netflix and now Amazon have de facto admitted that...

Quick chime in - I just spoke to a freind who had a show in development at Freevee - writers room open and multiple scripts written - they're being moved over to Prime and not just shut down. I agree Dan MaxXx that any jobs lost is too many but at least some of the creatives are going to keep their shows going.

That’s a good sign, Sam Sokolow. They wont shift all of their development projects over, but if they’re doing that with one, there are likely at least a few others getting saved and allowed to move forward.

If you blinked, you missed it. lol.