• Maximize Revenues - permitting you to increase distribution revenues and attract production funding

• Maximize Audience - allowing you to connect with viewers across the country and around the world

• Maximize Impact - facilitating partnerships with nonprofit organizations, educational institutions, government agencies, and companies, to make real change

• Maximize Career - helping you build a personal audience you can take with you to your future films

1. SEIZE YOUR DISTRIBUTION - my TIFF presentation provides an overview of the latest New World opportunities: https://www.youtube.com/watch?v=QQQERNgj5IU
2. ONE VIRTUAL PREMIERE, ONE MILLION VIEWS - analyzes the breakthrough virtual success of FIVE SEASONS: https://www.peterbroderick.com/distributionbulletins/files/9ba9fd852931cccb323c7c7c91014c6e-47.html
3. REVOLUTIONARY DISTRIBUTION - highlights the lessons from the unprecedented global release of THE WISDOM OF TRAUMA: https://www.peterbroderick.com/distributionbulletins/files/3518403dfebf0ec37de0340180f0f62f-58.html

SHOW&TELL
www.ShowandTell.film



KINEMA
www.Kinema.com

- Peter Broderick

© 2024 Peter Broderick

• what's new and what's old in documentary distribution
• a tale of 2 Sundances (2019 and 2023)
• 10 ways to maximize your distribution
• golden opportunities in the New World of Distribution
• 3 breakthrough success stories
• how to succeed as a New World filmmaker 

• they lost much needed revenues
• they lost some or all of the deals their distributor had made for their films
• they no longer had a distributor
• they are now back at square one with a film other distributors considered old 

1. Begin by reviewing the potential distributor’s website. Do they have a solid track record distributing films like yours? If your film is a social issue documentary and the company has mainly distributed genre features and only a few celebrity docs, they are probably not the right fit.
2. If they do have significant experience handling films like yours, look for the ones closest to your film in content and core audiences. Films the company has been distributing for 12-18 months will give you the most relevant information. NOTE: Don't ask the distributor for references because they will never recommend filmmakers who are unhappy with them.
3. Reach out to the producers or directors of four or five of the films you've targeted. It will take some time and effort to connect with them, but most filmmakers will be willing to have an off-the-record  conversation.

• Did the distributor do what they said they would do?

• Have they reported and paid on time? 

• Do the numbers seem accurate?

• Has it ever been necessary to chase them for reports or revenues?

• Have the revenues been consistent with the company's projections? (NOTE: Some filmmakers will be willing to share revenue numbers or at least say what range the revenues have been in (e.g. 5 or 6 figures), but this is not essential.)

• Has the company been diligent in marketing your film?

• Are they easy to reach and responsive?

• Are they collaborative?

--------------

Stay tuned for my upcoming Bulletin on the other steps you need to take to avoid disaster. Due diligence is an essential way to identify good distributors, but you also need protection from good distributors that encounter financial setbacks and fail. 


- Peter Broderick

© 2023 Peter Broderick

• celebrity-driven docs

• true crime docs

• music docs

• docs with great worldwide appeal

Dr. Maté facilitates a therapy session

The Donation Model
 
The filmmakers made a third inspired decision. They created a donation model.

They were advised to make the film available for free. Standard operating procedure in the summit marketing world is a free offer followed by the upsell of related products. But Zaya and Maurizio resisted, remembering the warning from the documentary THE SOCIAL DILEMMA, “If you’re not paying for the product, you are the product.” 

They were unwilling to treat their viewers as products. Instead, the suggested donation to watch the film was $20. People could pay what they wished, even $0 was acceptable. Zaya and Maurizio wanted as many people as possible to see their film, so no one was turned away, even if they donated nothing. Viewers could also buy the whole package for $189, which included over 40 hours of conversations with Dr. Maté and his guests.

By creating a “by donation” model, the filmmakers were able to achieve the best of both worlds:

• historic audience numbers
• exceptional revenues
• no one who wanted to see the film was turned away (leading to good will, good word-of-mouth, and more sign-ups)

• Facebook ads which accounted for 20-25% of views
• Affiliates which accounted for 20-25% of views
• Word-of-mouth which accounted for 50-60% of views

Inmates gather for the Compassion Trauma Circle

Release Timing
 
Instead of a continuing release, the filmmakers limited the initial availability of WISDOM to three special event windows spread over 4 months. 

Following the premiere/Summit week June 8-14, 2021, the film went dark. There was no way to watch it for another 6 weeks. The second release window was July 28 – August 1, 2021. It included a special rebroadcast of the “Talks on Trauma” Teaching Series from the Summit.

The third and final release window was October 4-10, 2021. This included a new series of conversations, Part 2 of the “Talks on Trauma” series.

Alternating shorter special event periods when the film was widely available with longer periods when it was completely unavailable made the limited opportunities to see WISDOM more urgent.

Following the third window, the film went dark again. Later that year, the film was finally made available from the WISDOM website for: 

• organizations to rent the film for screenings
• individuals to stream the film. It is now available in over 30 languages (all of the translations were donated by native speakers around the world). There are also 14 websites totally translated into different languages so viewers who don’t speak English are easily able to reach the page and view the film (donating if they wish) without the barrier of the English language.

• build an audience around the film that will be supportive of their future work 
• dramatically expand the membership of SAND, their organization
• directly receive 100% of donations and other revenues

Zaya Benazzo and Maurizio Benazzo,
co-producers and co-directors of THE WISDOM OF TRAUMA

The Future
 
So far, WISDOM has been viewed over 7 million times. If an average of 1.5 viewers have watched it each time, that would mean over 10 million people have seen it.

The WISDOM website is the only place to watch the movie online. 50,000 to 100,000 people are visiting the website every month. Many are streaming the film for a suggested donation of $7.99 or more or less. Many are buying THE WISDOM OF TRAUMA All Access Pass, which includes the film, a course, and many talks, for a suggested price of $197.

The SAND mailing list grew from 60,000 names before WISDOM to 900,000 after WISDOM.  The filmmakers have removed inactive subscribers, so it is now down to 600,000.

Zaya and Maurizio are already in production on their new fully financed film. Their global audience awaits! 

- Peter Broderick

© 2023 Peter Broderick

CRASH COURSE

Joe and Stu generated over $250,000 in revenues while they were making their latest film, ALL THE LONELY PEOPLE. They revealed how they did it to Keith and me during a recent Show&Tell webinar. We also did a series of interviews with them to learn the key lessons to share with you in this Bulletin.

Andrea Richie is bed bound. She opened up about her struggle
with isolation in ALL THE LONELY PEOPLE

Stu and Joe believe there should be “no secrets” among independent filmmakers. They are committed to being open and transparent about their methods and their revenues, confident it will be helpful to other independents.
Keith and I have created this mini-crash course to empower you to fast forward revenues.

It includes three written modules:

• How to create a powerful clip presentation during production
• How to secure corporate and nonprofit partners early
• How to partner with government agencies before picture lock

• READY FOR LAUNCH: 6 ESSENTIAL STEPS TO PERFECT YOUR DISTRIBUTION STRATEGY - We explain the revolutionary concept of pre-distribution and show how to use it to maximize your distribution

• CUTTING EDGE FUNDRAISING - HOW TO START MAKING MONEY BEFORE PICTURE LOCK - A candid conversation with Joe and Stu about fast-forwarding revenues for ALL THE LONELY PEOPLE

• ALL THE LONELY PEOPLE: A DISCUSSION ABOUT CHRONIC LONELINESS AND ISOLATION - Stu and Joe’s model clip presentation presented by AARP North Carolina

ALL THE LONELY PEOPLE is a feature documentary about “the epidemic of social isolation and chronic loneliness.” During production, the pandemic dramatically increased loneliness worldwide, making the need for their film even more urgent.

1. It is personal. Stu begins by explaining why he was compelled to make the film. “I’m lonely. I’m aging. I’m worried about it.”
2. It is well-structured. It highlights at the start the elements of the presentation viewers won’t want to miss so they will keep watching.
3. A teaser previews the future film.
4. An excellent host and a knowledgeable expert complement Stu and make for a dynamic threesome.
5. Moving clips show how people around the world are faring during this epidemic of loneliness.
6. The event is very interactive. Audience members are invited to ask questions, make comments in the chat, participate in polls, and take the Loneliness Quiz.
7. The Loneliness Quiz is irresistible. Viewers grade themselves and share their results, as the hosts compare their scores.
8. Feedback is solicited. Stu invites the audience to be part of shaping the film. Stu and Joe valued these events as focus groups with strangers. They learned which characters viewers responded to the most and which story lines weren’t working.
9. The event has personal utility for lonely and isolated viewers. They learn from the insights and tips provided by Stu and his co-presenters. The presentation highlights the “caravan of support” and resources available to viewers.
10. Empathy The overall tone was warm, caring, and understanding. Viewers are not lectured at, condescended to, or persuaded to buy anything.

• the subjects of loneliness and isolation were attracting large audiences
• Stu and Joe’s clips captured these subjects effectively
• viewers were engaged and kept watching
• viewers found the presentations hopeful and helpful

How to Secure Corporate and Nonprofit Partners Early

You don’t need a finished film to start building relationships that can provide the support you need. Joe and Stu started building awareness of their film and pursuing partnerships almost two years before picture lock.



Joe Applebaum (Producer of "All The Lonely People") Credit: Stu Maddux


They began proactively reaching out directly to potential partners. Their successful presentations generated word-of-mouth and possible partners started approaching them.

The presentations also illustrate a key factor that few filmmakers understand. Most potential partners in the corporate, philanthropic, and public sectors can make better use of shorter material than a feature length film. They can do much more with a 15-minute version of a feature, a short, a series of clips, or a spot. They can be used as part of a conference keynote, presented during a webinar, shown on television, or spread online.

In addition to video content, many partners want an experience, like a presentation or Q&A (live or virtual), that adds complementary insights and value. Joe and Stu learned this first-hand as they booked events months before locking their film. By integrating their clips in an interactive presentation, Joe and Stu demonstrated how their partners can have the greatest impact with their material. Potential partners became partners after attending live presentations and being wowed.

Here are nine essential steps to secure corporate and nonprofit partners:


Identify the right partners

• Create a hit list of potential partners. This list should be large and include companies, nonprofits, foundations, and advocacy groups
• Prioritize partners with a clear track record of supporting communities, causes, issues, conferences, or legislative advocacy related to your film’s message
• Track down the names, phone numbers, and email addresses of potential partners by using tools like LinkedIn and RocketReach, with a focus on staff working in marketing and communications

• Email your leads and be prepared to practice polite persistence because most unsolicited emails go unanswered
• Speak on the phone with a few of your prioritized partners to make clear why you think your film is relevant to their work and understand how your film can be useful to them
• Share a simple pitch deck (just a couple of pages, short and sweet!) and either your trailer or clips from your film. No need to share your film at this stage. If they ask for it, let them know when you expect the full cut will be done

• Offer to host a work-in-progress virtual event with a presentation and ask for a fee. Position it as a fun community engagement event, joint fundraising event, or training session for employees
• Host events to spread the word about your film, which will lead to more opportunities
• Collect email addresses from attendees (some of whom may want to host their own events) and a glowing quote from your partner to use in future outreach

How to Partner with Government Agencies Before Picture Lock

Government agencies are partnering with documentary filmmakers more frequently. Previously many independents thought the only government agencies that supported film were the National Endowment of the Arts and National Endowment of the Humanities. Today more and more filmmakers are securing partnerships leading to significant funding and promotion from a variety of local, state, and federal agencies, as well as court systems and Governor’s offices.

Here are three essential steps to effectively pitch government agencies:

Find the right agencies to target

• Get started by thinking about what your film is about, what issues are at its core, and then identify parts of the government that are involved in those issues 
• If your film is about international issues, reach out to the State Department
• If your film is about sustainable farming, reach out to the Department of Agriculture or a local office of the USDA
• If your film is about domestic violence, reach out to the public information officer of your local Family Court

• It can be included in their internal training content for employees
• It can be used to engage their constituents and communities they serve
• Clips from your film can be included in their website and social media 

• Start with public information and community engagement offices
• Begin locally and then move up to the state and national levels
• Introduce yourself and your film. Don't worry if you're not sure exactly what to pitch. Sometimes by just getting on their radar will spark good ideas and promising opportunities

• fast forward immediate and future revenues
• attract potential partners and build solid partnerships with them
• gain valuable feedback that helped them make a better film
• test core audiences to learn which ones to focus on
• refine their pitch and positioning of the film
• provide helpful insights to viewers struggling with loneliness
• create positive awareness among viewers and more potential partners

• CUTTING EDGE FUNDRAISING - HOW TO START MAKING MONEY BEFORE PICTURE LOCK - Joe and Stu reveal how they fast-forwarded revenues for ALL THE LONELY PEOPLE

• READY FOR LAUNCH: 6 ESSENTIAL STEPS TO PERFECT YOUR DISTRIBUTION STRATEGY - We explain the revolutionary concept of pre-distribution and show how to use it to maximize your distribution

• Increase awareness of your film
• Build your audience
• Generate revenues

Laurentine ten Bosch and James Colquhoun

This special event includes:

• Hungry for Change - definitively demonstrated the power of free in 2012. When it premiered online worldwide for free for ten days, there were 453,841 views across the globe. People who viewed the film gratis purchased over $1.02 million worth of DVDs and recipe books. Here is my previous Bulletin on Hungry for Change.

• Food Matters - James and Laurentine’s first film sold hundreds of thousands of DVDs online. They discovered the power of free during its release:

• Free, in-person public screenings increased their DVD sales

• Free dynamic video content was available on their website to everyone who registered. Here is my previous Bulletin on Food Matters.

• Transcendence - James and Laurentine made this 10-part series after releasing Food Matters and Hungry for Change. It explores how people can transcend limiting beliefs and improve their physical, emotional, and mental health.

• How to position and market a free event to attract new viewers as well as your subscribers

• How to customize and time pre-event promotion

• How to most effectively attract event sign-ups

• How to use free gifts to increase opt-ins for your mailing list

• How to convert free viewers into buyers of your film, related products, and courses

• they are aligned with the issue or topic(s) central to your film
• they have an active audience that will be receptive to your film’s message

• A nonprofit advocacy group
  
• A Fortune 500 company
  
• An Instagram influencer that backs you financially and opens doors to more support
  
• The organizer of a conference of academics focused on issues connected to your film
  
• Government officials, departments, and policy makers
  
• Foundations committed to support causes related to your film
  

• Look up any nonprofit’s tax forms online (they are called a Form 990) to find out who funds them
• Look at the companies that sponsor related conferences
• Find out which celebrities are involved in causes related to your central issues
• Identify which companies are buying advertising in niche media outlets relevant to your film’s central issues
• Research foundations and other nonprofits that fund or operate relevant programs and initiatives

-----

I hope these five steps will help you on your journey identifying and pitching partners. Partnerships were hands down our most effective tool during the distribution of Age of Champions. In my work advising filmmakers on connecting with their own partners, I have seen the impact an effective partnership strategy has on raising critical awareness for a film.

However varied partners may be, what’s constant is that meaningful partnerships will transform your distribution. Filmmakers I’ve advised have grown their audience and generated significant revenue partnering with companies like 23andMe, professional groups like the National Association of Rehabilitation Nurses, and arts organizations like the Seattle Orchestra and Hauser & Wirth. Each of these partners transformed the filmmaker’s ability to connect with a national or global audience and to generate revenue.

This guide is meant to give you knowledge but also the confidence to try an approach to distributing your film that is outside of the norm. It can be intimidating to be on the frontier of distribution, but time and again, I've seen this strategy work—and work wonders.

———————————

Keith is the Founder of Show&Tell, a virtual screening platform. To learn more about hosting a screening of your film or learn the fundamental principles of how to launch an effective virtual event, visit www.showandtell.film.

Check out this sample Show&Tell virtual event for a feature documentary that has held 22 events raising $66,000.

© 2021 Keith Ochwat

Illustrations by Sofia Lacin

Tags: film distribution documentary

• to reach widespread audiences directly
• to exponentially increase awareness of their films
• to generate substantial revenue rapidly
• to enable their films to go viral quickly
• to retain control of their distribution

• the symphony or organization to benefit economically and stay connected to their audience.
• us to get our film directly to its target market and generate revenue from each event.

• $3,000 fee paid to us upfront
• 50/50 split of ticket sales
• 100% of additional donations go to the host organization. (Ticket buyers have the option to add a donation to their ticket purchase)
• 100% of sponsorship revenue for event is kept by the host organization.
• 100% of DVD or product sales (offered on the event’s website) go to us.

• Classical musicians
• Organizations that support or promote classical music
• Classical music fans
• Instrument makers

1. Introductions
2. We are reimagining ourselves as filmmakers and how to get our film out just as you are reimagining your organization and how to stay connected to your audience.
3. Our model allows you to host an exclusive screening event specifically for your audience. These ticketed events can run a week, ten days, or as long as you want.
4. We explained the three ways they can make money:

1. A 50/50 split of ticket sales
2. 100% of added donations
3. Additional sponsorship revenue

5. We shared our screen and walked them through the site.
6. We answered any questions.
7. Finally, we said that we wouldn’t expect a decision without them first seeing the film. We followed up by providing their decision makers with a password protected link to the film.

1. Worked with them to secure dates for the screening.
2. Helped them decide on a price for the event.
3. Explained what marketing materials we will need from them and when we needed them. These materials were: description of the organization, 5-6 high quality photographs, and an introductory video.
4. Worked with them to make their event more exclusive by developing a premiere status to use in their marketing (World Virtual Premiere, East Coast Premiere, World Conservatory Premiere, Southwest Premiere, Rocky Mountain Premiere, and Midwest Premiere).
5. Sent them a simple Letter of Agreement outlining terms to be signed by the appropriate officer of the organization.

1. A Home page that features the partner organization
2. An “About the Organization” page

3. An introductory 15-45 second video produced by the organization that precedes the film and is seen by all viewers. This video can also feature sponsors.
4. Presale tickets so the organization can begin marketing and selling in advance. (The presale price can be at a discount).
5. A live Zoom webinar Event with the filmmakers and stars of the film for closing weekend. These events are hosted by the organization and feature a bowmaker, a key musician from the film, and myself. The organization provides the facilitator and additional panelists.

1. An audio of the narration: “XXX organization is proud to present the Midwest premiere of….etc.”
2. High resolution photographs
3. Organization logo
4. Logos or list of any sponsors
5. A piece of music

1. Posting the event on their website Home page
2. Sending emails to their audience list. (Three different ones sent out – see “Lessons Learned” below)
3. Getting local print and radio media to cover the event. The Illinois Philharmonic Orchestra was able to get two newspaper reviews of the event, plus have it featured on their local public radio station
4. Social media
5. Doing dinner-and-a-movie events with local restaurants providing take-out meals
6. Getting local schools or educational organizations involved

• Seattle Orchestra and Chamber Singers
• Harford Symphony Orchestra
• Curtis Institute of Music
• Illinois Philharmonic Orchestra
• Santa Fe Chamber Music Festival
• Friends of Chamber Music Denver
• Orcas Island Chamber Music Festival

• a screening fee
• the addition of 3100 new subscribers to his mailing list and personal core audience
• hundreds of requests from organizations and individuals, which will turn into paid screenings and sales. Tom has a section of his website devoted to helping organizations and individuals “organize a virtual screening”.
• an amazing increase in worldwide awareness of Five Seasons

• the greater possible length of virtual screenings allows enough time for digital word-of-mouth to significantly expand the audience. I assume that many viewers who watched Five Seasons during the first day or two raved about it to others, significantly expanding the audience during the last day or two of the screening.
• making the film available during a limited time period gives a virtual screening the feeling of a special event (as opposed to continuing availability on VOD). There was a spike in viewership Sunday night as time was running out.
• many physical screenings are organized by distributors, who act as intermediaries between filmmakers and screening audiences. When filmmakers organize virtual screenings, they can have a much more direct connection with the audience. Viewers reached out to Tom on Instagram and he was able to engage with them in more satisfying ways than if they just asked questions during a Q and A following a physical screening.

• admission can be charged. If viewing Five Seasons had cost $2.00 and there were 250,000 views, the gross would have been $500,000.
• a screening can be a fundraiser. If the price had been $10.00 and there had been 100,000 views, the gross would have been $1 million, 50% to the partner and 50% to the filmmaker.
• a filmmaker can be paid a fee by the partner organization to make the film available to its members (these fees can range from $250 to $5,000 and up).
• filmmakers can sell online downloads, streams, tool kits, and other ancillaries following the screening.

• policymakers and their staffs
• members of an organization to get them involved with an issue
• funders to attract their support for a campaign

• test screenings followed by in-depth Zoom conversations with audiences as geographically dispersed as desired
• press screenings followed by substantive Q and A’s with critics across the country or around the world
• special screenings for funders and supporters, ranging from investors to Kickstarter donors

• global premieres - Tine is looking forward to making films available during the Festival to viewers around the world. While the number of tickets can be limited, the potential reach of the Festival is unlimited.

• global special events - the success of the Edward Snowden event demonstrated the potential of making events available worldwide.

• planning a longer Festival - this year they extended the Festival on-the-fly twice. Originally scheduled for March 18-29, it ended up continuing until April 30, three times longer than planned, making it possibly the world’s longest major festival. While the logistics and costs of significantly extending a physical festival are prohibitive, a longer virtual festival has great economies of scale and will generate additional revenues.

• customizing the presentation of films - instead of the Festival’s traditional one-size-fits-all approach to presenting films (e.g. every film received 3 screenings including 1 red carpet), virtual CPH:DOX will be able to customize how films are positioned and presented to a variety of audiences.

• building community virtually - Katrine is determined to create solutions to the critical challenge of enabling people to make connections, develop relationships, and create community in a digital space.

• enhancing opportunities for filmmakers - Tine noted that this year filmmakers were the one group that felt the most left out. ”They didn’t get to meet the audiences or have their films screened for the first time and that really was a loss.”

• developing additional revenue streams - creating a pricing structure for purchasing tickets to global premiers and global special events, attending the global Industry Conference, and accessing Conference resources and archives.

• create access to previous films. Old World festival catalogs usually include short bios of filmmakers listing their earlier films. Often many of these films are not in distribution or are hard to find. New World festivals can work with filmmakers to make available their films not in distribution and to make more accessible their films that are in distribution. Imagine a viewer’s excitement who sees a film at a virtual festival, discovers a very talented director, and then has the opportunity to immediately watch some or all of her previous work.

• distribute festival films with limited or no distribution. Old World festivals are exhibitors not distributors. Many of the films shown at festivals never receive meaningful distribution. New World festivals that have a mechanism for selling tickets and streaming films could make them available post festival. Filmmakers will be able to first explore the full range of distribution options before deciding whether to give limited rights to a festival. If they have no compelling offers, they can choose to be part of a festival’s high quality catalog. They can also offer a festival older films no longer or never in distribution. Tine is very interested in exploring a new model that would enable CPH:DOX to distribute Festival films.

• hold virtual global conferences that will supplement or replace Old World pitching forums. Instead of just relying on the attendance of a subset of decision makers, these conferences will facilitate the virtual participation of a larger and more diverse range of funders, buyers, filmmakers, and industry leaders. Conferences will be accessible worldwide (live and later) to viewers around the world, regardless of their ability or willingness to travel.

• make a short film
• cash flow the distribution of an existing short film
• enhance the distribution of an existing full-length documentary by making a short version

• to increase awareness, which is essential to maximizing distribution
• to build a network of support, including partner organizations
• to raise money for production and distribution

• to enhance the distribution of a full-length film by enabling the creation of a shorter version

• have been using Distribber
• need to know what to do if your distributor collapses
• want to reduce the chance this will happen to you

• terminate their agreement with them (see termination language below)
• request that Distribber take down their film from each platform
• request that Distribber release all rights back to them
• request that Distribber pay all monies owed to them and provide a full accounting of all revenues Distribber received on their behalf
• request that Distribber ask the platforms to pay all future revenues directly to the filmmakers
• request that Distribber refund any fees paid to them for services not provided

• alerting them to the fact that they have terminated their relationship with Distribber
• requesting that all future payments be paid directly to them (rather than Distribber)

• has direct deals with each platform Distribber put their film on
• can efficiently place their film on these platforms and possibly others
• has competitive rates
• has good customer service, enabling filmmakers to speak with someone when needed
• is financially stable, ideally part of larger business that generates income from other services

• request the payment of all monies owed to them and a full accounting of all revenues Distribber received on their behalf
• request the refund of all fees paid to Distribber for services not provided
• request that all platforms be instructed to pay all future revenues directly to them

• do due diligence about the company with 5 filmmakers currently working with them (in addition to any references the company provides)
• make sure the agreement includes fair bankruptcy, termination, and dispute resolution language
• have an experienced attorney or producer review your agreement before signing
• negotiate for a shorter term
• avoid automatic renewal clauses

• make sure you receive revenue reports and payments on time and review them carefully. If they are delayed significantly, determine whether the delay is a sign of underlying financial instability. If so, take steps to protect yourself from an impending financial meltdown.
• pay attention to reports and articles in various publications and online that may give you a sense of the distributor’s financial health

© 2019 Peter Broderick

 
Here’s another useful post from the Facebook Group:
 

 

• four of the top five features were directed by women
• two of the top five docs were directed by women
• four of the five best feature directors were women
  

• Sundance is the most important festival for American independents
• Opportunity -- increases your chances of finding distribution, getting press coverage, being invited to other festivals, winning awards, and finding support for future films and your career
• Challenge -- odds of getting in are very small
• Previous support from the Sundance Feature and Documentary programs will greatly improve your odds
• Sundance prioritizes finding excellent films from women and diverse filmmakers
• Do not apply before your film is in its best shape

• Design a flexible and customized distribution strategy that will work for your film whether it goes to Sundance or not
• Build an experienced distribution team
• Engage directly with your core audiences as early as possible
• Find partners who can help you implement your strategy rather than fitting into someone else’s  
• Be targeted, proactive, and nimble, refining your strategy stage by stage

• The mission of the organization putting on the conference
• When and where the conference takes place. After identifying several, create a calendar of upcoming conferences
• The theme of the conference, which typically changes each year
• How many people come to the conference and details about attendees (i.e. their profession, education, interests, etc.)
• Find the program for a prior year’s conference to get a better sense of what to expect at the conference, including how films have been used
• Find contact info for staff that plan the conference. The more senior the better. A few useful tools to track down contact info: Associations Unlimited, Rocket Reach, and LinkedIn

• Concisely explain who you are, describe your film in a compelling way, and explain how your film is relevant to their organization
• Make clear how your film aligns with the organization’s mission and why individual members and conference attendees will find it valuable
• If possible, share a positive testimonial from a member who has seen your film
• Once they’re interested, share your trailer and details on how you’d like to participate
• Your mission is to make your contact an ally who will shepherd you through the process of getting you scheduled at the conference

• Top priority: ask for a presentation to a plenary audience (a gathering of all conference attendees) rather than a breakout session
• Show a short clip. It may seem counterintuitive, but showing a short excerpt or even the trailer will give you time to talk about your film and how you’d like the audience to take action. A shorter presentation also makes it easier for the conference planners to give you some valuable plenary time. My most successful conference presentation was seven minutes long during a plenary where I showed the trailer and talked for five minutes
• If you can’t get plenary time, suggest presenting during a plenary mealtime. I’ve found this to be a good Plan B because at some point in the conference, everyone is in the same room eating and people like to watch things while they eat
• Suggest a ‘red-carpet’ screening of the full film with a filmmaker Q&A as an evening event for attendees. Conference programmers often are looking for fun evening activities and a screening and Q&A are often very appealing
• Ask for a complementary and well-placed booth in their exhibition area
• Request that a postcard with information about your film be included in all attendee tote bags

• Prioritize your goals for the conference. You’ll want to be specific, e.g., ‘I want to sell as many educational license versions of my film as possible,’ and/or ‘I want to set up meetings with as many potential partners as possible’
• Make your goal known by including a call to action in your presentation and on any promotional materials, i.e. ‘If you’d like to bring the film to your community, please sign up to host a screening at our booth in the expo hall,’ or ‘sign up to learn more about our grassroots screening campaign’
• Reach out before the conference and set up as many meetings as possible. Review the program and attendee list. A few weeks before the event, your contact should be able to share the list with you. Go through it looking for potential partners, funders, and important people
• Process payments by downloading the Square app and bringing a credit card reader (Square offers a simple reader for free and a chip reader for $49). This way you’ll be able to take payments on the spot
• Bring an email signup sheet to collect contact information from people who express interest in your film
• Hand out promotional materials like postcards
• Collect quotes or testimonials from attendees

• Reach out to your contact and share how positive the reception was for your presentation, including glowing quotes from attendees. You want your contact to know that inviting you to participate was a good decision
• Ask your contact to send a follow up email to the organization’s entire membership. Even the biggest conference will only attract a portion of an organization’s members but an email will reach everyone. The message can contain a call to action asking people to: buy your film, host a screening, or sign-up to your email list
• Organize a virtual screening where your partner invites members to a page on your website with an extended clip of your film and email capture for anyone who wants to watch. Then at a specific date and time, do a Facebook Live interactive Q&A
• Ask for contacts at your organization’s regional or local chapters that may want you to present
• Consider attending the same conference the following year. Explore the possibilities with your contact. You’ll likely be able to capitalize on buzz and word of mouth from your first presentation to make a bigger impression the second time around

#19 of Marvel Cinematic Universe series

Fritz examines the impact of China, where ticket sales were 6.6 billion in 2016 and exceeded U.S. ticket sales in the first quarter of 2018. Adam Goodman, who previously headed production at Paramount, is quoted saying “we’re at the point where Hollywood can’t exist without China.”

Fritz details the ways China has gained influence over the movies Hollywood makes and distributes. While China is a critically important market where event movies can do incredibly well, there are censors to contend with who can prevent the distribution of any U.S. films with unacceptable content. There are also import quotas. Studios have formed partnerships with Chinese companies, cut content from films that might offend Chinese officials, and added content designed to please Chinese audiences. Studios want to make films that will succeed in China. I assume their willingness to make non-franchise films will continue to decline as the value of the Chinese market continues to increase.                                                                    
 

WHAT’S MISSING?
 
No longer seeking to make “every type of movie for everyone,” the studios are “focused on the types of movies that delivered the biggest and most consistent profits,” according to Fritz.  When home video revenues fell dramatically, the studios cut costs and “risky original scripts and adaptations of highbrow books were the first to go.” Between 2006 and 2016 the studios reduced production by 32%. “The decline is explained entirely by the evaporation of interesting, intelligent mid-budget films.” Fritz notes that today “anything that’s not a big budget franchise film or a low-cost, ultra-low risk comedy or horror movie is an endangered species at Hollywood’s six major studios.”

Customers also went missing. Viewers 18 to 25 “saw two fewer films per year on average in 2016 than they did in 2012.” Luring viewers off the couch became harder. Ticket sales in North America fell from 1.57 billion tickets in 2002 to 1.31 billion in 2016.
 
In the first chapter of The Big Picture, there is a momentous point when Amy Pascal and her teammates realize that “creativity would no longer drive business at Sony Pictures.”  In the final chapter, Fritz notes that “spending big money on anything original in the age of franchise film dominance is usually a suicide mission.”

Throughout the book Fritz makes clear that the major studios learned—some sooner than others—that they could increase profitability and reduce risk by devoting their resources to building and maintaining franchises or, better yet, connected universes. Once they were able to successfully launch a franchise, their focus was on providing more of the same. Genuine creativity is too risky. Making movies the viewers haven’t seen before is too unpredictable, especially as international ticket sales far exceed those in North America.
 

LIFE BEYOND FRANCHISES
 
While The Big Picture focuses on the status of studio moviemaking, it also provides a perspective on filmmaking outside the studios. Fritz highlights “peak TV.” He notes that not long ago “television was the medium of the familiar and cinema was the medium of originality.” He believes that the “rise of original, risk-taking television is directly tied to the decline of original, risk-taking filmmaking.”

#11 of X-Men Series

Fritz explains how technological changes have ushered in a Golden Age of TV. VCRs made it possible to time-shift programs and DVDs made it easy to watch whole seasons of series. DVRs made it easier for people to record all the episodes of their favorite shows.  Then Netflix began releasing all episodes of series at once, making binge viewing possible. It has never been easier to watch what you want when you want it. Staying home and watching a series you love at little or no cost on your high definition television became more appealing to many viewers than venturing out to a movie theater and spending their money on tickets, parking, concessions, and possibly a baby sitter, to see a film you may or may not like. As the quality and diversity of television rose dramatically, the new habit of binge watching at home replaced the old moviegoing habit for significant numbers of people.
 
“It has long been obvious that television is a better business than movies,” according to Fritz.  He notes that television networks are the most profitable parts of major media companies including Disney, Viacom, and NBC Universal. His in-depth examination of Sony illustrates this clearly.
 

OPPORTUNITIES FOR INDEPENDENTS
 
Fritz’s portrait of franchise filmmaking at the major studios is very persuasive. It is a cautionary tale for independent filmmakers passionate about making movies people haven’t seen before. While there are rare exceptions, including The Dark Knight, Wonder Woman, and Black Panther, the preferred approach to superhero movies is exemplified by Avengers: Infinity War. It is a thoroughly mediocre sequel that audiences have lapped up and critics have taken far more seriously than it deserves.

Fritz notes that “directors’ overall power in Hollywood has diminished considerably.” He explains that the role of directors of franchise movies resembles that of directors of television series—their job is to maintain the look and style of the overall series, whether it is Breaking Bad or Star Wars.  They need to stay within the lane of the series rather than going off-road into new territory. The underlying assumption is that audiences want more of the same, whether it is Fast and Furious 10 or Mission Impossible 15. According to Fritz, there used to be more than 12 Hollywood directors who could easily get their films greenlit but today there are only three—Steven Spielberg, James Cameron, and Christopher Nolan.
 
As the major studios increasingly focus on franchise filmmaking, growing the same crop year after year, they are becoming monocultures. As agriculture has demonstrated, while farming a single crop may have short-term financial benefits, monocultures can create food deserts. By abandoning diverse production slates and providing a steady diet of franchise films, the studios are creating movie deserts, as demonstrated by the trailers and posters for their upcoming and seemingly interchangeable releases.
 
Instead of viewing the studios’ unwillingness to finance dramas as a problem, independents should see it as an opportunity. There is still a significant audience for adult dramas, and now studios offer little or no competition. This is also true for the full range of non-franchise filmmaking.
 
Beyond the major studios, the opportunities for producing and distributing independent films are wide open. The Big Picture includes a chapter on Amazon Studios. Fritz begins with Manchester by the Sea, the first independent film in seven years that was acquired at a film festival and then grossed more than $50 million (worldwide box office $77,540,751). Amazon Studios acquired it at the 2016 Sundance Film Festival. At the following Sundance, Amazon bought The Big Sick, which was also a hit (worldwide box office $56,262,309).

#8 of the Fast & Furious Series

Amazon Studios has been the exact opposite of a franchise filmmaking machine. It has financed and acquired truly independent films by established and emerging independent directors. By hiring acclaimed indie producer Ted Hope, Amazon signaled that they were serious about making high-quality, provocative, and original pictures. Fritz quotes Hope explaining that instead of making films that “80 percent of the audience eventually gets around to watching,” his team “wants the thing that 20% of the audience is so passionate about, they’ll break up with you if you don’t feel the same way.”
 
The Big Picture contrasts Netflix with the major studios and shows how it is challenging them. Unlike Amazon Studios, which launches films first in theaters, Netflix prefers to make films available directly to subscribers the day they premiere, whether or not they are simultaneously premiering in theaters.
 
When Netflix began as a DVD-by-mail service, it relied on the studios to make a significant number of the movies it rented. When Netflix prioritized digital distribution, it was determined not to be dependent on studio films so it made a growing commitment to original production that can only be seen on Netflix.
 
When Netflix first challenged the six major studios, it was an inexperienced David facing powerful and confident Goliaths. Instead of using an analog slingshot, Netflix used virtual weapons and innovative ideas to take on the studios. It managed the transition to digital distribution far better than the lumbering studios. Netflix ran circles around the studios by re-conceptualizing global distribution. It has a far greater ability to innovate than the studios, which have much greater inertia. Netflix is looking forward while the studios are too often looking backward.


NEW ECONOMICS
 
In the concluding chapter of The Big Picture, Fritz questions the “traditional economics of film, whereby each production aims to be profitable.”  He believes that sticking to this goal will “further narrow down the types of movies that old-school studios like Sony make to the big, loud, and financially safe superheroes, sequels, and spinoffs.”
 
He contrasts this approach with the “new economics of film,” which he is convinced will foster production of all sorts. Netflix is the leading exemplar of this approach. Its goal is to increase subscribers rather than to sell more tickets or downloads. Instead of marketing films one by one, it is selling access to a growing library of film and television. The priority is to attract new subscribers and retain existing ones.
 
Netflix is free of the constraints that limit traditional distributors who won’t pay more to acquire a film than they expect to net distributing it. Netflix can finance an original film or series without having to focus on whether projected revenues will exceed the cost of production.
 
Amazon also prioritizes gaining and retaining subscribers (Prime members). Unlike Netflix, which only makes money from subscriber fees, Amazon benefits from revenues from theatrical ticket sales of its features and most importantly from all of the purchases Prime members make on the platform.
 
The Big Picture also describes Annapurna, Megan Ellison’s company, that produced Zero Dark Thirty, The Master, Her, Foxcatcher, and American Hustle.  Ellison has supported the kind of unique, provocative, risky, auteur-driven features that none of the six major studios would choose to finance. They’d rather make another franchise film sequel.

One of a Kind

THE PARALLEL WORLD
 
There are many opportunities for independents today beyond the studios, and even a few left within them, but they are not what The Big Picture focuses on. A24, and the studio specialty divisions: Focus Features, Sony Pictures Classics, and Fox Searchlight (whose fate is uncertain because of the looming Disney sale) are barely mentioned.
 
There is a parallel world of independent filmmaking where originality is celebrated. The goal is to make films viewers haven’t seen before rather than to crank out interchangeable sequels. Many independents strive to change the way people see the world rather than attempting to duplicate as closely as possible an experience they have had several times before. Unlike on the franchise film assembly lines, truly creative directors, writers, and producers are as important as they have ever been.
 
In this parallel world, there are unprecedented distribution opportunities far different from those at the center of The Big Picture. Filmmakers can split rights among distributors and retain the right to sell directly from their websites. Independents are connecting directly with core audiences while they are making their films. These direct connections enable filmmakers to build audiences initially around their films and ultimately around themselves. By taking these personal audiences with them to future projects they greatly increase their chances of having sustainable careers. Many independents are designing customized and flexible distribution strategies, unlike the studios which are using formulaic and fixed distribution plans.

These innovative approaches are outside the scope of The Big Picture. Instead Fritz gives us a brilliant and thorough analysis of how Hollywood’s major studios have changed. It is a devastating portrait of their creative decline. The Big Picture contrasts this with the new “golden age of television.” Fifty seven years ago, FCC chairman Newton Minnow proclaimed television “a vast wasteland.” It is not hard to imagine him redirecting his famous phrase to studio franchise filmmaking today.
- Peter Broderick

© 2018 Peter Broderick

-----------------------------------------------------

Here's How to Create a Website in 1 Hour for $9.88
by Matt Myers
 
No matter what stage of filmmaking you are in, you need a quality website to market your film (polite nudge here to start this as early as possible). You need a weapon to get people to pay attention, to talk about your work, and to see your world the way you see it. It can seem harder work than the making of your film. You spent all this time and energy making your vision and your unique piece, so why stuff it into such staid and homogenous formats and look like every other independent film’s site?
 
To save time, that's why. And while they keep making more time each day, it seems like there's less and less of it for you, so turnkey options, like Squarespace and Wix, can make a lot of sense. For a catering business. Or a dentist. Or a church.
 
You will have a really expensive piece of art to bring into the world. You don't want it to look like everything else. Like James Franklin said, "you can spot a Squarespace site from across the room." And so many film sites look like every other site, I guess because filmmakers feel pressed for time and the cost looks right at $15-$20/month. But don't be fooled. This doesn't save you time and sure as I'm writing this sentence it won't save you money.
 
I don't know where you are in the filmmaking process, but I'd like to make you aware of how easy it is to install WordPress yourself in one-click, set up your own hosting site, and create your own unique site in about an hour for $9.88. You can decide for yourself if this is right for you, but you will at least have the option of making your marketing look like your film's aesthetic and rep your vision in your unique way.
 
First, you need a domain name, such as yourfilmname.com. If you don’t have one already, just go to Godaddy. You need to buy a domain name no matter if you use WordPress or Wix or Squarespace or hire a developer to build a custom site, so this is requisite for entry and not included in that sweet $9.88 you are looking to pay and no more.
 
Second, we need to get some tedium out of the way. Has to be done.
 
Here are a few definitions and horrible metaphors to help you. Pay attention, as there will be a test later.
 
Registrar: This is the company where you bought your domain and is holding your domain, such as Godaddy. There are lots of them. Think of this like your house. You own it.
 
Host or hosting account: This is a company that will connect your domain/website to the internet. Think of it like cable. You are renting this package.
 
Nameservers: This is the bridge between the registrar and the host. Basically, this is the cable box you install in your house to communicate between your house and the cable company so you can Netflix and chill. There are two nameservers for each hosting account, they will be something like:
 
dns1.namecheaphosting.com
dns2.namecheaphosting.com
 
Okay. Get Ready.
 
This next stuff is a step-by-step guide for you to buy/rent a cheap hosting account, update your nameservers, install Wordpress, and push your site live. It is tedious. You are going to hate it, but it will be over soon, and I promise it is not harder than making a film.

© 2018 Peter Broderick

• The film grew out of Ceyda’s life experience. She understood and loved cats, and was compelled to make KEDI
• Ceyda and Charlie did a research shoot that enabled them to figure out how to make the film, write a compelling proposal, and create a terrific trailer
• They secured independent financing which gave them all the money they needed and complete creative freedom
• Ceyda and Charlie stuck to their unique creative vision throughout production and post
• They looked long and hard for the right U.S. distribution partner and found one that would work collaboratively with them
• They were able to split their international rights, making a global SVOD deal as well as sales to countries around the world
• They retained the rights to sell DVDs and downloads from their website, which will give them a direct revenue stream and a way to build a personal audience
• Charlie and Ceyda are determined to keep making unique films through their company, Termite Films. Having overcome the challenges of one-of-a-kind filmmaking, and then reaping the rewards, they are now developing new, never-seen-before films.

• “the widespread quest for meaning that so many people are engaged in, particularly younger generations.”
• “the authenticity and spontaneity of the quest.”
• “the combination of a personal and a universal story. There is an authentic ‘I’ that people can identify with. My story is part of a bigger story.”
• the “coherence between the content of the film and how it was made and distributed.”
• “our transparency about money, distribution, and our goals.”
• “the way we reached out to people with shared values and involved them in the process of creating the film (via crowdfunding and pre-screenings). It is their movie. It is a tool they can use. We are working for the same cause.”
• “It provides a story, not an ideology. It has humility; it is not giving viewers lessons or trying to brainwash them.”