Independent Film Distribution Information Overload

There exists an incredible amount of information very pertinent to the independent filmmaker embarking upon the task of self-distribution. The only aspect of the old model of distribution that holds true is that filmmakers must think about distribution BEFORE one sequence of the film is ever shot. Doing this creates a focus on results.

The only caveat I have is the overwhelming statistical data and numerical comparisons used in discussing the old incumbent model vs the new emerging model. Every film is different. Many films have completely different audiences and the way to reach these audience vary by increasing degrees. Podcasts may not work for every film. A local theatrical run may not work for a film while an overseas theatrical run, via festivals, may work wonders.

Filmmakers should have a presence on the web and free Internet tools and social networking sites such as Vimeo, YouTube, Twitter, Myspace, Facebook, Wordpress, Blogger, etc should direct the prospective audience to that web presence (site). Trailers and new versions of trailers are good examples of visual content to make this happen. Promoting a recorded Interview is another way to make this happen. However, I for one, cannot imagine how giving away your content –a completed film– could help a filmmaker unless that was his intention from the start.

In the end, it’s about hard work getting to know your audience(s). My distribution mentor, Tony Comstock, once told me that you should never commit to making your first film unless you’re committed to making your third. It’s about building your audience. Documented examples like “Four-Eyed Monsters” are exciting but rare. It’s difficult to emulate a film’s success especially when you have a different kind of film.

In my personal experience, I realized that there was a 99.999% chance that I’d have to self-distribute my film, The Broken Heart Club. However, being new to this arena I also realized the importance of education. I didn’t want to “learn” on my pride & joy, so I pulled another film out of the cobwebs, dusted it off and prepped it for self-distribution. The process not only revived the film (I ended up shooting another sequence and a narration) but it revived FIVE other films as well. My self-education unearthed glorious and empowering examples of low-budget film distribution. Now I am as excited about distributing Pulp Fusion: The Resurrection of Serious Rogers as I am about The Broken Heart Club.

Empowerment is the key. If independent filmmakers truly believe we don’t need Hollywood to make a film, shouldn’t we also believe that we don’t need Hollywood to distribute our films? We’ve proven the former. Let’s prove the latter.

I watched a video clip of Eric Schmidt, lead strategist at Google, delivering the keynote at the Black Filmmaker Foundation’s Summit meeting. Two things he mentioned during his speech struck me harder than anything else.

They were:

The Incumbent business model of any industry is always threatened by change, and will rebel against and reject it.

and

Think Global, because THATS where most of the people are… outside of the USA

Embracing the Undefined Film Distribution Model

There have been many self-serving discussions on the plight of independent filmmaking. The Home Entertainment industry wants us to believe that movies are dead and we should ramp up our home systems. Hollywood wants us to continue supporting big paydays for celebrities so they can keep making expensive summer blockbuster films while more than half of their film inventory loses money theatrically (or so they say).  Festivals want us to believe they support us indie filmmakers even as they raise their film submission rates and lose their ability to broker distribution deals. A-list celebrities expect us to genuflect in their presence, thanking them for being in our so-called independent films. Distributors want us to believe that independent filmmaking is simply dead.

It time for filmmakers from LA to Austin, From Chi-Town to Miami, From NY to Berlin to Australia and Japan to  engage in a sincere philosophical exploration of the plight of independent filmmaking. The present model of independent film distribution is dated. Yes. And it is almost impossible for a good film without celebrities to get screened at a festival, let alone get distribution. This is true. But  this has been true for some time now. It isn’t anything new. 

But independent filmmaking wasn’t built on the Hollywood model. Rather, it was built on a “F*ck you, Hollywood!” platform led by an irreverent, “I can do this myself.” However, independent filmmakers should consider taking this one step forward. We beat our chests proclaiming we don’t need Hollywood to make a film, then we turn around and ask that same Hollywood to distribute our films. This cannot help our situation. We must seriously consider gaining a proper film education that transcends studio-driven brick & mortar distribution methods. The educational process begins by not giving away our content on mediums such as YouTube or Facebook. It’s continued by developing and embracing our niche audiences. Connecting with those audiences and corresponding with them.

In the same way Dreamworks and Paramount are household names, we must become familiar personalities to our audiences. Certainly we cannot be all things to all people. But it’s been done before. Ask Mr. Lynch or Mr. Jarmusch or Mr. Corman. Now a filmmaker must not only be a creative facilitator, he/she must also become knowledgeable at alternative distribution models that take full advantage of new technology.  This means establishing our own websites and offering our films directly to our audiences.

As TV becomes more connected to Internet usage, well-managed artist websites can secure wondrous footholds  in the market. Imagine, by 2015 an individual watching TV can click a button, jump to the internet, surf to your bookmarked website and immediately pay for, download and watch your film. And they can do all this without checking their snail mail for Netflix films. 

I believe people will always go to the theaters to see certain movies. As long as there are men and women who date and families with children theaters will survive. But as movie concession prices continue to rise and ticket prices skyrocket audiences will become highly selective.  We’re already seeing this selectivity. In general, people are tuning into adolescent lipsynch videos on YouTube, thrusting teens into superstar status. Where are the so-called movie deals that were supposedly established through YouTube? Individuals want real content or real entertainment. The days of back yard videos drawing nationwide attention will soon be at an end. 

Content is key.  And as Hollywood gets stuck in its perpetual rut of done, redone and overdone film themes, it is the independent filmmaker who can truly experiment with film and alternative distribution methods.  We have the flexibility. We’ve proven to the world that we can make our own films. Now let’s prove to the world that we can distribute those films.