I’m writing this post knowing there are probably several distribution experts out there who disagree with me, but I’m going to speak my mind anyway!
This past week while at the Cannes Film Market I couldn’t help but notice all the traditional distribution deals being done for independent films. In fact, it’s been a rather healthy market according to the sales agents and distributors I’ve spoken to. Granted, acquisition prices for independent films are not as robust as they used to be, but films are still being acquired by worldwide DVD companies & broadcasters just like they always have been.
Now, I’m the first one to preach about Distribution 2.0 and all the new and wonderful distribution possibilities that exist for independent films. And what excites me the most about Distribution 2.0 is the actual empowerment it gives Producers, to take matters into their own hands and get their films out there in front of their audience. I also like the fact that you can add revenue streams to your financial plan that didn’t exist a few years ago.
However, my position has been and still is that Distribution 2.0 is just ONE PART of the distribution mix. It’s just ONE of the 5 revenue streams that exists for independent films — the other 4 being Theatrical, DVD, Broadcast, & Foreign. I’m not saying that every film will be able to tap into all 5 of these revenue streams, but some will….. and most still want to. Am I right?
Last weekend at a 3 Day Intensive Training I put on in London (called Dawn Of The Micro Major Film Producer), we focused a lot on Distribution 2.0 solutions for independent films, but we didn’t ignore what’s still happening in the traditional world of distribution either. Films are still being bought and sold all the time in the conventional way. This is called HYBRID DISTRIBUTION.
My position on Hybrid Distribution is that because traditional acquisition prices have decreased, filmmakers need to adapt to 1) lowering their budgets, and 2) buttressing their traditional distribution strategy with some of the new 2.0 distribution opportunities that exist. But to venture out and say that traditional distribution models are DEAD, and that it’s 2.0 or bust, I believe is doing a disservice to the filmmaker.
Keep in mind my perspective on Distribution comes not from being a filmmaker, but from being on the front lines as a Sales Agent for several years (which is why it’s a different perspective from a lot of the other stuff you’ve probably read on this topic). It’s for that reason I continue to run my seminal course called Distribution In Reverse. Because coming from the perspective of a sales agent and in the distribution business, I’m passionate about teaching filmmakers how to make a more distributable film in the first place. Let’s face it — we can talk about all the new distribution possibilities for your films till we’re blue in the face, but without a distributable (or watchable for that matter) film, none of it matters.
In a few weeks I’ll be kicking off an updated version of the Distribution In Reverse course called DISTRIBUTION IN REVERSE 2.0 whereby I’ll be integrating all the new distribution possibilities for indie films, while still promoting traditional distribution as part of the overall mix.
What’s your position on traditional distribution? As a Producer/Filmmaker, are you still interested in getting traditional distribution deals for your films? Are you interested in pursuing new 2.0 opportunities as well? And which is your priority?
{ 7 comments… read them below or add one }
Very very interesting; i’ll be following this closely!
Martin Beek, independent producer/director.
I am interested in Traditional Distribution more than Micro/New Media distribution. I’d rather be a film maker who self distributes via either a service deal or working directly with exhibitors. We all know the old model is broken. Raising P&A capital first over attaching stars gives an indie a better shot.
IMHO, there is massive saturation in the micro world. So I find it a lot harder. I think it will take at least 10 years before we can look to this space. (It took 25 years for everyone to get a VHS in the house and 15 years to get mp3 music going) Eventually it will be the place, but not for a while. And most film makers don’t want to wait a decade, we want to make successful films NOW!
As far as…. “watchable or better films”. I’m not sure I agree.
Ex: More people saw “Cop Out” ($44m) then “The Hurt Locker” ($15m) Last year 610 films were releases in theaters. Only a dozen IMHO were “watchable or better films” Mediocrity is alive and well.
~ MrMoe
Producers need to capitalize on all revenue streams available.
Having said that though, producers really need to understand their targeted audiences and how best to reach them. Personally, I’m still somewhat leery about the ‘new media’ distribution as it is too wide open and marketing this stream effectively remains problematic. The potential is huge though and once we see stronger players emerge (read iTunes, Netflix, Facebook-?, etc) and that the stream will be easier to predict then it will be much more viable.
VOD is getting there, but in the meantime I think producers ignore traditional streams at their peril.
I really don’t understand why this is still a hot discovery.
OF COURSE traditional distribution is not “dead”. It will co-exist with new models (as long as the big studios don’t try to crash them for “political” reasons, but that’s a whole other matter). There’s a place for many models, especially with the huge number of films being produced.
OF COURSE we (filmmakers) are looking at hybrid models. We won’t really know how any of them work until we try many, many times.
I thought that was common sense?
We need to remember that as “Independent Film Makers” we are independent thinkers, movers and shakers as well as students of all that has come before us. We intuit, think and move faster than our Hollywood “Fathers” and now they have to keep up with our pace…a faster focus, freedom and flow. Our ever increasing numbers show that we are an unstoppable flow of intelligent, ingenious creativity. Thank you Stacey for helping us remember and celebrate that.
I work in the trade – we at LongTale are hybrid distributors, but this is not an ad. Stacey Parks has got everything right. But I would emphasize two points:
New Media are not just for Distribution 2.0, but for building a fan base, without the fan base you can’t do D2.0 very well, and whatever happens with your content, the fan base will matter. Moreover, whatever you do creatively, the fan base will be important. Not only do you have the means to communicate directly with viewers, but, more and more you will have to. Lotsa people can help you do this. A thousand friends on facebook are better than a minor festival accolade.
D2.0 and Traditional can intersect and compliment each other, or they can mitigate each other. Some content is best for T only, other for D2.0 only but more and more, it’s both, intelligently planned and backed by Marketing in the broadest sense of the word.
Although i am an independent filmer just makeing his way out. I am interested in knowing what are more traditional streams of gaining way in distribution is it just gaining fanbase by any way possible alone ? silly but an actual question.