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Dan Habib, director/producer of INTELLIGENT LIVES, is the creator of the nationally broadcast documentaries Including Samuel, Who Cares About Kelsey?, Mr. Connolly Has ALS, and many other films. His films have been broadcast internationally, nominated for Emmy awards, and translated into 17 languages. Habib was appointed by President Obama to serve on the President’s Committee for People with Intellectual Disabilities from 2014-2017.

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Let’s be honest.  Most documentary filmmakers dream of having our films projected on big, beautiful theatrical screens across the country, with gorgeous 5:1 audio and packed houses, sharing the experience as one.  

But only a very small fraction of the thousands (tens of thousands?) of documentaries produced each year receive a national theatrical run. As I wrote in a blog last year, my last two feature-length documentaries were self-distributed and had solid film festival runs, extensive college/conference tours, financially successful educational and individual sales, and were broadcast on public television and internationally.  

I never seriously pursued a theatrical run for those films because a) traditional theatrical distribution seemed highly unlikely, b) getting the film into theaters without a distributor seemed daunting and expensive, and c) there were several alternative distribution options to achieve our goals for positive social change.

For my new documentary INTELLIGENT LIVES, we took the plunge: we added a limited theatrical distribution plan onto our established hybrid release strategy as a way to:

  • Dip our toes into theatrical release
  • Reach new audiences and expand our “Opening Doors” social impact campaign
  • Expand the national buzz for the film
  • Make the film more attractive to distributors and broadcasters
  • Give people around the country a fairly simple mechanism for hosting screenings and discussions of the film, and;
  • Maybe even bring in some revenue (more on that later). 

We decided to simultaneously release and self-distribute (for now) a robust INTELLIGENT LIVES Education Kit (containing the film, five short companion films, and extensive educational materials) concurrent with the event theatrical campaign—a decision that has paid off, as you’ll see below. 

Building an outreach and distribution team.

I worked with a wonderful national outreach strategist, Lisa Smithline of Cultural Front Productions, who had worked successfully with Tugg and Gathr, two of the major “Event Theatrical” (Tugg’s language) or “Theatrical on Demand®” (or TOD, Gathr’s language) companies on other projects.  Lisa and I also worked with consultant Jon Reiss of Hybrid Cinema, who has extensive experience in event theatrical.  Jon helped us make many crucial early decisions about our overall distribution strategy. We also received key early input from Jeffrey Winter and Orly Ravid at TFC when we came on board as a TFC “Conspirator.”

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We spent months researching our options and went with Gathr largely because of their filmmaker focus and support. The model for TOD is similar to other event theatrical platforms: a person or group of people need to step up and host a screening in their community (Gathr calls them “Captains”) and then they need to do the grassroots work to make sure enough people reserve tickets in advance in order to ‘tip’ or ‘greenlight’ the screening. That ticket number can range from a few dozen to close to a hundred, depending on the minimum cost charged by each theater. There are other costs that are factored in before a screening tips, including the DCP rental and delivery cost, and virtual print fee (VPF).

We are now three months into our Gathr TOD campaign, and the film has screened in 60 theatres across the country to date (which includes 16 theatrical screenings as part of a  traditional run in a Pacific NW chain), with dozens of other communities holding screenings using our Education Kit.  Here’s what we’ve learned so far.

For successful TOD, as for any hybrid distribution strategy, you have to create buzz, credibility, and take financial risks.

Like nearly every other filmmaker, we spent lots of time and money pursuing film festival acceptances, with mixed results.  Although we weren’t accepted by the “game-changing” festivals like Sundance or Tribeca, we were given primo slots in 20+ fantastic festivals including Ashland IFF, IFF Boston, Bentonville, & Cleveland IFF.  Our film stars and our Executive Producers (Chris Cooper, Marianne Leone Cooper, and Amy Brenneman) traveled to many festivals and special events with us. These fests helped us create strong social media buzz, generated news stories and local reviews, and gave us a credible collection of laurels for our website, poster, etc.

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Our publicist, Emma Griffiths, counseled us to take a financial risk and 4-wall a NYC theatrical week, assuring us it was the only way to get national reviews. It’s not cheap (10K and up) and we never expected to recoup our costs.  But we were able to line up two underwriters who cut our costs in half.  We’ve heard that the NY Times declines to review about half the films that open theatrically in NYC, and we fell into that shunned half. But we received a wonderful review in Hollywood Reporter, and more reviews and articles in Salon and a dozen or so other trade publications.  Our Rotten Tomatoes score holds steady at 88% Fresh from critics and 100% Fresh from the audience.

Just before our NYC run, we released our trailer on Facebook and it went viral (at least by our measures), with 300K+ views and 5,700+ shares to date.  We brought on social media consultant Sheri Candler who helped us create and execute a serious but affordable strategy for paid and organic social media.

You need to reach A LOT of people for a successful TOD campaign: Develop a network of outreach partner organizations. 

All of my film work touches on disability rights and inclusion, and over the past 10 years we’ve been building alliances with national partner organizations that have overlapping interests.  We strengthen and refine that network with each film, and we are partnering with more than 30 Outreach Partners for INTELLIGENT LIVES. More than a year before our launch, we held a daylong national strategy summit in Washington, DC with the leaders of these organizations, and during part of the summit we briefed them on the concept of a TOD campaign.  Discussions at the Summit led to the name and content of our “Opening Doors” impact campaign.  We had commitments from these organizations to regularly share updates about our project with their network – expanding our reach to millions of people, without paid advertising.  Many of our TOD “Captains” found out about the film through these networks.

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Make it easy and fun to host a screening.

If you assume that people will start hosting screenings just because your film is listed on the Gathr/Tugg website, THINK AGAIN! You need to recruit, support, and nurture screening Captains each step of the way.

As a team, we spent about 80 hours writing and designing our Host a Screening PDF Toolkit and a wide array of related images and resources.  Lisa Smithline, Sheri Candler, and Gathr staff helped us determine what assets needed to be created, and shared examples from other films with us. Probably the most important team members on this front are our freelance designers, who created the PDFs and images we share with all TOD hosts through this Dropbox folder.  

We created a 2-minute host-a-screening video that emphasizes the impact of live screening events, and briefly walks them through the hosting process.

Gathr also launches a Screening Captains Facebook Group for each film.  Lisa has been actively engaging the Screening Captains every step of the way.  She is continually answering questions, pointing people to resources, and having one-on-one conversations with Captains by email, messaging, and phone.  Lisa spends an average of 20 hours a week on communication with Captains, which often includes moral support and cheerleading. The Gathr team also monitors the FB group and weighs in as needed.  Don’t underestimate how much guidance your Captains will need to successfully host a screening, as this process is likely to be new to all of them, and it can at times be confusing.

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Find theme months or other organizing strategies to build enthusiasm.

We set up our campaign so Captains could start hosting TOD screenings on October 1, 2018 – the start of Disability Employment Awareness Month.  Our Outreach Partners heavily promoted the film beginning in mid-August (it’s best if Captains have a minimum of 3-4 weeks to tip a screening), and we also created a Facebook ad campaign, targeting people that have either visited our website and/or expressed an interest in disability rights and special education.  These efforts seem to have worked – dozens of theatrical screenings occurred in October. Some other distributors, like Richard Abromowitz, have opted for a much more narrow time frame, engineering  successful one-day screenings of films.

Make in-person pitches at every event and festival.

My fulltime job at the Institute on Disability at the University of New Hampshire (a 501c3 non-profit) is to make documentary films, as well as travel and show/discuss the films at national and regional conferences, universities, and school districts. The screening/speaking fees we charge make up a significant portion of my project’s annual budget. During the Q&A after these screening events and festivals, I always try to tell – and if possible, show – the audience how to host a screening of the film, pointing them to the Host a Screening page on our website. I explain how easy it is to host a TOD screening in just a few clicks – and emphasize that there is NO financial risk for them, but they do need to rally their community to reserve tickets.  I also tell them how to host a non-theatrical screening using our Education Kit.

“Tipping” will make the screening happen, but selling out will make you money.

One of the misconceptions we had for our TOD campaign was that if a screening ‘tipped’ (i.e. enough tickets were reserved to greenlight the screening), we would make money.  Not so fast…tipping just means that enough tickets were reserved to cover expenses.  

As of this writing, we’ve had 46 TOD screenings around the U.S., with an average audience of 82 people per screening. Not bad turnout numbers, right? But most of those ticket sales went to cover the base expenses, so our average net income is $150 per screening. When screenings barely tip, our net profit may be $20-30, or in some cases even result in a small loss (after Gathr takes their cut of every screening that ‘tips’).  Gathr will tell you that selling out screenings is how you can make real money through TOD.  That’s true! One sold out screening netted us about $1,000.  But from my point of view, it’s just not very easy for Captains to sell out their screening, and many take an understandable breather once they’ve ‘tipped.’ We are working on more incentives (beyond cheerleading and peer pressure) to get them to keep pushing until they sell out.

So overall, we are not making a ton of money through TOD, but we are not losing money either.   And most importantly, we are getting the film seen by more people, while also collecting names and email addresses through the Gathr platform and expanding our film’s reach into new communities all over the country. And film Captains are usually flying high after their screening, excited to share photos and anecdotes from the discussion. Many expressed interest in purchasing our Education Kit and continuing to promote the film in their communities.

The numbers.

So, what’s the upshot? I’ll give you some real numbers and you can be the judge.

$6,900:Net income from Gathr screenings from October 1, 2018-December 31, 2018. The estimated box office gross for that time frame was $44,000, and the major expense by far is the costs charged by the theatres. Note that this does not take into account the up-front costs like the master DCP creation, the cost associated with the design of our Host a Screening materials (about $1,000), or the cost of our outreach consultants.  Keep in mind that many of these expenses will be incurred in any sort of hybrid release strategy.

$36,800: Net income from Education Kit sales from September 1, 2018-November 30, 2018 (which represents an average of $16,000/month in gross sales through our Institute on Disability Bookstore). These kits are being used to host dozens of screenings in non-theatrical settings like schools, universities, community centers, places of worship, etc. Education Kits from my previous films have been used for thousands of screenings across the U.S. and internationally.

$160,000: Our project’s income for my speaking/screening events around the country tied to INTELLIGENT LIVES during our current fiscal year (July 1, 2018-June 30, 2019). At almost all of these events, I also sell the film’s Education Kit, as well as related products, and in many cases, I also can reach attendees with follow-up communications. 

1,514: The number of names and emails we’ve accumulated to date (via the Gathr ticket sales platform) from the people who have attended TOD screenings, bringing our e-blast list to more than 22,000 people.

So, you might be thinking, would I do this again? The answer is…probably. Our TOD run has strengthened our position for expanded distribution. Our plans include:

  • Transactional VOD and an individual DVD
  • National broadcast (we are close to firming up a deal) with limited streaming rights
  • Partnering with an educational distributor to reach additional markets, like public and university libraries
  • Language translations and international distribution and sales.

But next time, I’d do some things differently:

  • Produce a promotional ‘Host a Screening’ video before we go live with TOD (see this strong example from filmmaker Laurel Chiten of JUST ONE DROP).
  • Make it clearer to prospective Captains that there is a mechanism for Gathr screenings to also serve as fundraisers for a local organization.
  • Create strong incentives to sell out the house as soon as a Captain initiates a screening.
  • Explore corporate sponsorship to subsidize some of the tickets for each show to lower the tipping point and enable more low-income people to attend. 

Please don’t hesitate to reach out to me if you have follow-up questions!


January 14th, 2019

Posted In: case studies, Distribution, DIY, Marketing, Theatrical

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As part of TFC’s ongoing mission to help filmmakers find the right audience and the right distribution strategy for their specfic project, this month, we sat down with Scilla Andreen, CEO & Co-Founder of INDIEFLIX to talk about the service, what’s new, and what’s ahead.

1) How does IndieFlix work? Would you consider it a service or a platform?

Variety calls IndieFlix the Netflix of independent film. Based in Seattle and founded by filmmakers, Carlo Scandiuzzi and Scilla Andreen, IndieFlix launched with 36 titles as a DVD on-demand service in October 2005. In 2013 the model evolved into a subscription based streaming service for movie enthusiasts. IndieFlix helps you find great independent films from around the world and makes them available for $5 per month. We like to think that we entertain and enrich people’s lives by connecting them to more than 8,000 films selected from over 2500 film festivals and 85 countries. Our library includes shorts, features, documentaries and web-series. We have worldwide rights to over 85% or our library so members can watch our films from anywhere in the world on a variety of platforms including Amazon’s Fire TV, Kindle Fire, Xbox 360, Sony, Apple’s iPad, iPhone and Roku—basically any internet connected device.

2) Why should filmmakers work with IndieFlix?

If there is anything we have learned it’s that teamwork and transparency are essential to the future of independent film. Distribution costs a lot of money, and studios spare no expense with their blockbusters. But because of this the filmmaker is often the last person to ever get paid and they have no idea who their audience is or where they originate. We have created a model of efficiency, transparency and data that literally turns the old model of distribution on its head with our unique royalty payment system called (RPM) Royalty Pool Minutes model. In this model, filmmakers are paid for every minute their film is watched. We are currently building out the filmmaker dashboard to include analytics, and data on where the audience lives and on what device (such as Roku, Xbox, iOS etc.) they watch the film on. We will also be adding data on the point in the film at which a user exits a film. This is possible of course because technology allows filmmakers to be their own gatekeepers. My job is to grow the subscriber base and curate a library with a user experience that makes finding films to watch not only fun and entertaining but also meaningful. I want our audience to love finding and watching films on IndieFlix because the more they watch the more the filmmaker gets paid.

3) What are some of your favorite creative marketing solutions and/or partnerships that you have high expectations of?

Our most successful campaigns are with our device partners Roku and FireTV. We haven’t yet done a campaign with the others. As far as creative campaigns, we have no shortage, but those are more brand awareness campaigns like the time we had biking billboards ride up and down Main Street in Park city during the Sundance Film Festival. We were giving away cold hard cash to demonstrate to people what IndieFlix does…We pay filmmakers that’s why we created the company.

Another favorite campaign was handing out printed matches that said, “Strike a Revolution: IndieFlix is the perfect match.” I handed those out at the Cannes film Festival and actually met one of my investors there…Talk about a good match.

We also really enjoy marketing campaigns that we do with the filmmakers. When the filmmaker participates and we market together there is always a great return. Like our collaboration with filmmaker Kurt Kuenne. We met Kurt through Oscilloscope. We now offer three of his films on IndieFlix including: Dear Zachary, The Legend of Dear Zachary: A Journey to Change Law and Drive-In Movie Memories. We will also be releasing a rare black and white director’s cut of his film Shuffle in coming months. We will be highlighting his work through an exclusive branded director’s channel and an interview we conducted with him about the process of making Dear Zachary.

Of course Chris Temple and Zach Ingrasci the directors of Living on One Dollar, Lauren Paul and Molly Thompson of Finding Kind and Sarah Moshman and Dana Michele Cook of The Empowerment Project: Ordinary Women Doing Extraordinary Things are all exemplary filmmakers of the new order. They have mastered the art of making great movies and marketing their story globally.

4) Can you share any data? Revenues? Users? Number of films you have?

We are a privately held company and do not typically share numbers. However I am excited to say that we currently have low six figures of total users, and our library has grown to 8000 titles. A large portion of those titles we have worldwide rights.

It is exciting to have a growing user base but it is important to us that these users are watching. We want filmmakers to look at their dashboard and see their films being watched and minutes tallying up.

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5) Any success stories? And can you share details?

To be honest our greatest success stories started with the films in the IndieFlix Distribution Lab where we put the entire weight of the company behind these films to market them in schools and communities off-line as well as strategic windows online. Of course IndieFlix is the first window and then we roll out onto iTunes, Comcast and Netflix.

We’ve also found great success with short films. The Indieflix “QuickPick” allows users to sample movies as they would music. You can sort through shorts based on running time, genre and rating. It’s a quick and easy way to sample movies.

Films about zombies, include nudity, tattooing, and music docs also do very well on IndieFlix. Social justice films are equally successful.

I’ll leave you with a quick story about a German filmmaker that had a hard time finding broad distribution due to some of the challenging nature of his film and the title. We picked up the movie changed the title (with his permission) and the film is now thriving.

6) What type of content is and is not a good fit for IndieFlix?

We have learned that our audience is really a lifestyle connoisseur. They enjoy wine, art, books and travel. They like to discover and they care about how they spend their time and money. We have found that content that is entertaining high production value and covers a wide variety of topics here in the US and abroad including fashion, art and music is very popular. In the same breath I will add that zombies, horror, mystery and documentaries are very popular. And just like in Hollywood comedies are always a favorite.

What I have learned is that marketing content gets watched. The best movie can sit in our library but if we don’t bring it to the users attention no one will watch it no matter how good it is. I guess to answer the question the best movies are the ones that start great conversations and people feel compelled to write a review, leave a comment and share it.

7) What are common misconceptions about IndieFlix?

The most common misconception is that Indieflix will take anything. It’s true that when we first started the company back in 2005 our policy was if you had played at a film festival you could submit and be accepted at IndieFlix. We quickly learned that the film festivals are not the most reliable way to curate content. We started our own curation process, which has evolved over time. We now accept 5-10% of all submissions.

8) What are some key selling points?

There are many selling points to being on IndieFlix.com, but here are a few:

  • Zero fees
  • Quick Turn Around
  • Global Reach (with the ability to geo-block)
  • Exceptional Customer Service
  • A hungry audience

9) What’s the future of IndieFlix?

Part of what makes the entertainment industry so exciting right now is that the future is unknown and everything is moving very fast. The digital landscape is ever-evolving and we are always looking for what works best for our filmmakers to generate meaningful revenue. We balance this with providing our subscribers with an exceptional catalog of films they may not have access to elsewhere. IndieFlix has survived 3 technologies and remained a thriving player in the marketplace. We are bold in that we know who we are and who we want to be, and we are confident in evolving our focus and approach with the changing marketplace. At the end of the day, we want to be a household name, we have an excellent product in our catalog and we want to share our passion for it with the world.

10) Feel free to share any other predictions, analysis, data, and/or case studies or anecdotes. If you want to share about capital you have raised etc.

I’m just now starting a capital raise for IndieFlix. We have boot strapped for years. We have an amazing team of 21 people who are incredibly dedicated to the filmmakers, the audience, the film festivals and the entire industry.

I’m clear on what I want to build and I know exactly how I’m going to spend the money. There has never been a more exciting time to be a filmmaker. I am excited. We are looking forward to being a true change agent in our industry.

For more information, check out the website or follow them on Twitter: @indieflix and @indieflixCEO.

April 8th, 2015

Posted In: Distribution

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This week’s member story focuses on how TFC helps filmmakers who request our consultation on their release. Director John Chi will also write a further guest post that goes into more detail about how his first feature film Tentacle 8 was released, but today he talks about how he discovered our organization and, through consultation with us, changed what he thought about distribution success.

At what stage in the production process was TFC consulted?

JC: “Three months after we wrapped production, we had a very solid cut of the film and we were ready to start showing it to people. Casey Poh, one of our producers, immediately suggested we reach out to TFC and get their thoughts. Casey had previously met Orly Ravid when he was working at Outfest, and later approached her to serve as a consultant for his Stark Producing Graduate Thesis Project at USC.

We contacted TFC and Co-Executive Director, Jeffrey Winter, was kind enough to watch our film, and give us his thoughts. He flatly stated that we weren’t a festival film, that our subject matter wasn’t mainstream enough to be programmed, and beyond that, it was going to be a very challenging film to market. This wasn’t the reaction we expected. We heard and respected Jeffrey’s comments, but we also wanted to proceed as planned. So we signed with Glen Reynolds at Circus Road Films to act as our sales representative, and began submitting to all the major film festivals.”

Did the premiere lead to any sales interest? Did you have a plan for distributing the film?

JC: “TENTACLE 8 submitted to all the major acquisition festivals (Cannes, Sundance, Toronto, SXSW, and Tribeca) and many of the other premier festivals (Slamdance, LAFF, and Seattle International), but we didn’t get into any of them. After nearly a year of futility, we accepted that Jeffrey Winter was right, and that we weren’t a good fit for festivals. We decided to go directly to distributors via our sales agent, and two months later, we received a few offers for domestic DVD and VOD/Digital Distribution.”

What advice was sought from TFC and what ultimately happened with the release of the film?

JC: “When we realized we weren’t going to get into a major festival, we contacted TFC again to explore our distribution options. The first thing we did was scour the TFC archives to read everything we could on traditional distribution, DIY distribution, and compared the pros and cons of the two approaches, incorporating any processes that were relevant to us.

I then had a thirty minute conversation with TFC founder Orly Ravid about our prospects. She very succinctly explained that our film wasn’t mainstream enough for any distributor to really go out on a limb for us. We could bypass traditional distribution and go with a DIY approach, but we’d need to put in a lot of additional time, energy, and money with no guarantees of success; OR we could sign on with one of the traditional distributors and manage/lower our expectations. She cautioned, however, that no distributor was going to spend a lot of money or energy marketing the movie. At the time, I didn’t fully understand the importance of that warning; I just wanted to move forward.

The final decision to sign with Grand Entertainment Group, was based mainly on their long history and experience in the home entertainment business. We determined that there was just no way to get a cable tv deal or get our DVDs onto store shelves at Walmart and Best Buy without their help and prior relationships.”

Where can the film be seen now?

JC: “Our DVD was released on March 18, 2014 and sold out our initial shipments at Walmart, Best Buy, and Amazon within the first 8 days of release. 8 is our lucky number!

IMDB also put us on a list of Most Popular Independent Feature Films released in 2014, based on their movie meter rankings. Pretty incredible considering we had very little press and publicity prior to our DVD release. It was based almost entirely on our small, but very loyal and dedicated base that we grew completely organically. While we are very grateful to be on any list of success stories, there are probably thousands of independents released each year that never see the light of day, which is incredibly unjust and unfair because we might have been one of those films had the ball bounced a little differently.

Our VOD/Digital release will be sometime in April or May, and we’re partnering with Tugg, Inc. to have some promotional theatrical events in Los Angeles, Washington D.C., and possibly San Francisco. I ultimately realized that no one was more responsible and obligated to market and promote the film than me, the producer/director/writer of the movie. I don’t think I would have truly understood that, if someone else had been doing it for us. We never could have harnessed and cultivated the same level of ownership our audience has with the film, if we didn’t do it the old fashioned way, by personally reaching out one person at a time. It’s really hard work, but I know we’re much stronger because of it.”

To find out more about Tentacle 8, visit these websites:

IMDB: http://www.imdb.com/title/tt2048875/

Tugg:  http://www.tugg.com/titles/tentacle-8

Facebook:  www.facebook.com/tentacle8

Webpage:  www.tentacle8.com

Twitter:  www.twitter.com/tentacle8

Amazon:  http://www.amazon.com/Tentacle-8-Brett-Rickaby/dp/B00H7LRY5E

April 9th, 2014

Posted In: Best Buy, case studies, Digital Distribution, Distribution, DIY, Film Festivals

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Unfortunately, a great number of key digital platforms must be accessed through the use of an aggregator. Of course there are always exceptions, but the general rule is that to get your films onto Cable VOD, iTunes, Netflix, Hulu, Sony Playstation and other device oriented options and retailer digital platforms , you will have to go through an aggregator or a distributor. We either directly or via partners offer both a commission or a flat fee option (range depends on platforms).

However, you can get onto Amazon directly. Also, you can access DIY oriented ones such as Mubi, Fans of Film and other platforms like them. To the best of our knowledge, more money is made on the key high trafficked platforms, if one can get on them.

Once again we remind you, MARKETING, MARKETING, MARKETING is key to your film’s success no matter what distribution outlet you use.

This concludes our series of tidbits for the time being. As always, if you have questions or need guidance to figure out your film’s distribution path, we would love to hear from you. No rights taken.

August 27th, 2010

Posted In: Amazon VOD & CreateSpace, Digital Distribution, DIY, Hulu, iTunes, Marketing, Netflix

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The Tidbits this week will be bolstered by CASE STUDIES and real numbers  to come after the initial releases have completed. These TidBits are the conclusion of our first DISTRIBUTION TIDBITS series and a bit of a general overview of how to blend traditional distribution with new DIY  opportunities.

FOREIGN (OUTSIDE US DISTRIBUTION): TFC usually employs a hybrid approach when it comes to distributing films outside of the US.  There is still a lot a distributor in another country can do with your film that you cannot do yourself, i.e. theatrical and non-theatrical,  additional festivals per territory are harder to suss , and of course 
retail DVD and often TV etc. To balance things out, TFC often combines licensing rights to distributors with some DIY. For example, we make sure filmmakers can sell off their own site (we can help facilitate that) and also have the right to get the film onto any 
digital platforms that the distributors cannot and we can facilitate a worldwide iPhone App and other Apps which also allow for direct digital distribution in many countries around the world. We also aggregate directly and through our partners to key digital platforms available worldwide.

TFC helps filmmakers with foreign sales  and will also soon have a booth at key sales markets. If you are going with another sales company, we will help you not get stuck in an abusive deal or one that recoups excessive costs at your expense of  reasonable revenue.  And many buyers will buy directly from filmmakers  if they are properly motivated, thus decreasing the need for a sales agent.

August 23rd, 2010

Posted In: Digital Distribution, Theatrical

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