Big Apple Film Festival - Distribution in the New Age - Nov. 17, 2007

4th Annual Big Apple Film Festival
Distribution in the New Age
November 17, 2007

Video from Brian Chirls.

Panelists:
(ED) Erik Davis (Managing Editor, Cinematical.com)
(PG) Peter Goldwyn (Vice President Acquisitions Samuel Goldwyn Films)
(BC) Brian Chirls (Four Eyed Monsters)
(CT) Clémence Taillandier (Head of Theatrical Sales, Zeitgeist Films)

Moderator:
(AL) Aaron Levine, Gen Art Film Division Coordinator

Summary:
“Distribution in the New Age" is a panel discussion that will focus on utilizing the Internet, as well as other modern technology and media outlets as a means of independent film distribution. The panel will focus on areas such web based marketing and promotion, how to best utilize websites such as YouTube and MySpace and other options available for DIY film distribution in the modern age.

(AL) Where are we at with the WGA strike? What are the writers looking for? How does the strike affect your job or the nature of what you do?

(ED) Learned last night that talks are scheduled to resume on November 26. It’s kind of a surprise. The Davinci Code sequel became the first casualty of the strike. Looks like there will be a media blackout. I support the writers.

(BC) The writers are looking for a larger percentage share of DVD and download sales. The last negotiation was in 1988. They received too small a share from home video sales. Producers argue that sales are not significant enough.

(CT) The strike doesn’t affect Zeitgeist, which distributes foreign films and documentaries.

(PG) Samuel Goldwyn released Southland Tales, which had a lot of bookings, but The Rock was supposed to promote the film on late night TV and couldn’t because those shows weren’t being taped. We also release foreign films and documentaries. There’s still going to be stuff for us to buy. The effect won’t hit us till 2009.

(AL) Have innovations in digital distribution changed your business model?

(BC) The amount of screens for digital projection is still limited. Most theaters still want prints, but there’s always a way to do it. The traditional window is theatrical, then PPV, DVD, now download. There’s room to mix that up. With Four Eyed Monsters, it started out at film festival, then had a theatrical release and on YouTube (1 million views). After YouTube, got a TV deal. There’s also a DVD distributor who will take it wider, but still in negotiations on that.

(CT) Zeitgeist is still trying to make money through theatrical releases. We distribute five films per year. We’re thinking of digital distribution. We’re doing some, but not making any money. Still relying on prints. Hoping there will be a niche audience for digital.

(AL) Will Day-and-Date be a standard of practice five to 10 years from now?

(ED) There will be a lot more within five to 10 years slowly as the Internet moves to TV. There’s a lot of talk about Brian DePalma’s new film Redacted now. You can watch it on PPV or in a theater. It’s hard to imaging films like Spider-man or Transformers doing Day-and-Date.

(PG) It’s debatable. Redacted has a $20 price point on Day-and-Date. Exhibitors have a lot of problems. These films can only play in certain theaters that allow for Day-and-Date. It’s nice to have options. Some theaters aren’t as nice to go to anymore. Personally, I like going to theaters. Newer generations like watching things on smaller screens. There are a lot of unanswered questions.

(BC) Everything’s going to be Day-and-Date. If there’s no difference between watching a film at home or at a theater, then what’s the point? In almost every business, you can’t sell to consumers based on what they can’t do. Some theaters are now selling alcohol. Innovations can be made. The social experience is the biggest thing. Why spend more money on beer? Because it’s a social experience.

(CT) Exhibitors Zeitgeist deals with are devoted completely to cinema. Trying to make it a more cultural experience, ie. inviting filmmakers to Q&As. There’s still going to be an audience for specialty films. You can’t create the same experience on your flat screen TV.

(AL) What other innovations would you like to see in theaters?

(ED) I don’t go to theaters anymore. You have to sit through 20 minutes of ads. It bothers people. There should be two start times. The problem is, in New York City, every weekend films are sold out, so you have to get to the theater sometimes one hour early. It’s draining. There have been some ideas for special reserved seats and call-buttons on chairs for people making noises in the theater.

(PG) I like previews, just not the ads. I’ve always enjoyed trailers. Do you feel watching DVDs at home gives you a disconnect from the audience?

(ED) I don’t feel like I have a disconnect. I get comments from readers.

(PG) As a distributor, we want critics to watch films in theaters. There’s a big difference in the communal experience than watching something on DVD. Something gets lost when you don’t see a film with an audience.

(ED) There’s something to be said for watching a film at home.

(PG) We get a lot of DVDs before going to festivals, because sometimes we miss stuff. Ads can be reduced. I like a theater to be clean and have comfortable seats. An example of a good theater is the Alamo Drafthouse in Austin, TX.

(BC) There should be a complete change in the way theaters schedule films. There’s always a lot of empty screens. There’s so much opportunity to fill screens with more independent and local films. This is a benefit of digital projection. Theaters should push back scheduling. Mix it up a little. Make screenings more eventful..

(CT) There’s a difference between art and commercial movie houses. Art houses should be closer to the audience. A platform for discussions.

(PG) There was a time when theaters did a lot of promotion themselves. You can’t leave your children in theaters by themselves anymore. The charm is lost. The distributor has to find group sales for the exhibitors now.

Audience Q&A

Q: Can the model for the new Radiohead album be applied to independent filmmakers?

(PG) It’s more inexpensive to make an album than a movie. How will you pay off your bills? Some films are cheap to make, ie. Mumblecore. Their distribution deals on a whole aren’t profitable, but their goal is to show it to an audience.

(BC) I love what Radiohead did. Pay what you want. People will download it anyway. Listen, then buy. Four Eyed Monsters co-director Arin Crumley got an emailed from someone who’d been searching for monster movies and found 4EM. He downloaded it, liked it, then bought it. This is a great opportunity.

Q: Do you think people will be willing to send money to filmmakers?

(ED) I paid between $10-$15 for the Radiohead album. It depends on the person. The target age is teenage males. Would the average teenaged kid shell out money? It depends on the individual person and how passionate they are.

(PG) There’s always a certain level of stealing. If you make things accessible, you take a risk.

(BC) You can get people to pay if there’s an experience. I think we’ve lost that.

(PG) Our job as distributors is to bring films to an audience. If you just put out a donation plate, a lot of people won’t put anything in it. You have to set a few standards. There needs to be some way to monetize the work. The Radiohead album was sold on a sliding scale, but their concert tickets won’t be.

(BC) We need to come up with equivalents. There is a cultural experience of consuming media. Four Eyed Monsters was a big challenge. Was the directors’ first feature and had no celebs. They created a podcast/video series to promote the film.

Q: What’s your opinion on the primary way for an indie producers with their own money to distribute their films with a goal to recoup expenses and make a profit?

(PG) The traditional theatrical route. Distributors get back the cost. They buy all rights to certain territories. Get a sales agent, or at least a lawyer. Work out a deal. Some filmmakers put out their own money. Some producers put up all the P&A (prints & advertising).

(BC) I’m a strong advocate of being prepared to self-distribute as a back up, even if you don’t want to. You can’t always count on going to a festival and expecting to get a huge deal. You plan gives you a better negotiating position if a distributor approaches you with, for example, $15,000 for all rights to your film.

(PG) Be careful about giving rights to distributors for long-term deals. Don’t take something like $15,000 for eternity.

(CT) If you’re making a documentary, make sure to clear all your rights. You need to trust the distributor.

(PG) Find out which distributors pay their bills. Find someone who has experience getting their money from distributors.

(CT) Be available to promote your film with the distributor.

Filmmaker Conference - The State of Independents – September 19, 2007

The State of Independents – September 19, 2007

Moderator:
(EH) Eugene Hernandez, indieWIRE

Panelists:
(BT) Bill Thompson, Head of Distribution, Picturehouse
(MK) Michael Kang, West 32nd
(PG) Peter Goldwyn, Samuel Goldwyn Films
(CB) Charles Burnett, Director, Killer of Sheep
(TQ) Tom Quinn, Head of Acquisitions, Magnolia Pictures

Synopsis:
How has independent film changed in the last five years? Where are we headed and how can distributors and independent filmmakers work together to tweak old platform models in a landscape of shrinking windows and increasingly elusive audiences to get their work seen by global audiences?

(EH) Where do things stand today for independent film distribution? What are some films, trends, and issues that have occurred for the past 12-18 months? What are you optimistic and pessimistic about the state of independent films?

(TQ) Pretty morbid feeling. Independent film is anything release on 600 prints or under. A somewhat disappointing trend is that the release of theatrical documentaries is oversaturated. Event-driven docs such as Sicko or March of the Penguins are subject-driven docs. In the Shadow of the Moon hasn’t really taken hold either. I don’t think they have a huge life anymore. I don’t think Crazy Love fits in that description. It had a disappointing box office. It’s not even going to break $400K, but probably will be nominated for awards. On the flip side, Magnolia did really well with its DVD releases, ie. Jesus Camp.

(EH) What do you think about what Tom is saying?

(BT) Unfortunately, docs always give us a challenge as distributors. No matter how well-reviewed they are, they’re difficult sells. We have The King of Kong in about 50 theaters now. The biggest changes are the numbers of films being released. Last Friday in The New York Times, at least 15 films were reviewed. Maybe only 5-7 of them were indie films. It’s a challenge to get them noticed, especially in New York.

(EH) What are you optimistic and pessimistic about the state of independent films?

(BT) We have a wide variety of films. We’re co-owned by HBO Films and Newline. This year, we release Rocket Science that premiered at Sundance and was well-reviewed. We also produce films. Depending on the relative success of independent films is how we think of the marketplace. If there are no major names attached to a film, will a true indie film do well in the marketplace? This is a concern.

(EH) What’s happening with foreign-language films?

(BT) We love to distribute them. Hope there’s a continuing market for them. There’s still a real challenge in this country. A few films are successful, but most have a hard time finding an audience. It could be very costly and discouraging.

(EH) Pan’s Labyrinth had one of the highest grosses for a Spanish-language film. How much do grosses characterize the performance of a film?

(BT) Pan’s Labyrinth grossed about $47 million. It broadened the market for Spanish-language films, but realistically, that film was unique because of its fantasy elements, so it reached a crossover audience. At its most, it was on 1,100 screens. Don’t know if it will start any trends. We’re releasing The Orphanage, another Spanish-language film produced by Guillermo Del Toro, later this year that debuts at the New York Film Festival.

(EH) What are you optimistic and pessimistic about the state of independent films?

(PG) Pan’s Labyrinth makes me optimistic. There’s a real saturation of movies and not a lot of screens. Specialized films don’t get all the marketing that studio films get. Don’t like generic genre films. Other films don’t get a chance to survive.

(EH) 2 Days in Paris just crossed $3 million gross. Are you happy with its performance? And previous release The Squid and the Whale?

(PG) We’re extremely pleased with it. It did not lend itself to a lot of marketing. Do all you can do. Movies have to speak for themselves. We released The Squid and the Whale in time for Academy consideration. Measure of success is I a good movie, good reviews and getting into the right theaters.

(TQ) It’s a total crapshoot. One of my favorite films this year is 2 Days in Paris. It’s a good quality movie that found an audience. Distributors should pick the right movies, pay the right price, and pick the right release date.

(EH) Killer of Sheep (which was made back in the 1970s) had a very successful release this year. What’s your take on the critical and economic perspective of distribution?

(CB) I give a lot of credit to Milestone Films (distributor of Killer of Sheep). The film went through a lot of obstacles to get shown since it was made. Several attempts in the past failed. Milestone went about releasing it in a scientific way. They knew how to expose it. I was surprised it did so well. It was originally my thesis film. It wasn’t meant to be shown theatrically. Word of mouth developed, and people wanted to see it and someone wanted to distribute it. I originally faced issues with getting music rights, and finally got the rights years later.

(EH) What are you optimistic and pessimistic about the state of independent films?

(CB) I’ll continue to make films. Don’t know why. An ongoing struggle for people of color.

(EH) West 32nd was received well critically at the Tribeca Film Festival. What’s your plan for releasing it. Any challenges? What are you optimistic and pessimistic about the state of independent films?

(MK) I’m the newbie at the table. I have no idea what will happen. West 32nd Street is a hybrid of Korean/Korean-American film that was financed by a Korean company. It will be released in Korea first, and then will be brought to the U.S. We’re still ironing out the plan. The process of making my first film, The Motel, was very collaborative, except for the release process. Palm Pictures was great, but they’re business oriented. Me getting in the middle of it may be more bothersome.

(EH) What are some tips to provide filmmakers with on the business side?

(MK) Surround yourself with people who know what they’re doing. Listen to them.

(EH) What is the current state of acquisitions? What are some challenges?

(TQ) Magnolia is different than Samuel Goldwyn. We buy more movies. Each year, we do a tent pole release. We also buy a lot of straight-to-DVD films. We’re all over the place. We look at each film with equal importance. Go with your gut.

(PG) Samuel Goldwyn acquires between nine to 12 movies a year. We try to keep an open mind. We’re the middleman between the filmmaker and the audience. We released What the Bleep Do We Know? The filmmakers did grassroots promotion. Also release The Boynton Beach Club. Don’t particularly like genre movie. Audience groups talk to each other see movies over again. Word of mouth is extremely powerful. We exist in a vacuum and sales agents want to keep us in this vacuum. There are situations where I love a film, but need to think about the business. We’re not always sure of the commercial prospects of them. Sometimes, we’ve even past on the most successful films.

(EH) How much do you have to consider who your audience is?

(MK) Filmmakers shouldn’t try to think about the marketplace when writing screenplays. I make films I would like to see. Hopefully, I have good tastes.

(CB) There’s a lack of black people represented in films. I feel obligated to tell their stories and hope people will enjoy them.

(BT) We see hundreds of films each year. Filmmakers are passionate about their films, but need to find a way to make distributors and audiences care about them, too. Have to find a way to sell to a broader audience.

(EH) Magnolia release R. Craig Zobel’s film Great World of Sound over the weekend, which grossed about $6,000 in its first weekend. You clearly cared about it, but what can be learned about its performance at the box office?

(TQ) The opening was depressing. Reviews were great. Outside of this room, audiences are picky. The film is a great comment on fame. We love Craig and the concept of the film. It’s a hybrid documentary/narrative film.

Audience Q&A

Q: Why do distributors open their films in New York City? Why not pick up films before they premier at a major film festival?

(PG) Show us your movie early. The reality, to some extent, is you want to show your film at a major film festival. We spend most days watching films sent to us on DVD. We would love not to have to buy films at festivals. Festivals are a filtration process. It makes it easier for us. We also attend CineVegas. Every head of acquisition is there.

(TQ) The Holy Grail is going to Sundance and selling your film for seven figures. We do see some things out of circuit. We’re always on the hunt. Unfortunately, we see practically every blind submission, but we never take them. It’s key to pick your festival as wisely as you pick your distribution deal. New York City is the most expensive city to release a film, but also the highest grossing. If you get a good review in The New York Times, it will help with releasing it in the rest of the country.

Q: Why aren’t we seeing enough films with African Americans that aren’t being portrayed as stereotypes? [Eugene adds: There’s a lack of diversity in films being released and the people working at these companies. Not much has changed in the last three to four years. We seem to have a long way to go. How do you see things changing?]

(TQ) From my experience, Woman Thou Art Loosed was a powerful film. Almost every distributor passed on it. Raising Victor Vargas also had a good release and tells its story from a young, minority perspective. We try to be as active as we can to fill these jobs.

(PG) Looking at every movie, need to figure out if an audience will want to see it.

(CB) There are problems in my community with distribution because of a lack of theaters. People have to go 10 miles to get to a theater. In some ways, it’s really unfair. There are the Magic Johnson Theaters, and the Pan-African Film Festival is also in Los Angeles.