Tag: Scilla Andreen

MAKING SENSE OF DISTRIBUTION PANELS – POST LAFF’s SEIZE THE POWER SYMPOSIUM

Posted on by Alexandra

The Film Collaborative was recently on a panel at the Los Angeles Film Festival as part of their SEIZE THE POWER SYMPOSIUM which focused on DIY & DIGITAL Distribution. This was the description of the panel we were on and that I moderated and will discuss below:

NEW DIGITAL DISTRIBUTION INITIATIVES
Leading digital distribution executives present new solutions for distribution
as they explain their business models and the opportunities they offer
filmmakers to reach audiences and bring in revenue for their films.

Erick Opeka, New Video
Nolan Gallagher, Gravitas Ventures
Orly Ravid, The Film Collaborative (TFC)
Scilla Andreen, IndieFlix

After the panel was over someone asked how he could decide which one of us to work with; he liked us all. It was clear to me that even though we had just finished an hour long panel at which we each presented our respective companies and then answered questions, it was not enough to make clear to everyone the way in which to relate to each company and how to make decisions about whom to work with in distribution.

Recently on Ted Hope’s blog

Jon Reiss and Ted Hope and many others including filmmakers discussed the relevance of panels and expert books and even more recently Jon Reiss wrote a blog titled “Coping with Symposium Workshop Brain Fry”. That is what I want to address here, specifically in relation to the panel I moderated and was on called “New Digital Initiatives”.

At the LAFF Panel all the companies discussed what they do and here’s some of that information below, and what we recommend a filmmaker do to make sense of information given at a panel.

Gravitas Ventures talked about its focus on Cable VOD and the fact that it works with Warner Brothers (WB) which (when WB takes a film) can lead to a film being available in up to as many as 50,000,000 homes via about 30 – 40 cable operators and up to 80,000,000 – 90,000,000 homes when one factors in digital. When WB does not take the film on Gravitas can at least get the film out to about up to 12,000,000 – 15,000,000 Cable VOD homes. Of course one in this circumstance has to realize that when WB is in the picture, there are two fees being taken as well as two companies being relied on to provide information and to pay. The other aspects to analyze are 1. the benefits of having a studio involved in VOD and Digital often leads to HIGHER revenues from Cable MSOs (Multi System Operators) and digital platforms and also MARKETING LEVERAGE. But, 2. the Studios are also glutted and not necessarily focusing on your film and you may get lost or inadvertently shafted (and I know it’s happened) so one has to have contractual commitments or protective clauses, and 3. They won’t let you keep digital rights usually, though maybe Netflix SVOD; and 4. accounting can be soft on the details. Gravitas does 2-year deals and about 350 -400 films per year and is the largest VOD aggregator at this time. Gravitas noted revenues per film ranging from as low as $5,000 – $250,000. A FILMMAKER must ADDRESS MARKETING and COSTS RECOUPMENT whether in dealing with Gravitas or any other Cable VOD & Digital Aggregator (e.g. TFC also works with Brainstorm Media & Fluent / Lions Gate), or any of the other studios who are or will be opening up to “independent product”.

The Film Collaborative’s entire purpose is to help sift through the information available at the time your film is ready or will be ready for release and help you resolve your COMPLETE DISTRIBUTION STRATEGY. Gravitas Ventures can get you the VOD and digital access you need but they don’t necessarily do much in the way of marketing so that will be more up to you to either have them commit to that effort or do it yourself (and perhaps in collaboration with us and our marketing partners). A marketing plus (+) though for Gravitas is that if WB gets behind your film, they can get iTunes and the Cable Operators to give your film a bigger marketing push. This can be very valuable.

Continue Reading The Article Use the Following URL: http://www.thefilmcollaborative.org/blog/?p=76

IndieFlix Unveils New Indie Film Distribution Model at Cannes

Posted on by Jon Reiss

News from the good people at IndieFlix. I had the pleasure to meet Scilla at SXSW and she is GREAT! I think they are one of the new distribution companies really making a change.

CANNES, France, May 20 /PRNewswire-USNewswire/ — IndieFlix CEO Scilla Andreen launched today an international tour to introduce new distribution models for independent films, highlighting her company’s premium packaging of Andrew Robinson’s “April Showers,” based on the Columbine High School massacre in 1999.

For the film, IndieFlix has identified a core audience segment of 30 million U.S. moviegoers and is providing them not only with the most number of ways to view it, but also with the tools to use the movie as a platform for social change.

The campaign is one of a series of release stages, carefully sequenced to build audience influence.

Rather than compete headlong against Hollywood studio films in the entertainment section of major newspapers, “April Showers” made its debut instead as part of a national conversation on the future of learning in America. In that context, Robinson’s story as a survivor of the Columbine shootings was covered by the broadcast and print media as a national news item even before its initial theatrical release. As a result, Robinson quickly became a sought-after commentator and discussion leader.

Meanwhile, IndieFlix mounted a comprehensive online distribution campaign hot on the heels of the theatrical engagements. Working with a network of the biggest names in online delivery, IndieFlix was able to offer “April Showers” directly to moviegoers across all platforms.

However, the distributor’s real focus was on coordinating this stage of the release with a range of social networking strategies. This effort brought in the highest-quality feedback from the most influential audience segments. At this point, it became obvious that “April Showers” had connected with an audience ready to champion the film in settings where it would have the greatest impact, namely, in schools and with community groups.

To create a package that would redefine educational distribution, IndieFlix teamed up with the April Showers Foundation, created by Robinson and the film’s producers, and with School Safety Partners, a Denver organization with deep ties with school administrators and educational funding sources. Together, they reached out to national and international experts in student development and school safety, and were greeted with an outpouring of social change and capacity-building resources that could be added to the school edition of “April Showers.”

This multiplied the distribution possibilities. IndieFlix is now able to offer greater value to organizational buyers of the film, who typically pay a premium license fee. In addition, the package has generated cause marketing opportunities for corporate sponsors, and discussions are underway to provide a sponsored distribution of the “April Showers” educational edition to every school in the United States.

As Andreen oversees a state-by-state educational rollout, she expects that this stage of distribution will lead not only to broader DVD and Blu-ray distribution, but also to broadcast airings of the film that are treated as must-see television events.

Her worldwide tour to discuss new distribution models to the independent film and video community includes visits to dozens of film festivals and appearances at financing conferences. Filmmakers interested in learning more are encouraged to visit IndieFlix.com, which currently represents more than 2,000 titles.