Tag: direct to fan

Distribution Case Study – “Finding Hillywood”

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Written by Leah Warshawski (Producer/Director) / Introduction by Jon Reiss

 

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I recently wrote a two part article featuring four documentary filmmakers who pursued hybrid releases with their films and who were generous enough to share the real data from their films’ releases – Transparency: Four Filmmakers Give Up the Gold Pt1 and Pt 2. Upon reading these, filmmaker Leah Warshawski wanted to write something similar for the self release of her film, Finding Hillywood. This first post about the film chronicles the story of her release, finishing up with a list of 10 tips for filmmakers. When all of the data is in – about a year from now – she will write a follow up detailing all of the real data from the release. I encourage more filmmakers to tell their stories – not just the how, but also the results. A great way to do this is to participate in the Sundance Transparency Project. This information helps all of us learn from each other’s triumphs and disappointments so that our knowledge base continues to expand. I am already speaking with a number of other filmmakers willing to share their stories – if you wish to contact me, my information is at the bottom of this post.

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Distribution Transparency: Four Filmmakers Give Up the Gold Pt 2

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Wednesday’s post looked at Neil Berkeley and Judy Chaikin as two filmmakers who wanted to create a theatrical release for their films to boost visibility, increase ancillary value and learn for themselves how to operate in the new hybrid model of distribution and marketing. Today we will look at Paco de Onís the company Skylight he runs with with creative director Pamela Yates and editorial director Peter Kinoy and their film/media project Granito

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Distribution Transparency: Four Filmmakers Reveal Their Distribution Numbers, Part One

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Alternative distribution models are no longer the experiment, but are now the norm for the vast majority of filmmakers. However because of a variety of reasons, including not least contract obligations and a fear that exposing numbers may not show the filmmaker in the best light, many filmmakers have been reticent to give out the real numbers from their film’s releases.

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