Jon Reiss

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

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

Jon Reiss on Huffington Post A Christmas (and Hanukah) List to Help Save Independent Film

Here is my piece for the Huffington Post that ran on December 17, 2009 Click Here for the Original List with Links

A Christmas (and Hanukah) List to Help Save Independent Film

By Jon Reiss

Much has been written about the current crises in independent film. Studios run by corporations increasingly view their specialty divisions as a hobby, and have been eliminating them one by one. DVD sales are down. The internet is struggling to monetize.

However, it is an exciting time because it is more possible than ever now for audiences to connect directly with independent filmmakers and help support them with the films that they have made, and are making. This list is to introduce 10 gifts that you can give for Christmas (and the last two days of Hanukah) to help support independent film.

1. Buy a DVD directly from a filmmaker’s website. I know it is easier, and cheaper to buy a film from Amazon. But a filmmaker will get more than twice the amount of money from a direct sale, at least 80% of the sale as opposed to approximately as low as 30% of the sale if on Amazon. In addition the filmmaker will get your email address so they can tell you about future projects – the first step in creating a closer bond between filmmaker and audience (you can always opt out). Finally – you can buy additional gifts from savvy filmmakers as well as exclusive packages. Check out the film Ink who are a great example of this. For a catalogue of filmmaker websites go to Neoflix

2. Buy a DVD that is not widely available yet. Many filmmakers have begun to sell their DVDs while on the festival circuit. They are not waiting for a distributor, who may not come. These DVDs are usually only available from a filmmaker’s website or at screenings. Children of Invention will even explain why they are selling their film on the festival circuit.

3. Support a film that is still in production. Many films are now “crowdfunding” e.g. using the Internet to raise money via donations. The filmmakers will give you gifts (from advance copies of the DVD to a producer credit to an actual role in the film!) Check out Indiegogo’s site and Xmas list to see what is available. I feel that crowdfunding is one of the most incredible ways to connect directly with filmmakers and create a lasting relationship with them. Check out Can Bush Be Prosecuted I love the personal appeal for the comedy Love and Taxes.

4. Go See Movies Part 1: Alternative Venues
Of course seeing films supports independent film. But how do you gift it? An AMC card doesn’t help independent film. There is a new wave of alternative screening venues sweeping the country in its infant stages. They need your support. Buy some tickets for a friend at one of these venues and in your card tell them why you did it (heck print out this post and include it to save you time). Brave New Theaters is a guide to films (usually social action oriented) and alternative venues (some are people’s living rooms, many are not). Range Life is a group of 4 films touring the country. You can donate to the Rooftop Films project which needs support for their 2010 summer season.

5. Go See Movies Part 2: Traditional Art Houses
Most cities will have some kind of art house nearly all will have a Film Club or Support link. Go to the Art House Project for a list. You need to scroll down to the “Community Based, Mission Driven Art House Theaters.” Click on a theater in your city, click on the Film Club, or Support link, or Ticket Package link, purchase, print the receipt, put in envelope.

6. Go See Movies Part 3: Give a Hosting Package This is for the true film lover or activist. Many films such as Robert Bahar’s Made in LA will sell you screening packages for as low as $100. In this way you (or your friend who you are gifting) invites friends over to their house/home theater to view the film (preserving the social nature of film) and you can sell the extra DVDs to your guests or give them away. (The gift that keeps on giving.) If you or your friend really like this experience – you can list yourselves on Brave New Theaters and become your own screening venue for independent film.

7. Go See Movies Part 4: Support Indie Films on Video On Demand An emerging distribution outlet for many indies is day and date VOD, in which the film is available in a few theaters across the US and simultaneously available on VOD. Unfortunately many VOD menus favor studio films and make it difficult to find independents. However if you look, you can find them, check out IFC, Film Buff and other new independently oriented VOD channels. When you find a new film, invite your friends over and watch it together one night this holiday season. By initiating yourself and your friends into the VOD experience, hopefully you will continue to use it as a way to watch independent movies which will in turn support them.

8. Buy A Digital Download or DVD from a Site that Supports Independent Film At Indieflix you can not only buy DVDs from a huge catalogue, but you can stream them as well. iTunes has been great for independent film, providing access to broad markets, etc. But whereas your iTunes card might be used to download Transformers, if you gift Indieflix not only are you solely supporting independent films, but the filmmakers get a much larger share of the pie, 70%. B-Side is another new innovative company that focuses on community screenings and DVDs. For LGBT content go to Wolfevideo.

9. Buy a Roku Box While not directly supporting independent film (you are buying a product from a corporation to view products distributed by corporations), a Roku box will enable you to watch your Amazon VOD and Netflix choices on your television. Amazon is still the largest catalogue of media and lists many independent films. By giving a Roku box you make it easier for them, hence helping independent filmmakers.

10. Give Your Filmmaker Friends A Book If you know an independent filmmaker, (or if you know someone who is interested in the changing film distribution landscape) and they don’t know how to engage their audience or sell their films, give them one of two books (or both) that will tell them how. Scott Kirsner’s Fans Friends and Followers or my book Think Outside the Box Office which comes with bonus gifts from free tickets to screening venues to free chapter updates when you buy it from my website (currently the only place it is available).

11. Buy Other Merchandise from Filmmakers Perhaps you’ve already seen a film, or don’t want to collect a bunch of DVDs. You can still buy products that support independent filmmakers. For Bomb It we created a variety of t-shirts, posters, stickers, hats, hoodies. Check out the RoosterTeeth store as well. Would love to hear what other filmmakers are doing as well.

12. Pay for a Pirated Film The next wave of monetization for filmmakers is to monetize piracy. Ink had 5,000,000 views but it didn’t translate into paying back their film much. James King created VODO to address this issue in a systematic way. If you can’t beat them join em. Give a gift to Vodo to support their efforts. Or tip a film, print the receipt and give it to a friend – with the suggestion that they watch the film on torrent. I hope that this starts to shift the mindset that all content should be free. For if no one pays for content, how will we as creators have the resources to continue creating?

The Value: While one of these gifts will not buy a goat for a poor farmer in Chile (those kinds of gifts are great too), they will help preserve the independence of vision and independent voices that shine a light not only on important issues of the day, but entertain us in new and innovative ways. If independent film dies, so will these independent voices in our media landscape (god forbid we are left with FOX). In addition, by giving the gift of independent film you show others how they can support filmmakers as well.

Let me know what you think by commenting here or on Twitter.

Indieflix Comments on My Blog

In today’s changing Indie distribution markets, we must engage with strong marketing strategies from a project’s inception.  Find your audience.  Get to know them.  Understand their needs and how they will gain access to your art!

Check out this great article from IndieFlix!

Finding What Works in Film Marketing & Distribution
Submitted by lauren on Thursday, 15 October 2009

Filmmaker Jon Reiss has spent a lot of time working the indie film market and has accepted, if not embraced, the marriage of filmmaking and marketing. He has written a much-anticipated book on the subject, called “Think Outside The Box (Office): The Ultimate Guide to Film Distribution and Marketing in the Digital Era,” which chronicles the lessons he learned while promoting his film “Bomb It,” a documentary about graffiti on five continents. The book is, he describes, a “360 page nuts and bolts guide to distribution and marketing for filmmakers,” which basically goes over all the things filmmakers have to think about when all the hard work of creating their art is over.

He deals with these subjects at length on his blog. His latest post answers a lot of questions about the state of distribution and marketing indie films and the steps filmmakers must take Continue reading →

IndieFlix Unveils New Indie Film Distribution Model at Cannes

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.