If creating buzz is what you want, you don’t need a traditional theatrical and you definitely don’t need to overpay for the privilege by Orly Ravid, Founder and Co-Executive Director of The Film Collaborative
Some OPTIONS – try HYBRID THEATRICAL – do FILM FESTIVAL, CREATE EVENTS, HOLD SCREENING WITH ORGANIZATIONS, show in MUSEUMS (in some cases), other ALTERNATIVE VENUES depending on the film, and also there are all sorts of ways to book a few days here and a few days there at theatres (we cover that below). Theatres are and will continue to do this more and more. AMCi announced their intentions and they are still in the marinating phase but we know you’ll all be ready when they are.
We’re interested in these companies and services:
1. Cinedigm:
They have a program in the works that is meant to be similar to ScreenVision and Fathom (which is no longer handling indie films generally speaking, as far as we know) but aimed at independent cinema, and working with all the big theatre chains (Regal, AMC, Cinemark). I asked them to write a few words for me about themselves and their plans: Cinedigm Entertainment, a theatrical distributor, has built several “channels” of content for movie theatres. This is niche content that plays at what is traditionally slower times for the theatres. Examples are; Kidtoons a monthly matinee program; Live 3D sports, like the World Cup and NCAA Final Four basketball; and 3D and 2D concert films with artists from Dave Mathews to Beyonce. For each “channel” the most appropriate theatres are chosen and theatres sign on to play the content as a series, thereby creating the expectation in the marketplace for the next installment. In the company’s newest “channel” it looks to apply the concept to indie-films which will provide filmmakers with the theatrical element for distribution.
2. Emerging Pictures:
Owned by Ira Deutchman (now also a Film Prof. at Columbia University) I spoke with Joshua Green who I have known for a while and booked with, though no real revenues were made in the past, their latest network of theatres sounds potent. They connect up to 75 theatres and they do very well with Opera, Ballet and Shakespeare but also indie films. They work with all the usual indie film distributors either taking on 2nd run of films in major markets or handing the first run in secondary markets. On screen now for example is Mother & Child, My Name is Love, and Girl with a Dragon Tattoo. 30% of the Gross is paid to the distributor or filmmaker. They charge usually a 1-time encoding fee to get the files needed for the theatres. The fee is $1,000. If that’s an issue that can sometimes in advance to make sure the bookings will happen to make the fee worthwhile. They create a Hi Rez file 720p VC1 file which is a professional HD version of MS Windows. They work with the Laemmle theatres in LA and Symphony Space in NY and lots of others across the country. What does well on the Art House circuit will do well with them I was told. Makes sense.
3. Variance Films:
Dylan Marchetti (former exec at Imaginasian and Think Film) is a firm believer in Theatrical and it’s his business. He may promote its necessities a bit more than I will and its not his money to spend and he was honest about the range of success (meaning not all films work theatrically and sometimes money is lost, and we know of at least one example but it happens). We spoke for the first time and I was comforted by his grassroots approach (they do that work themselves) and his commitment to alternative low cost venues: event screenings, niche-specific / lifestyle specific venues, as well as traditional theatres (all the usual chains and small theatres etc). He noted that generally speaking they do not charge more than $50,000 and that they get paid via back-end fees only. He said a release in NY and LA for $20,000 can be done. Variance is not a believe in print advertising; they have to believe in the film to take it on; and Dylan said that there is no correlation between P&A spending and a film’s success. Amen. They don’t do PR but rather refer out to outside agencies, as does The Film Collaborative.
The Film Collaborative is theatrically releasing UNDERTOW (which won the World Cinema Audience Award at Sundance). Stay tuned.
Orly Ravid is the , the first non-profit devoted to distribution. Having previously served as a distribution executive at Senator and Wolfe, and worked as a Programming Associate at Sundance and Programming Consultant at PSIFF, she also co-owns New American Vision, a boutique B:B marketing services company whose clients include AFI Fest, LAFF, IDA, and Roadside Attractions.