» Posts Tagged ‘selfdistribution’
In Part 1 of this series, I talked about the decisions in creating the seminal piece of marketing (the trailer) for my first narrative feature Menthol. We just had our world premiere last month at the 29th Santa Barbara International Film Fest and, being my first festival experience from the filmmaker’s side, I wanted to share a little bit about the experience and what it’s got me thinking about — the philosophical, the social, and the pragmatic. More »
In this series of posts, I’m going to test, prod, and explore the process of releasing my first feature film almost entirely online, with no money or nepotism. As some of you know, I’ve been regularly writing about distribution on No Film School in recent months with the intention of one day putting what I’ve learned to use. That day has come with the imminent release of my narrative feature Menthol – and what better place than here to have the discussion as the process evolves? Read on for Part 1, in which I discuss decisions in cutting and releasing the all-important trailer. More »
It’s been a good year for Reelhouse as the direct-to-consumer platform continues to find ways to incentivize audiences to click play. Reelhouse announced a partnership with Sundance earlier this year and now it adds select Warner Bros titles to its repertoire. However, this is not a move away from their independent focus, but an attempt to connect some of the virtues of the independent marketing sphere to the studio world. Read on to catch up with Reelhouse CEO Bill Mainguy to talk about their new initiative. More »
As the tools available to the independent filmmaker expand and improve, so do a number of services facilitating direct distribution. Several non-Louis C.K. success stories have emerged, often emphasizing the benefits of crowdfunding and the importance of social media outreach. One such service, VHX, has recently posted a tip we don’t hear quite as often. It’s something that seems totally obvious — and is comparatively ancient as far as actual technology is concerned — but can, according to VHX, greatly impact the success of directly distributed media. The tip? Adding subtitles to your film. More »
Drugs and music go hand-in-hand arguably as well as independent filmmaking and direct distribution, and I can’t think of a better way to exemplify the parallel than the Barnes Brothers‘ latest “hypothetical documentary” East Nashville Tonight. The film follows songwriters Todd Snider and Elizabeth Cook (among others) in an honest and refreshing portrayal of the musician’s predicament. Hit the jump for NFS’ interview with the filmmakers and Bond360 front-man Marc Schiller as we discuss the film’s marketing and distribution strategies. More »
With all the recent talk about new forms of distribution, producers sometimes forget the tried and true alternative distributors that have been making money for independent filmmakers (and collecting data, no less) for decades. New Day Films is a veteran distribution company that has been operating as a filmmaker-run collective since 1971. With decades of results to showcase their success, New Day is less of a gamble for producers whose projects are selected to join the elite roster of social issue films. “Member-owners” put more time into personally marketing their films through New Day, but their efforts are more effective than some third-party distributors because of that personalization. Steering committee chair Ellen Frankenstein gave NFS the lowdown on member-owner marketing, the benefits of a collective knowledge-base and the differences between New Day and traditional distribution. More »
Whatever you choose to call it: self distribution, direct distribution, or as some prefer ”alternative-distribution” — the tools are out there for filmmakers to publish their work and get paid for it. It’s not a fast track to success and will likely require the full breadth of your attention to make it work, but it is quickly becoming the most viable way for filmmakers to carve out a market for themselves in this industry. Read on to get a roundup of some of the big players, a simple breakdown of what each of them offer and my first impressions.
With thousands of feature films being made each year, helping them connect to an audience has quickly become one of the biggest challenges facing the independent filmmaker today. Nandan Rao, the cinematographer behind The International Sign for Choking, Green, and the director of 2012′s The Men of Dodge City, offers his contribution to the distribution sphere in the form of Simple Machine: an online platform that connects filmmakers directly with venues to screen their films. The kicker? Anyone can list their film and anyone can be a venue. Read on to learn about how it works and why you should give it a try. More »
Vimeo has long been known for the quality of their video, and has become a haven for filmmakers who want a higher quality upload than is available from other video sites. Now they are experimenting with a new platform whereby filmmakers who debut their films at the Toronto Film Festival this week are eligible for $10,000 in funding if they distribute through Vimeo On Demand, the site’s online distribution channel launched in March earlier this year. Click below to check out this new platform and see what it could mean for indie filmmakers. More »
The Chill distribution platform has been on the rise since the beginning of this year and the company is continuing to improve and evolve their platform. One of these evolutions is Insider Access, a new feature designed to help filmmakers create an exclusive destination for their audience to follow along with a production before the release of a film. It’s where all your exclusive content can go, including anything you want to publish direct to boost audience interaction and growth. Get the scoop on Chill’s latest after the jump. More »
Okay, so you’ve made your film, now what? The wheels are turning in the world of independent marketing and distribution, and as filmmakers we now have a slew of options that we didn’t just a few years ago. Assemble is one of these options; an independent platform designed to empower the independent filmmaker and to be a partner through the tough marketing decisions. Assemble has been working with filmmakers and building project-specific tools since 2010, and have seen many projects go on to successful distribution paths. For anyone embarking on the daunting task of creating an online presence for your film, Assemble wants to get involved as early on in the process as possible and see you succeed. Assemble V2 recently launched along with a new admin dashboard, so whether you have a short film and you’re trying to make a feature or you’re sitting on a finished film, read on for our in-depth interview with James Franklin, founder of Assemble. [Ed. Note: nofilmschool founder Ryan Koo's site for MANCHILD is powered by Assemble.] More »
BitTorrent’s alpha program Bundles is developing new release strategies every day and people in the content creation business are starting to catch on. Joel Bergvall & Tim Staples, the creators of the new “television” series Fly or Die, spoke to nofilmschool about eschewing traditional paths in favor of creative control and audience interaction. They will be turning to the people of the internet, the BitTorrent community specifically, to vote on whether they should pursue a network deal, a deal with an internet partner, or perhaps develop a series with each episode distributed as a BitTorrent Bundle. In other words, the audience has a much bigger say in what content is getting created. Read on for our interview with the creators of Fly or Die and find out how they chose the BitTorrent route — the answer might make you smile. More »
One of the first films to explore the inner world of independent video game creators, Indie Game: The Movie is a great example of the ethos of modern DIY filmmaking. Filmmakers James Swirsky and Lisanne Pajot have undertaken the self-distribution route as well, and it seems to be working really well for them. Over a year after their initial digital release, James and Lisanne continue to prove that the life of their film is not yet over. Recently nofilmschool got together with the filmmakers to get some answers about their recent special-edition self-release and their experience of “building something from nothing.” Read on for the full interview. More »
The New York Times’ documentary series Op-Docs is calling for applications to compete in the first-ever Op-Docs pitching event. Taking place at the Points North Documentary Forum this September, The New York Times Op-Docs Pitch will allow selected filmmakers to contend for the chance to produce an opinionated 3-10 minute Op-Doc to premiere on NYTimes.com. Read on for the deets and how you can apply. More »
By now, most of you have heard about Steven Spielberg and George Lucas predicting the “implosion” of the major studios and theatrical releases of films. With the growing popularity of VOD and self-distribution, the two veteran filmmakers explained that the old model is slowly but surely falling apart at the same time that a new one is being built in its place. The question is — will independent film become a casualty to the change, or will it naturally fit into the framework of the new paradigm? More »
Independent film has grown and blossomed over the last few decades. Production costs are low and spirits are high, but the question on every indie filmmaker’s mind after wrap is, “How do I get my film out there?” Independent director Nicolás Alcalá and his team at Riot Cinema has rewritten the book on how movies are experienced and distributed with their film The Cosmonaut, and Alcalá was kind enough to share his thoughts on distribution in contemporary cinema.
Could the future of your career as a filmmaker depend on learning to market yourself? That’s what Brian Norgard thinks, founder of Chill, a new platform that aims to be a ‘partner’ for filmmakers through every step of the digital distribution process. At nofilmschool we had an opportunity to chat with Norgard alongside Jason Brubaker, founder of Filmmaking Stuff and the Film Acquisitions Manager at Chill. Hit the jump for our discussion about how their tools can help filmmakers, their philosophy behind digital distribution, and fundamentals behind having a successful self-release: More »
BitTorrent, a tech company whose name is commonly and incorrectly associated with pirating, has been running a legitimate business since 2004 with over 2 million pieces of licensed content in the BitTorrent download manager, which serves more than 170 million people monthly. The company is now beginning to launch a new endeavor to empower those in the content creation business. BitTorrent Bundle provide a way for creators large and small to have all the advantages of the peer-to-peer protocol while also maintaining control over their content by creating ‘gates’ that must be unlocked by the consumer. We had a chance to chat with Matt Mason, VP of Marketing at BitTorrent, who is very impassioned about what this new publishing platform could potentially mean for creators. Read on for the interview and get the full scoop: More »
Of all the filmmakers of all time, few can claim the sheer volume of titles to their name as Roger Corman — never mind his other accomplishments. The 87-year-old director, producer, writer, and occasional actor is still active in his 60 year film career, during which he has coached countless high-profile auteurs, fostered the careers of several notable actors, and earned a 2009 Honorary Academy Award. He has also already denied services such as Hulu streaming rights to his extensive ~400 film canon even for an offered $5-6,000 per film (to be paid to him) — but has agreed to launch “Corman’s Drive-In” as a $4/mo paid YouTube channel in the summer. Read on for more details. More »
The film industry has changed dramatically over the past decade, and trying to make a living from movies is getting more difficult as independent films (and films in general) fight for a smaller piece of the viewership pie. That’s where people like Ted Hope come in. He has been working tirelessly to make sustainable filmmaking careers a reality, and he’s written a tremendous post that should be an eye-opener for anyone trying to survive as a filmmaker.