Studio

My Adventure in Theatrical Self Distribution: Part 1 of 4

12/9/2009 at 5:32 AM by Jon Reiss

Or how I “invented” the Two Month Window and spent six months wanting to kill myself every day.

Part 1

My story is not unlike most independent filmmakers these days. We bust our butts for years producing – in our minds – a great film, only to find the distribution landscape radically changed from either our prior experience or our hopes and dreams.

For a number of years now I have heard a variety of filmmaker pundits declare “Theatrical is dead, long live the long tail!” But until my own adventure with distribution – I refused to believe in these pronouncements. After a year and a half since the world premiere of “Bomb It” at the Tribeca Film Festival and six months after the film’s theatrical release – I do believe that while there still is a strong role for a theatrical release, savvy filmmakers need to lead the way to more creative ways of getting their films seen by an audience.

While had the fortune to secure a DVD deal with Docurama/New Video, the golden ring of an overall deal eluded us – too niche, too young was the common refrain. “I don’t know how to get young people into the theaters”.

Before signing the deal – we explored numerous other scenarios in order to get a theatrical release – for a number of reasons:

1. I’m a dinosaur – I was convinced that the theater is the best place to view one of “my” films.

2. Ego (hell, I’ll admit it) – not a good reason to release your film theatrically. Especially since what your ego might get back in return may not be what you wanted – or expected

3. I cut my film to be screened theatrically so it moves fast with a strong narrative arc.

4. Based on my experience with my last documentary “Better Living Through Circuitry” I was convinced that I could get under 30 butts into our seats if properly promoted

5. I was convinced that a theatrical release would boost our DVD sales. It is a very very crowded marketplace for anything entertainment – and anything you do to create presence for your film helps.

We even investigated servicing deals. However we didn’t have the money for a servicing deal. My extremely generous and supportive investor Jefferey Levy Hinte of Antidote Films was tapped out – but was convinced to give me $13,000 to do the theatrical release of the film.

One of my editing interns indicated that he was working with a small distributor that specialized in hip hop films and that they might be interested in taking on the theatrical release of Bomb It.

I met with them and they convinced me they had success with making money on theatrical releases of films – plus they were working on a major sponsorship that my film could be a part of. I would also be allowed to do my own bookings, it was a collaboration. As working filmmakers they were here to help other filmmakers.

It seemed too good to be true. Other warning signs – there was no central office – all of the principals were scattered around the West Coast. One of the principals did not have a cell phone. And being filmmakers – they were working on their own films.

It was now the fall of 07 – and I knew we had to have a spring 08 release. Out of desperation to move on I signed with the unnamed small theatrical distributor (STD henceforth) in October. My only saving grace was that I retained the right to book screenings on my own and that I would not owe them a % for any of these bookings.

I got concerned in December when I had not heard of any dates or of any action at all. Based on my experience, I was aware that theaters book up months in advance.

In January I realized that I had to take over booking the film – and if the STD could help with NY and LA that would be great. I started booking the rest of the country and let them focus on NY and LA. My concerns were born out when I spoke to theaters that the STD had said they were contacting but had never heard of the film.

Jon Reiss Producer, Director