Independent Film Distribution Information Overload

There exists an incredible amount of information very pertinent to the independent filmmaker embarking upon the task of self-distribution. The only aspect of the old model of distribution that holds true is that filmmakers must think about distribution BEFORE one sequence of the film is ever shot. Doing this creates a focus on results.

The only caveat I have is the overwhelming statistical data and numerical comparisons used in discussing the old incumbent model vs the new emerging model. Every film is different. Many films have completely different audiences and the way to reach these audience vary by increasing degrees. Podcasts may not work for every film. A local theatrical run may not work for a film while an overseas theatrical run, via festivals, may work wonders.

Filmmakers should have a presence on the web and free Internet tools and social networking sites such as Vimeo, YouTube, Twitter, Myspace, Facebook, Wordpress, Blogger, etc should direct the prospective audience to that web presence (site). Trailers and new versions of trailers are good examples of visual content to make this happen. Promoting a recorded Interview is another way to make this happen. However, I for one, cannot imagine how giving away your content –a completed film– could help a filmmaker unless that was his intention from the start.

In the end, it’s about hard work getting to know your audience(s). My distribution mentor, Tony Comstock, once told me that you should never commit to making your first film unless you’re committed to making your third. It’s about building your audience. Documented examples like “Four-Eyed Monsters” are exciting but rare. It’s difficult to emulate a film’s success especially when you have a different kind of film.

In my personal experience, I realized that there was a 99.999% chance that I’d have to self-distribute my film, The Broken Heart Club. However, being new to this arena I also realized the importance of education. I didn’t want to “learn” on my pride & joy, so I pulled another film out of the cobwebs, dusted it off and prepped it for self-distribution. The process not only revived the film (I ended up shooting another sequence and a narration) but it revived FIVE other films as well. My self-education unearthed glorious and empowering examples of low-budget film distribution. Now I am as excited about distributing Pulp Fusion: The Resurrection of Serious Rogers as I am about The Broken Heart Club.

Empowerment is the key. If independent filmmakers truly believe we don’t need Hollywood to make a film, shouldn’t we also believe that we don’t need Hollywood to distribute our films? We’ve proven the former. Let’s prove the latter.