Professional Documents
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Short Film Distribution Guide
Short Film Distribution Guide
Distribution
guiDe
NIGEL R SMITH
got got
Youve Youve
`
it it
mADe mADe
page 2 page 1
Nigel has produced a number of awardwinning short flms, including
Scotlands most widely successful short to date, Cry for Bobo, which has made
more than 150 flm festival and other event appearances spanning 34 countries.
It has received 25 awards and commendations along the way, including a Mlis
DArgent for Best European Fantasy Film, a Royal Television Society Award ,
a BAFTA nomination and several festival Audience Awards. Nigels eforts to
promote Bobo saw him both sweeping the streets of Harajuku and dining with
the King of Morocco.
Films hes produced have variously screened: for a remote island community;
at a convention of US vocational guidance counsellors; in Italian school
classrooms; to staf aboard an Antarctic exploration vessel; and at a European
circus clown convention.
about the
author
STRATEGY FOR YOUR SHORT
YOUR FILM
INTRODUCTION
DEVISING AN OVERALL
Delivery materials
2
3
7
9
contents
APPENDICES
FINAL COMMENTS
OTHER OPPORTUNITIES
THEATRICAL SCREENINGS
DIGITAL DISTRIBUTION
DVD SALES
UK & INTERNATIONAL
INTERNATIONAL DISTRIBUTORS
SALES AGENTS/
THE FESTIVAL CIRCUIT
TELEVISION SALES
ONLINE DOWNLOADS
AND STREAMING
FOR PROMOTION
11
36
42
44
64
65
52
58
61
NIGEL R SMITH
Cry for Bobo
page 2 page 3
You like your flm. Love it, even. There were problems along the way (there
always are) but you feel that your flm is a success. If youre a producer, youre
still talking to the director. If youre a director, you can still stand to be in the
same room as the producer. Youve shown the flm to friends who all love it.
Youve shown it to enemies who begrudgingly tell you that its pretty good.
Since, as a flmmaker, your primary reason for making flms is presumably that
you have something to say or a vision to share, you should want to make every
feasible attempt to reach as broad an audience as possible.
You may have made the flm as a steppingstone to greater things although
we do appreciate the short as an artform in its own right so you will want to
have it seen by industry fgures who will be able to assist you reach your goal of
become a professional flmmaker.
How do you go about fnding your audience and increasing the flms and your
own profle?
YOUR
INTRO-
YoUvE MADE
A gREAT SHoRT
FILM Now YoU
wANT AUDIENcES
EvERYwHERE To
LovE IT AS MUcH
AS YoU Do!
This booklet is aimed
at those with little or
no experience of short
flm distribution or
marketing, and will
look at the promotion
and distribution of
the short flm form
be it animation,
documentary, narrative
or experimental. It
aims to provide you
with a slew of practical
information that will
help you to make your
flm as successful as it
can be.
Theres been an
explosion in the number
of short flms produced
in Scotland over the
last ten years an
increase thats been
echoed across the
globe brought about
by the availability of
increasingly cheap
production equipment and nonlinear editing
software aimed at both the industry and home
consumers. Its never been easier and perhaps
cheaper to make a short flm and hundreds are
produced in Scotland alone each year.
Thats a LoT of flms. Some are inevitably more
accomplished than others but they have all been
made by flmmakers with something to say and
a desire to communicate this to an audience.
Yet the general public is only able to see a small
fraction of these flms and in this country, levels
of awareness outside of those connected with, or
aspiring to work in, the industry, remain low.
why spend all the time, efort, expense and
heartache to make a short flm if youre not
subsequently going to go through all the time,
efort, expense and heartache of getting it seen
by audiences?
The good news is that there have never been
more opportunities for short flmmakers to
reach audiences with their flms. The traditional
routes of the international festival circuit and
television screenings have been augmented
by the possibility of DvD sales and the
increasing prevalence of online streaming and
downloading to a variety of devices.
The bad news primarily for producers, but also
for directors whove taken the driving seat on a
lowbudget production is that, having spent
several months getting to a point where theyre
sitting with a master tape of their flm in their
hand, theyre still less than halfway through
the process. They still need to get it seen by
audiences and thats what this booklet aims to
help them do.
This is a question you should be
asking from the very earliest stages
of project and script development
because the answer can at least
partially determine your shooting
format, running time, subject matter
and all manner of variables. It would
seem wasteful (and very expensive!)
to shoot and postproduce your
flm on 35mm if your sole intent is to
place it on a lowresolution website,
for example. Many companies wont
involve themselves with a project
until they know how and where it
can be marketed, and have made an
informed guesstimate as to its likely
chances of fnancial and to a much
lesser extent critical success. A short
flm is a diferent beast from a studio
feature, but it can be useful to think
along those lines when coming to
make your short.
FILM
DUCTION
page 4 page 5
The frst thing that you need to
consider is what youd ideally like
your flm to achieve.
Perhaps your goal is to connect
with the flm and television
industries and you feel that
appearing at international flm
festivals and winning awards is a
good way to attract attention to
your flm and to yourself.
Perhaps youd like to see some
revenue back from your flm as
soon as possible and plan to sell
it yourself on DvD, bypassing the
festival circuit altogether.
Perhaps youre entirely
uninterested in any prospect
of fnancial return or industry
involvement, and extremely keen
that the widest possible audience
be able to view your flm as soon
as possible, and have an online
streaming website like YouTube in
mind as the flms home.
The plans you construct to help
your flm reach its audience can
play an important part in any
potential funders decision to
provide your flm with a budget.
No one wants to fnance a flm
that, on completion, will sit
unseen on a dusty shelf.
WHAT IS YOUR BUDGET FOR
WHAT DO YOU PLAN TO DO
WITH YOUR FILM ?
PROMOTING YOUR FILM
All short flm promotional activities carry both fnancial and time implications. You
have to consider how much money you can aford to spend promoting your flm,
and how much time you are prepared to commit. As a general rule of thumb, the
larger a flms scope and budget, the greater your eforts should be to ensure it
reaches audiences.
whatever you feel you might be able to do to promote your flm will inevitably
impact on its visibility to both industry and the general public. Its unlikely that
any producer will be able to aford to do everything that can be done, and so an
efective strategy is necessary, prioritising some activities over others.
Some short flm funders now require a promotional strategy and accompanying
budget to be in place as a prerequisite of their funding a short flm and will only
allow access to this money once a flm has been completed.
You can fnd a sample promotional
budget supplied as an appendix to this
guide (Appendix 1 page 65).
page 7
Are you familiar with the idea of a value chain for feature flm revenue
generation?
Theatrical (cinema) release is still seen as the economic driver (though no longer
the major source of revenue, and no longer even standalone proftable for the
studios on all but low budget surprise successes).
Some studio flms receive flm festival premieres, but the flm festival circuit is
only crucially important for those independently produced flms which dont
have major distribution muscle behind them and therefore need all the publicity
they can muster. Festivals like Sundance, at which independent producers seek
distribution and sales deals, or distributors and sales agents seek to sell unsold
territories, are major players in this respect.
Theatrical release is followed by a flms exploitation across a number of
territories, through the following markets, each allotted its own time window.
This is a simplifed model of what happens:
Festival premiere
Theatrical release
DvD rental
DvD sellthrough
Payperview/video on Demand cable/satellite Tv
Premium (pay) cable/satellite channel
Freetoair television
Internet distribution
Up until recently, many short flm producers sought to replicate the feature flm
value chain in their promotional eforts for their flms:
Take the flm out on the festival circuit initially
Try to engage a sales agent to sell to television and cable
Look at the possibility of DvD sales, either through a sales agent or independently
Place the flm on the internet only after every other avenue has been exhausted
SHORT
OVERALL
DEVISING AN
FOR YOUR
Strategy Festival premiere
DVD sellthrough
DVD rental
Theatrical release
Back up
copy
Final Edit
page 8 page 9
Film print and/or video master
agreements
Director agreement
employment contracts/releases
Location permissions
A director biography/flmography
Tape/DvD stickers
Information cDs
Stills and slides
Festival submission fees
packing
Travel expenses to festival or
event
Paper and printing costs