Notes from Movieland: Do the Distribution Dance

by Anne Norda | Published September 30, 2008

After a veritable maze of introductions, letters, meetings, “possibly"s and even a “yes” or two that transformed into “no” with the grinding of time, my little indie movie finally met her distribution match: The prince to my Red princess, the Bogart to my Bacall, the Captain to my Maria (I did the Hollywood Bowl’s Sound of Music sing-a-long last night with my friend, Goreti Da Silva, and I can’t get it out of my head…) When I was still a starry-eyed novice (like Maria!), I truly believed in the conventional distribution route. So did most of my fellow moviemakers. We were all after that golden carrot, which, it seems, isn’t as edible as I was led to believe.

During last year’s LA Femme Film Festival, Gloria, the (then) president of a brand spanking new company named Unistar, romanced the cinematic pants off of me. I loved her grand enthusiasm for my movie, Red is the Color of, and her brash sense of humor and irreverent take on the movie world. I met everyone in the company and they seemed like good folk. But I had developed a theory that slime was an inevitable element of any distribution deal (I’ll save those stories for another time) and a nice girl like me shouldn’t even enter that mud ring. Problem was… as the producer, I couldn’t send in a surrogate mudslinger. Or could I?

My brilliant attorney, Tom Fox, waded through the mud (paperwork, contracts, etc.) and gave it all a “thumbs up.” Seems Unistar was an ethical firm with a very fair deal for the moviemaker. Yippee. I signed. We shook hands. Had a glass of Cabernet with the gang and then…

Let’s dance the distribution dance! Oh yeah! We’re doing it! Swing those hips, sell those territories, tap those toes, give me my 0.0078 percent so I can pay off my investors! Cha cha cha!

Once the distribution deal was sealed, we were on to the next phase, the actual selling. I sold to them, now they’d sell to others, who in turn might sell to others and so on and so on and so on… Exponential marketing. Exponential costs. Ouch.

Then came The Wait. The long, arduous, interminable period where nothing seems to be happening, all momentum decelerates and all attempts at action ricochet back in your face. I was so accustomed to pushing, plowing, haranguing, negotiating, pleading, meeting, greeting, schmoozing, that this sudden lull with nothing to do but harass Unistar for market updates had me flummoxed. And there were numerous nips along the way—French TV for one—that dissolved into pixie dust. “But I thought they wanted me…” I must stop taking all this so personally. The Wait. Aargh.

I mistakenly believed that signing with a distributor was the golden carrot. Did you ever try to munch on a golden carrot? In dietary terms, it’s completely useless. Dangerous for your dental health. So I stuck it in my pocket (I pull it out once in a while just to show it off—"Look! I have a distribution deal!!!") and went on my merry (and occasionally not-so-merry) way.

Last Thursday, Unistar announced they’d made a sale! And lo and behold, a sale it was. Sales agents selling to sales agents selling to sales agents… and you wonder why the moviemaker never makes more than 0.0078 percent of anything. (Don’t panic, I’m exaggerating… it’s at least 0.95 percent of something.) But the money’s not the point, right? The point is… I sold my movie. Isn’t that the real point? I’m on the dance floor, I’ve got a partner, and I’m doing the distribution tango. Yihaa!

I’ve had to explain to dozens of non-industry people why I’m so totally psyched by this accomplishment. “What did you sell?” one non-filmie asked. “I sold the entire North American home video rights!” I gleamed from head to toe with pride.

So how much did you make?
Well…. I think it adds up to about 0.0078 percent. (Arbitrary number—don’t panic.)
0.0078 percent of what?
I don’t know… Units?
Units of what?
DVDs.
How many DVDs?
I don’t know.
Are you just doing this for fun?
No.
Is this a business or a hobby for you?
A business! I have investors for goodness sake. I want to make a profit.
But how can you count zero percent of nothing as profit?
Of course it’s not profit. It’s a metaphor.
You got a metaphor in exchange for your movie?
Sort of.
Your sale is a metaphor?
My movie is a metaphor.
About what?
About our attempts to find happiness and meaning.
So do they find happiness and meaning?
Who?
The characters in your movie.
I don’t know. I didn’t write the sequel. I’m an indie, remember.

I spoke with Michael Shoel of Ariztical, the distributor (sales agent once removed), who bought the North American home video rights from my first distributor, Unistar. I thanked him for having faith in the marketability of my movie.

Michael was gracious and charming and kind enough to share some advice for my MM blog. The “unrealistically high expectations of most filmmakers” was Michael’s topic of choice. Uh oh. I suspected he was about to give me the blunt ugly truth. And that is exactly what he did. Michael talked about the numerous moviemakers he’d encountered who expected to earn in the millions when realistically, most of them should expect to sell 1 - 10,000 DVD units domestically.

Michael thinks that most moviemakers could make more money selling their DVDs on their own. So, what was the point of chasing after a distributor? He said the value a major distribution deal imbues on a movie is mostly one of prestige, not cash. Getting into Blockbuster or other known DVD outlets is a way to raise your profile as a moviemaker and get exposure for the movie, not necessarily an avenue for recouping investments. You might want to keep that little tidbit from your funders.

And surprise, surprise: It’s easier to sell a movie with niche appeal and name actors. Very few indie movies break out without at least one of those two elements.

But we’re still going to make our heart’s songs, right? We’re still going to express our unique vision and hope that someone out there will recognize it and celebrate it and maybe even pay more than 0.0078 percent (or 25 percent in the case of Ariztical, which shared with my other distributor, and the marketing costs deducted and… well… nothing from nothing’s still nothing…).

Michael told me Red is the Color of does have a chance at getting on the shelves of Blockbuster. Okay, I admit it, I’d be thrilled. Ego? Maybe. Would it help my career? I’m dubious. Truthfully (don’t laugh), it would make me feel as if I’d made a “real” movie. I want that illusion. I really do.

My friend, Craig Nisker (The Green Goddess), took a peek at this blog and told me I’d written a downer piece. He asked me to give a little hope to the “celluloid” artists out there. So, here’s the slice of hope I’ll offer you: Some indies do get distribution (I once heard that five percent of independently produced features ultimately get distribution. Don’t worry, you’re in the five percent). And some even make their money back over time. And a few lucky ones land a distributor with deep pockets. It’s possible.

Peter Broderick of Paradigm Consulting, who has been disseminating valuable information to indie moviemakers for years, has recently written about the “New Age” of Independent Distribution. His premise: A moviemaker will reap the greatest profits by self-distributing from his/her own Website. Peter’s advice stems around an adaptability of strategies, always keeping the right to spread your own seed in tandem with the efforts of a distributor. (Check out the complete article at www.peterbroderick.com.)

It’s funny, we could be buying and selling widgets. We, as producers, ultimately take on the roles of glorified salesmen with rather ephemeral products. The good news is… they need our product! They really do. So go ahead, pour your heart onto the screen. Just remember: it all comes down to the distribution minuet—salesmen dancing with salesmen dancing with salesmen.

I have considered giving up this crazy dance. But I can’t. Yet. I still adore the cinematic tango with all its dips and drama and delight.

Optimistically yours,
Anne

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COMMENTS | POST A COMMENT

Comment by awert on 10/02/08 at 3:20 am

Thanks for the suggestion
izlekop.com

Comment by Jeff on 10/10/08 at 12:26 pm

I’m curious to know more about your distribution and sales experience to date. I’m debating the pros and cons of both paths, self-distribution vs. traditional. Do you know your sales figures so far? What other sales have you made? Have you broke even yet? How has the experience with your sales agency been so far? All details are relevant and I’m sure many other filmmakers are wondering too. Thanks!

Comment by Anne Norda on 10/11/08 at 2:40 pm

Thanks for the comments! Glad to know somebody is reading this out there. Next week I’m going to zero in on a few filmmakers’ stories of self-distribution and give a few suggestions. As to my own specifics. I don’t have anything to report yet on sales figures. Basically we’re at ground zero. Since I made a percentage deal only, until we actually start selling, we aren’t going to see any cash. The only sale made so far is the one for the North American Home Video rights. Until they get DVDs on shelves, which won’t happen till early next year, no money shall flow. My hope is that it will catch fire and one sale will lead to the next and the next. My original distributor merged with an older company who really seem motivated to sell my Red Hot movie so we shall see. I feel relieved to have given over the responsibility and yet frustrated by not being more proactive in selling it. Honestly, I am beginning to believe that self distribution for certain films is a great way to go. IF you have the energy to devote to that journey, which is another production unto itself.

I hope that helps and edifies in some way.
Anne

Comment by Sinohui on 10/12/08 at 3:15 pm

As a filmmaker (who also works in distribution), I couldn’t be happier when the truth is made available to the rest of our brethren, I really appreciate the blog and the info within (great job). Unfortunately most indie producers still hope and dream that a $3 million Sundance payday is lurking around the corner, when the truth is closer to the numbers that Michael provided. That said, while it may be possible to self-distribute and achieve a similar goal, it must be weighed against the possible returns, defectives, duplication issues and price protection concerns that a self distributor may ultimately need to deal with, which can play havoc with the final profitability. Just wanted to throw that in, one question though: are filmmakers still expecting some type of advance upon signing or do you think they get that (for indie producers) it is pretty much an exception and no longer a rule?

Comment by antero alli on 10/13/08 at 12:18 pm

anne

you provide a valuable and entertaining source of information here made all the more worthwhile by your direct experience in these events. i have chosen self-distribution and though it has been a slow process, it has also been growing each year and giving me a greater sense of freedom that comes from taking on the full responsibilities. i may sell out at a later point and when i do, i feel i may be in a better negotiating position due to my track record of sales, packaging, etc. or at the very least, gaining valuable experience of learning how to market my art.

i love your column and hope you keep writing it.

Comment by Jeff on 10/13/08 at 12:25 pm

Anne -

Please, if you could, give details of your self-distribution experiences. It’s important for filmmakers to have solid information about the process before they make a decision to choose self-distribution. How long have you been self-distributing your film? What is the title of your film ? How have you been selling it? Through a web site? What is the address for the website? Have you paid back your costs of making your film yet? If not how far off are you from it? How much time do you spend on self-distribution? Is it a full-time job? Or part-time? What were the costs of self-distributing? What kind, if any, of advertising for your film have you done? and how much did it cost? Which types of advertising seem to work best for you? All these details will be tremendously helpful to other filmmakers who follow in your footsteps and can learn from your experience. Thanks!

Yours truly,

Jeff Orgill
writer / director Boppin’ at The Glue Factory

Comment by Anne Norda on 10/13/08 at 1:15 pm

Dear Jeff -

We have a misunderstanding. I did NOT self-distribute. More power to anybody who takes that on! Since people do seem interested, I’m going to spotlight a few filmmakers in upcoming blogs who have gone down the self-distribution road. I hope it will answer some of your questions. My advice: Never give up. It will always take longer than you think. And knock on every door - it’s not the DOOR that will give you success, it’s the KNOCKING.

Good luck!
Anne

Comment by Jeff on 10/13/08 at 1:54 pm

My mistake! I meant to ask Antero these questions so here goes:

Antero -

Yours truly,

Jeff Orgill
writer / director Boppin’ at The Glue Factory

Comment by antero alli on 10/13/08 at 6:16 pm

where did this column go ?

Comment by Barry on 10/14/08 at 3:49 pm

Great piece, Anne!

I’m so glad Jeff didn’t have all those questions for you… in the time it would take you to answer them all you could have written another movie. Hopefully Antero will answer them all so we can catch some insight into his process.

My take (and I am not a filmmaker, just a performer who likes to create) is that if you can get a deal and let the film take flight, you’ll be free of all the energetic weight that you’d have to spend doing the self-distribution route.

I think long term about creation… I like to get something out and go to work on the next, and the next, and the next. If what you are putting out is of quality and finds an audience, they’ll want more. Heck - stick the first 10 minutes of your movie on YouTube and let it get viral! Let people fall in love with your work and then they’ll buy more.

When I was starting out there was one way to officially be successful - land a 7-minute spot on the Tonight Show. Luckily, I did - 3 times.

But now you have the power to show the world your best stuff with the click of the mouse.

“The Man” is no more.

And that reality scares the hell out of a lot of people because it takes away their biggest excuse - “I can’t get a break”. Yeah you can! Do something that people want to see and get it online!

It’s really hard to create something new when you spend 1/2 your day looking for the best deal on shrink wrapping.

Comment by Antero Alli on 10/17/08 at 6:37 pm

Jeff

I will attempt to answer your questions with the caveat that I do not have a mainstream bone in my body and this bias has informed the production of eight feature-length art films and three experimental docs since 1993. I am what you might call an underground filmmaker, not an indie filmmaker.

1) How long have you been self-distributing your film?
On the web, maybe three years; from the back my car, 15 years.

2) What is the title of your film ?
Which one ? click my name to reach my website

3) What is the address for the website?
click my name to reach my website

4) Have you paid back your costs of making your film yet?
My films have been made in the no-budget category, primarily self-funded with additional support from those who believe in the project and step forth with completion funds (much of this is “by donation” and “deferred payment” and deep discounts from crew and talent). My films are labors of love with significant critical success (filmthreatcom) and serious commercial failure.

5) How much time do you spend on self-distribution? Is it a full-time job?
I don’t spend nearly as much time as I should as I have little ambition for self-promotion. At screenings, the film sells itself and word of mouth has been good to me. I refuse to work full time at anything; life is too short for that.

6) What were the costs of self-distributing?
Between $4-$6 per dvd (duping, packaging, postal costs) for small runs (under 100).

7) What kind, if any, of advertising for your film have you done? and how much did it cost?

Web site, word of mouth and film screenings (no cost). Word of mouth remains the best PR tactic so far. Keep in mind that I don’t suffer from self-delusion around “making it big” or getting “picked up and discovered” as my reasons for making films remain for me more personal and remain unfettered to hollywood fantasies and ideals. My films have gathered a kind of ‘cult following’ (that’s what the reviews and the audience turnouts tell me). I am much happier with a smaller crowd of deeply receptive and attentive viewers than, let’s say, a huger crowd that cocks their collective head and sez, “huh ?”

cheers,
-Antero Alli

Comment by Antero Alli on 10/17/08 at 6:39 pm