John August

Indie

Sundance Roadshow

Indie

The Sundance Institute [announced yesterday](http://latimesblogs.latimes.com/awards/2009/11/sundance-film-festival-goes-nationwide-with-eightcity-sundance-film-fest-usa.html) that for this coming year’s festival, they’ll be taking eight features and their filmmakers out to theaters across the country on January 28th — before the awards are even given out.

Eight cities will be included in Sundance Film Festival USA:

Ann Arbor, MI — Michigan Theater
Brookline, MA — Coolidge Corner Theatre
Brooklyn, NY — BAM
Chicago, IL — Music Box Theatre
Los Angeles, CA — Downtown Independent
Madison, WI — Sundance Cinemas Madison
Nashville, TN — The Belcourt Theatre
San Francisco, CA — Sundance Kabuki Cinemas

This is an idea I’ve been talking up for years — the chance to participate in Sundance without trudging up to Park City.

As a filmmaker (and fan of indies) it’s frustrating to notice that audiences will line up for two hours in the Utah snow to see a movie that, six months later, they won’t drive to the nearby theater to see. The difference, of course, is that audiences want to be the first to see something. They want to participate in the discovery and discussion. This roadshow provides a chance.

If I have any quibble, it’s that the Arclight in Hollywood would be ideal. If this first round is a success, maybe we can hope for additional venues.

Making Christian movies

Film Industry, Genres, Indie, QandA

questionmarkWhat is your take on the Christian movie scene?

I am new to all of this and just finished up a treatment for a Christian movie. I have been doing some research now on a few specific things and trying to read as much as I can on screenwriting. I just wonder if given the climate we are all living in if this is a good genre to focus on?

— Kimberlee
Denver, CO

It’s absolutely a valid niche/scene. Every year a few capital-c Christian movies — some starring Kirk Cameron — do serious business both theatrically and on video. But there are many more Christian films made that find an audience, even if they don’t make millions. So if that segment appeals to you, go for it.

A few points of advice — which could apply to almost any specially-targeted film:

1. **Pick your sweet spot.** A “Christian audience” is too broad a category. Are you making a film for teenage youth groups, or moms who sing in choir? Both are valid, but there’s not a lot of overlap. Know your target viewer precisely.

2. **Follow the examples.** Christian films are notable both for their themes and their omissions (sex, profanity, drug use). Study the successful movies of the past few years and figure out what your audience expects from this category — and just as importantly, which elements are deal-killers.

3. **Figure out the players.** Specialty films have specialty distributors. In the case of Christian films, you’ll likely find companies with a track record of marketing films through religious channels. They’re the people you’re going to want to release your film. You may even find a specific director just right for your script.

4. **Aspire to be the best in your category.** Films targeted at specialty audiences — Christian tweens, Latina lesbians, extreme skiers — can sometimes find success simply because they exist. These audiences seek them out, even if they’re not particularly good, because they want to see their lives and values portrayed on screen. But don’t let that be an excuse for making a mediocre movie. In the long run, quality always counts.

You want this to be your first movie, not your last. Be sincere and smart. You never want it to seem like a stepping stone to “real” movies — but of course, with success, those opportunities could come.

Taking indie films on the road

Follow Up, Indie

Todd Sklar, who last year [wrote up his experiences](http://johnaugust.com/archives/2008/self-distributing-an-indie-feature) touring his indie feature Box Elder, is back with a new tour and a new name: [Range Life](http://www.rangelifeentertainment.com/).

This year, he and his cohorts are taking eight movies around the country, in sort of a traveling film festival. The site gives all the info about dates, locations and the films. ((One of the movies, Mystery Team, effectively scratches one entry off my to-write-someday list. That’s okay. It looks funny.)) The fall tour is nearly wrapped up, with only LA, Vegas and Arizona dates left.

I recently hosted a panel for Film Independent talking about the challenges facing indie distribution, and the Range Life model is one I’d love to see work. Not only is it a chance to get these movies on big screens, it allows filmmakers the chance to sell DVDs and merchandise directly, much like a touring band. I hope to have him write up his experiences with this expanded version.

Principles of Hybrid Distribution

Indie, Projects, The Nines

I’ll be hosting a panel with [Film Independent](http://www.filmindependent.org/empower/index2009.php) in October focusing on the distribution challenges facing indie films, a topic I’ve [written about](http://johnaugust.com/archives/2008/nines-post-mortem) in the wake of The Nines.

A new [article by Peter Broderick](http://www.indiewire.com/article/declaration_of_independence_the_ten_principles_of_hybrid_distribution/pem) articulates a lot of the points I’ll try to make. Broderick calls it hybrid distribution, and while he offers ten points, I’d boil it down to three:

1. Don’t bank on selling it at a festival. Anticipate distributing it yourself.
2. Know your audience before rolling cameras.
3. Focus on getting people to see your movie, on whatever size screen makes sense.

As Broderick says:

> Today many filmmakers are as determined to retain “distribution control” as they are to maintain “creative control.” Distribution control is the power to determine the overall structure and sequence of distribution, select distribution partners, and divide up distribution rights.

Splitting distribution rights used to seem like a Bad Thing: “They only want the movie for DVD.” The truth is that many movies would be better off letting specialized companies handle specialized jobs.

Sony wanted The Nines for domestic home video, and brought in Newmarket to handle theatrical. If I’d really understood that at the start, I might have pushed our sales reps to draw up narrower contracts. As it is, I have no idea when the movie will show up on domestic cable, because it’s part of a much larger package of movies Sony represents.

> Grant each distribution partner only the specific rights they can handle well. For example, if a company is strong in retail DVD and digital, give them these rights, but do not also give them VOD if they have no experience with VOD.

Broderick doesn’t completely discount the Old Way.

If you have a movie that Fox Searchlight knows how to market, you’re in a much stronger position. When it works, traditional distributors have reach and power that can’t be matched, not only theatrically but far down the chain. Yes, you’ll have less control over certain aspects, and may not be able to sell DVDs from your website. But you’ll be able to sell them at Target, which may be the better home for them.

> The best distributors have resources, relationships, and expertise, which can be essential to a wide theatrical release. They may also have advantageous deals in place for VOD, DVD, and digital rights. If filmmakers do due diligence (by speaking with other filmmakers involved with the distributor they are considering) and are able to negotiate a fair deal, their best choice may be an all-rights deal. Higher budget, more mainstream features are better suited for an Old World approach.

If you’re thinking about making an indie, Broderick’s article is [worth a read](http://www.indiewire.com/article/declaration_of_independence_the_ten_principles_of_hybrid_distribution/pem).