Adam Chapnick on "IndieGoGo Films Showcased at World-Class Festivals in 2011"

Google became a verb several years ago. In the Indie / Truly Free Film space we are close to verb-izing another company. But just like all tissues are not Kleenex, there are many crowdfunding platforms out there, and it is worth not forgetting that. Find the platform that works best for your film, as there are plusses and minuses on everything.

Today Adam Chanpick speaks of the films (and some of the benefits) of crowdfunding platform IndieGoGo.
14 IndieGoGo Films Showcased at World-Class Festivals in 2011

IndieGoGo filmmakers have been rocking the world stage in 2011. In the first six months, no fewer than fifteen films that successfully campaigned on IndieGoGo appeared in the world's leading film fests, including Sundance, SXSW, Cannes, Tribeca Film Fest, HotDocs, and LA Film Fest. These films have gone on to win top awards (Tribeca Audience Award) and get picked up by top distributors (The Weinstein Company).

In my responsibilities at IndieGoGo and Distribber, I'm regularly asked for advice and help with all facets of film finance and distribution. After answering so many of these one-off questions with the words, "lots of IndieGoGo campaigners have already figured that out," it's clear the filmmaker community would benefit from an update from IndieGoGo filmmakers who have had success.

As background, since 2008, the independent film community has been a central part of the IndieGoGo family; thousands of films have raised money for production, distribution, festival travel, promotion, marketing and for many other film funding needs.

IndieGoGo is partnered with leading organizations like Fractured Atlas and the San Francisco Film Society to offer filmmakers fiscal sponsorship services (Fractured Atlas campaigns recently passed $1,000,000. Sheffield Doc/Fest, one of the world's leading documentary events, also has been an active and innovative partner.

Below is are links to all the amazing films, grouped by the festival in which they appeared. I encourage you to check out each campaign to learn more about pitch videos and copy, updates and perk selections, and how to engage an audience.

LA Film Fest

1. An Ordinary Family

2. Wish Me Away (1) Wish Me Away (2)

3. Salaam Dunk

Cannes

4. Cerise

HotDocs

5. You've Been Trumped

Tribeca

6. Give Up Tomorrow (Won the audience award!)

7. The Bully Project Film (Was picked up by Weinstein Co.)

8. Love Hate Love - Tribeca Travel

SXSW

9. My Sucky Teen Romance (1) My Sucky Teen Romance (2)

10. 8 (Award winner)

11. Sound It Out (1) Sound It Out (2) Sound It Out (3)

12. HAPPY NEW YEAR

Sundance

13. The High Level Bridge

14. The Rocket Boy

All of these campaigns succeeded on many levels, but there are three key areas that they nailed: They each had a great pitch, a proactive team, and each found the audience that cares about their passion and interacted with them consistently and creatively.

Over the next four days you'll hear from four of the filmmakers behind these success stories, who'll share key takeaways, tips, and tricks about their journey from funding to festival. I hope their learning helps your film become the next success story.

Adam Chapnick IndieGoGo

Most Read HopeForFilm Posts Of 2010

I wasn't sure what to call this post. "Top Posts"? "Most Popular"? They are not necessarily the most engaging, as they don't always correspond with the "most commented" -- if that qualifies for engaging that is... But I thought it would make some sense to see what was the most viewed.  I thought I would learn from it.

One of the things that I am proud of regarding this blog is the fact that it has become a community forum.  I learn from the comments people post.  I have made new friends from such comments (and identified a few I hope to avoid!).  It's been really great how much people contribute, and I love that almost half the most popular posts are from folks other than myself.

So, what were HopeForFilm/TrulyFreeFilm's most read post of the past year?  Surprisingly, they are all quite recent.

38 More Ways The Film Industry Is Failing Today - With over 10,000 views this clearly hit a nerve.  Everyone likes lists, but I like to think  so many folks went to this for a dose of preventive medicine.  We are going to conquer this right?

Ten Things To Do Before You Submit A Script - Getting your script read by the right people will always be a challenge.  As will making the best film you are capable of.  We all need advice, and I probably can come up with a few more posts like this.  You certainly want it.  I have listened.  I hope the advice was helpful!

The Hard Truth: Filmnaking Is Not A Job - I aim to be 100% truthful about what I do.  I want to demystify what producers do.  I think the readers of this blog and the community around it that you have built wants us all to say like it is.  I must confess that occasionally I let the struggle of getting movies made and seen, get me down.  Fortunately I get great support from my wife and friends, yet nonetheless sometimes I produce posts like this one!

The Good Machine No Budget Commandments- Oldies can be Goodies.  I always got a lot of demands for this list that I drew up for a NYU Grad screenwriting class.  It's nice to see people still use it!

Brave Thinkers Of Indie Film, 2010 Edition - clearly this is going to have to be an annual tradition now.   It looks like the community needed something that pointed more to ideas than just to the work at hand.

Miao Wang On The Secret Of Her Kickstarter Success-  This was the year that crowdfunding really came of age, and everyone wants to know how to do it well.  We will only learn the answers by all of us sharing, and people responded well to the lessons Miao learned.

Filmmakers vs. Aggregators: Distribber Speaks Of A Win,Win! - Adam Chapnick contributed this post on the dawn of Distribber being acquired by IndieGoGo, and outlined the problems facing all filmmakers in placing their work online.

Jon Reiss on Proper Prior Planning Prevent Perplexing Problems - The most commented post ever!  It's surprising that it remains a question how much filmmakers should focus on the distribution and marketing of their films, but it something that people love to talk about it, and Jon is one of the best at it out there.

Thoughts On The New Festival Model -  Film festivals are evolving, and when Tribeca announced their VOD initiative, people took notice.  I wasn't alone in my commenting for sure.  And there is still a lot more to say on the subject. I expect more big moves in 2011.  As a post format, I enjoy this kind of "thinking out loud" pieces, and wonder if this is a vote for more of them...

Children Of Invention: Why They Turned Down 8 Distribution Offers- Mynette & Tze were some of the Brave Thinkers of 2009 and it is precisely due to posts and actions like what they share here.

There were also a couple of old posts from the prior year that were viewed enough times in 2010 to place them in the top ten.

The 21 Brave Thinkers Of Truly Free Film 2009 - The prequel to this year's #4 hit -- all of them worth noting as much for what they did in 2010 as the year before.

38 American Independent Film Problems/Concerns - This was the prequel to this year's most popular post.  I guess I am going to have to dig up another 38 for 2011 to keep the tradition going.

Well, it is a new year.  Let me know what you want to discuss.

Brave Thinkers Of Indie Film, 2010 Edition

We have a bit of a redundancy in the recognition of those that create good work, but that good work does not end with what is up on the screen -- which is the part that everyone seems to want to write about.  I feel however that we must recognize those that focus not just on the development and production of good work, but those that commit themselves to ALL of cinema, including discovery, participation, appreciation, and presentation -- what I consider the other 4 pillars of cinema.

Last year at this time, I put forth a list of inspiring folks, people who by their acts and ideas were giving me the energy to keep striving for a better film culture and infrastructure, one that was accessible to all, and slave to none. We are closer to a truly free film culture this year than we were last year, and I remain optimistic that we can be a hell of a lot closer next year than we are today, thanks in no small part to the 40 I have singled out these two short years.

This list, like last year's, is not meant to be exhaustive. Okay, granted I did not get to the quantity to the 21 Brave Thinkers that I did last year, but the quality is just as deep.  Regarding the lesser amount, I don't blame the people -- I blame the technology (of course).  I wish I had better tools of discovery that would allow me to find more of the good work and efforts that are out there. I know I am overlooking some BTs again this year. But so be it -- one of the great things about blogging is there is no need to be finished or even to be right (although I do hate it when I push publish prematurely -- like I did with this -- when it is still purely a draft).

I know I can depend on you, my dear brave thinkers, to extend and amend this work into the future.  I do find it surprising how damn white & male & middle aged this list is.  And that I only found two directors to include this year.  Again, it must be the tools and not the source, right?  Help me source a fuller list next year; after all, it is as Larry K tweeted to me about regarding who are the most brave these days: "Those whom you don't know but who continue, despite the indifference of all, to create work that is authentic,challenging and real."  How true that is!

Last year I asked and stated: "What is it to be “brave”? To me, bravery requires risk, going against the status quo, being willing to do or say what few others have done. Bravery is not a one time act but a consistent practice. Most importantly, bravery is not about self interest; bravery involves the individual acting for the community. It is both the step forward and the hand that is extended."

This year, I recognize even more fully that bravery is a generosity of spirit, as well as a generative sort of mind.  It is extending the energy inside ourselves to the rest of the world.   I often get asked why I blog (or why so much), and I have no answer for those folks.  It can't be stopped, for I believe if we love the creative spirit as much as the work it yields, if we believe we create for the community and not for the ego, how can we not extend ourselves and turn our labor into the bonds that keep us moving forward.  In other words, no one can afford to create art and not be public (IMHO).  If you want a diverse and accessible culture of ambitious work, you can not afford to simply hope it will get better -- you have to do something (or get out of the business, please).

So without any further adieu, here's my list of the nineteen folks who have done more on a worldwide basisto start to build it better together, to take what remains of a crumbling and inapplicable film culture & infrastructure, and to try to bring it into the present. They all share a tremendous generosity and open spirit, embracing participation and collaboration.

This is no longer a world of scarcity and control. These nineteen have begun the hard work of designing a new world of film based on surplus and access -- and the resulting community that grows from that --, and their actions and attitude give me hope for what is to come.

  1. Wendy Bernfeld - The transformation from an entertainment economy designed around scarcity & control, to one built for surplus & access requires new business models and new sales models.  Filmmakers struggle with this more than anyone as most of the sales agents still push for the deals that deliver them the highest return for the least amount of effort.  This is not so for Wendy, whom through her company Rights Stuff has started the task of moving towards the short term non-exclusive license world this new world requires.  Furthermore, Wendy has shared her knowledge both on my blog and at speaking engagements the world over.  Her openness and forward thinking is an example for all of us.
  2. Peter Buckingham - Until the UK shuttered the Film Council, Peter ran their innovation fund.  Perhaps it's just that I sit in America, but to think of  a public official who is so committed to moving both the dialogue and the process forward as Peter, is no easy feat.  Peter helped launch the UK's Digital Cinema Initiative.  His insight on the possibilities of meta-datat are always inspiring.  We could use an ample dose of his high energy leadership on our shores if we are going to get some real things done here.
  3. Edward Burns - Although he has more access to the Hollywood machinery than most, for his latest film, Nice Guy Johnny, Eddie not only went the no-stars micro-budget route, but he set out to distribute it himself from the start.  With no marketing or advertising spend, Eddie has enjoyed a revenue return far in excess of his investment.  As much as I admire his courage and commitment, it his openness about the process that I find most inspiring.  In festivals, colleges, and even The Today Show, Eddie has shared his frustration and hope.  He's also consistently looked for new ways to help people discover his work.  His Homage Trailers, where he remakes trailers of classic movies using footage from his own film, are filled with wit and humor and not to be missed.
  4. Efe Cakarel & The Mubi Team Of the folks listed here, Efe may be the one I am most remiss about not listing last year.  The former Auteurs -- now Mubi -- remains the most robust community of film fans on the web, while being a dynamo curator of quality film on a global basis.  Yet, it seems good that I overlooked Efe and his Mubi team last year, as the transformation to Mubi and their extension onto the Playstation platform gives film fans more access than I could have previously imagined.  The challenge of bringing quality work to the community and generating discussion remains large, but these folks are leading the way.
  5. Henning Camre - President of the Think Tank on European Film and Film Policy,  former head of both the Danish Film School and UK's National Film and Television School, and the Danish Film Institute, Henning is pushing through the necessary change in the Scandinavian Film Industry -- but it is a ripple that will resonate throughout the world.  I got to participate in the Think Tank as was deeply impressed at the quality and depth of the presentations and organization.  No one ever likes to volunteer for the heavy lifting, but Henning has several times over.  Change only comes when we recognize the pain of the present outweighs the fear of the future, and Henning's clarity of vision towards the new reality has no equal on our shores.  He embraces both the new and the old, the conservative and the radical, subscribing to the reality first, probing beneath the perception to unearth the hard facts about access and practice.
  6. Sheri Candler When you believe in something you want to share it, right?  Sheri embodies this statement like few others.  Her commitment and faith in audience and community building is contagious.  An avid user of social media, it is hard to miss Sheri in the virtual world, as she lends her voice, heart, and hand to filmmakers trying to sort out a way to connect and build the necessary bridges. Added bonus for following Sheri?  Her ideas are good and well thought out!   Last year's Brave Thinker, Jon Reiss attests: "I met Sheri just over a year ago after I had just finished Think Outside the Box Office – where else – but on Twitter. She reached out to me, as she does with countless others, and since our first meeting has been an invaluable partner – passionate, incisive and always on the hunt for new ideas and new people that can help filmmakers (myself included) connect with their tribe and help solve the problems facing us all in this challenging time. Her tireless engagement and generosity sharing her wisdom and discoveries is a constant inspiration to me and should be to all in our community."
  7. Adam Chapnick CEO of Distribber.com, a company that places film and TV content on digital sales platforms such as iTunes, Netflix and Amazon for a flat fee while allowing filmmakers to keep 100% of their revenue.  As Adam said in his HopeForFilm post: "Distribber was created to help rights holders maximize the payback from their work and investment.  More specifically, Distribber was conceived as a solution to several persistent complaints from filmmakers and other creative rights holders about distributors in general and aggregators in particular."  Distribber, and Adam's efforts, are key tools in the building of a middle class of artists who own and profit from the work they create.
  8. CineFamily - When it comes down to email blasts that I love to receive, nothing rivals Cinefamily's.  Bold programming, well presented.  As curators, they expand my knowledge.  As a hardened New Yorker myself, these Losangeleans give me a reason to long for the west coast.  They show us all how to use the web, and use it well.  In an era and city of mass conformity, they show that it is still both set & setting, programming broadly to the narrow, with verve and attitude. Sure this kind of stuff goes over in quirk capital's like Austin, but little did I suspect LA to deliver so much fine weirdness. To quote their own site: "The Cinefamily is an organization of movie lovers devoted to finding and presenting interesting and unusual programs of exceptional, distinctive, weird and wonderful films. The Cinefamily’s goal is to foster a spirit of community and a sense of discovery, while reinvigorating the movie-going experience. Like campfires, sporting events and church services, we believe that movies work best as social experiences. They are more meaningful, funnier and scarier when shared with others. Our home is the Silent Movie Theatre, one of Hollywood’s most beloved and beautiful cultural landmarks. There, The Cinefamily will provide a destination spot for Los Angelenos and others to rediscover the pleasures of cinema."
  9. Dylan Marchetti & Variance Film - I may not have heard more filmmakers praise a distributor this year, than Dylan.  Furthermore, I don't know of a distributor who maintains such an accessible and vocal presence online, thinking aloud, and engaging the community on the search for a new model that could serve the widest definition of film.  Working on a flat fee basis versus a percentage of the gross, committed to a firm code of ethics, committed to 100% transparency in accounting, and 100% control for the filmmakers at all times, Dylan is a true partner in the emerging artist/entrepreneur economy.
  10. Thomas Mai - I have had the first hand pleasure of sitting in the audience as Thomas pitches filmmakers on the power of social media and the new era of truly free film ahead of us.  I have seen the skeptical grow empowered from his presentations.  Thomas, a former sales agent, has taken his rant on the road, sharing his insights with audiences worldwide.  From a base in Brazil, Thomas has used a shaky internet connect to distribute his lectures across the global.  And he has given quite a few public speaking tips along the way, not to mention writing well-shared posts for HopeForFilm. You can check out one of his lectures on his site www.thomasmai.net.
  11. Karol Martesko-Fenster Brian Newman summed it up well, about Karol: "While he is no newcomer to the scene, having either founded or been part of the founding of a great part of the indie scene (Resfest, Filmmaker Magazine, indiewire) he continues to reshape it at Babelgum. Under the direction of Karol, Babelgum has been licensing (i.e. paying real money) work from independents who push boundaries. Whether it's funding the Workbook Project, helping Sally Potter to be the first filmmaker to release a feature on a cellphone (day and date with it's festival premiere) or funding the "prequel" docs leading up to the film "Bombay Detective," Karol is pushing the field forward with the development of new artistic practices and business models."
  12. Thom Powers Founder of Stranger Than Fiction, programmer at TIFF, co-founder ofCinema Eye Honors, this year Thom expanded his base still further as one of the founders of the DOC NYC fest.  Few have done as much to further the community and appreciation of film in NYC.  He has helped to build an energetic and passionate doc community, and never stops thinking about how to extend it further.  A man with a mission if there ever was.
  13. Casey Pugh We need to facilitate collaboration between the tech and filmmaking worlds.  Having been involved in building the Vimeo player and then Boxee, Casey's already done a lot (and I think he is only 26).  An Emmy award joined his list of accomplishments this year, and the cause of this award, is my favorite film of the year, Star Wars Uncut.  I am eager to see his latest project, VHX launch in the months to come, as I am confident it will be another step forward for a truly free film culture.  Casey sees the big picture, the full definition of cinema.  In his work he's building the ramps and bridges connecting the six pillars of cinema: discover, development, production, participation, appreciation, and presentation.
  14. Orly Ravid & The Film Collaborative - A not-for-profit film distributor has long been a dream of mine, but it took Orly and her team to actually do it.  For a truly free film culture to exist, sustainable enterprises must be built that facilitate the connection between unique work and audiences on terms that go beyond profit.  THE FILM COLLABORATIVE is the first non-profit, full-service provider dedicated to the distribution of independent film.  Not much more to be said, but Orly's demystification of the sales and distribution processes, a refreshingly open approach to the numbers and realities of the distribution effort, via her blogging have gone a long way to helping filmmakers across the globe understand the world we are living in.
  15. Michel Reilhac of Arte France I asked Brian Newman about Michel: "Michel has probably embraced the "new paradigms" of the film/media world better than anyone else, and he speaks and writes about it with an eloquence sorely lacking in the field. For just one example, see his "Gamification of Life" speech at the Power to the Pixel forum.  He has helped transform Arte France into a leader in the support of transmedia, even pushing them to think about how this affects their daily work. He is also a mentor and friend to many filmmakers, helping them find and tell their stories in both new and old ways - but always better. But what most endears me to Michel's work was his recent decision to stop funding conferences and training, instead giving more money to filmmakers to push the field forward by experimenting in their craft. Great idea: less talk, more action." Amongst many round-breaking projects are their award-winning documentaries, Gaza-Sderot and Prison Valley -  beautiful examples of new approaches to story-telling using the web and interaction.
  16. Mike Ryan - Perhaps no post on indie film initially infuriated me as much as Mike's Filmmaker Mag piece on the "current preoccupations of the indie film scene".  I strongly disagree with Mike's blame-it-on-the-audience and build-it-and-if-it-is-good-they-will-come approach, but as the days turned to weeks and the weeks turned to month, the necessity of his central message of needing to be driven by the art and not the business resonated in deeper and deeper ways with me.  It is a brave thing to say, particularly as a producer, that you do not care if something makes money and that the art comes first. Mike leaves no doubt that he is  a man of bold visions and strong opinions; he is not afraid to speak truth to power.  He is both rigorous and playful in his thinking, and he invests it in new projects and filmmakers, not because of the business or opportunity, but because he believes that what they have to say and how they choose to say it is important.  American Indie would not be the fertile ground it is these days without Mike's efforts, but his efforts don't end there: Mike helped to co-found HammerToNail with both Corbin Day, Michael Tully, and myself; Mike helped start an initiative in Memphis to train underprivileged youth in film, and Mike has trained many another up and coming producer.
  17. Yancey Strickler & Perry Chen Of any one on this list, Yancey and Perry are probably the only ones whose creation has moved from an object to a verb.  In certain circles I have heard Kickstarter to stand in for crowdfunding.  Although they are not the only game in town when it comes to mobilizing the community to put worthy projects into being, they've certainly been among the most prominent.  Mark Rosenthal of Rooftop Films makes their commitment clear: "It’s brave to share your creative dreams with the world, to put your faith in people, to seek support from strangers. Everyone who’s putting their films and albums and paintings and gizmos on Kickstarter is taking a chance that people will like what they’re doing. But it takes other brave people—like Yancey and Perry—to spend years of their lives building the site and enabling the community to build. Great job, guys."
  18. Timo Vuorensola PowerToThePixel's Liz Rosenthal said: "Timo Vuorensola is a film director from Finland and an early advocate of crowd-sourcing and social filmmaking. His first feature, the sci-fi comedy Star Wreck: In The Pirkinning was several years in the making. He and his team built an active community of 2,500 around the making of the film . The community co-created around 50% of what made it into the final film, They helped with aspects of casting, writing, music, 3D modelling, CGI effects, translating the film into more than 30 languages. It has since achieved cult success, his evangelical community helping spread the word and has been downloaded over 8 million times through official torrents whilst the team sold DVDs and merchandise of the film. Timo launched wreckamovie.com, a new web service that enables filmmakers to build and collaborate with online communities around their films.Timo’s second feature, the sci-fi comedy, Iron Sky, which tells the story of Nazis who come from the Far Side of the Moon, is due to be released in 2011 and has a budget of 6.5 million euros. Fans have already been able to help with ideas in Wreckamovie and helping to fund the movie by buying merchandise, donations and also offering a chance to invest in the movie and share its possible profits."
  19. Rainn Wilson As I stated the other day: "Rainn gives back in a big way. I am a bit in awe in how generative and generous this man is. There's a reason why he has over 2 million twitter followers and it's not just because he's really funny. He cares about things. He cares about people. He cares about process. He's thoughtful."  If you haven't ever checked out Soul Pancake, a site he helped found, nows the time.  I got to know Rainn this year as he both Executive Produced and starred in SUPER (which I produced with Miranda Bailey).  It was Rainn's tweet that he and "James Gunn were going out with a low budget f'd up Watchmen" that drew me to the project.  His commitment to social media definitely played a big role in the financing and sale of the film.  Through Rainn's commitment to a better world, he is inadvertently building a better model both for film and us as individuals.

I recognize that many of these folks have written for HopeForFilm, but it is something that I encourage people whom I admire to do (even some that I don't!).  There are also some on this list that are good friends, but I like to socialize with such types, so what can I say?  Some people on the list are folks I have or have had business with, and some I plan to have business with in the future, but the same holds true for the professional sphere as is in the personal -- when people do good things, I want to get to know them.  Is that at all surprising?

I remain thankful a great deal this year including making one film and selling another.  This list is my thanks to some of those who inspire me.  We can build it better, together.

P.S.  I solicited nominations this year from last year's Brave Thinkers.  David Gertz went as far as to write a whole post on the companies that are doing the work that will allow a new infrastructure to take hold.  Check out his post here.

Hey NYC & LA Filmmakers!! Your Personal Invite (& DISCOUNT) To Distribution U!

Today's guest post is letter to YOU from Peter Broderick. Okay, it is to me, but only so I can forward it to you.  This is a can't-miss-event.

Dear Ted,

We would like to invite your colleagues and readers  to Distribution U and offer them a special discount (see end of post).  It is a unique event that will give them the latest information about new distribution models and connect them to many of the people who are pioneering cutting edge strategies. The event is being presented by me,  Peter Broderick, a leading strategist and pioneer of new distribution models, and cutting-edge author and tech analyst Scott Kirsner.

This one-day crash course on the New Rules of Crowd Funding, Audience Building & Distribution is being held Saturday, November 13th in New York at NYU and the following Saturday, November 20th in Los Angeles, where it is co-sponsored by UCLA's School of Film, Theater, and Television.

We are very excited about the stellar roster of resource people who have already committed to participate. They are pioneers who are creating and implementing the latest distribution models and strategies.

Richard Abramowitz (who organized the successful theatrical rollout of "Anvil: the Story of Anvil") and Marc Schiller (the digital marketing expert who heads Electric Artists) will present a case study revealing how they guided the release and marketing of "Exit through the Gift Shop" so effectively, without a director to promote it.

So far our other resource people include:

Caitlin Boyle (semi-theatrical maven and head of Film Sprout)

Jim Browne (theatrical booker and founder of Argot Pictures)

Adam Chapnick (founder of Distribber, the innovative company that works with filmmakers to maximize their digital revenues)

Brian Chirls (the tech guru who developed much of the Internet strategy for "Four Eyed Monsters")

Jonathan Dana (producer and producers rep "Road to Nowhere")

Ira Deutchman (producer and Emerging Pictures CEO)

Sandi DuBowski (producer/director "Trembling Before G-d" and outreach director for The Good Pitch)

Madelyn Hammond (marketing guru and former Chief Marketing Officer at Variety)

Justine Jacob (director of "Ready, Set, Bag!" and an attorney at the law firm Lee & Lawless)

Scott Macaulay (producer and editor of Filmmaker Magazine)

Slava Rubin(CEO and co-founder IndieGoGo)

Jill Sobule(singer/songwriter "California Days" and crowdfunding pioneer)

Anne Thompson (journalist and blogger "Thompson on Hollywood")

Other directors and producers include:

Robert Bahar and Almudena Carracedo ("Made In LA")

Jennifer Dubin and Cora Olson ("Good Dick")

Roberta Grossman ("Blessed Is The Match")

Joel Heller ("Winnebago Man")

Meg McLagan ("Lioness")

Vladan Nikolic ("Zenith")

Ben Niles ("Note by Note")

Jim Tusty ("The Singing Revolution")

Our resource people will lead off-the-record discussion groups in their areas of unique expertise and will be available to participants during networking opportunities throughout the day.

The experience of these resource people will be complemented by that of participants, many of whom have also been working on the frontiers of distribution. Scott and I have designed the event to give everyone a chance to connect and potentially collaborate in the future.

Here are discount links:

Distribution U. New York, November 13th

http://distributionu-nyc.eventbrite.com/?discount=friend

Distribution U. Los Angeles, November 20th

http://distributionu-la.eventbrite.com/?discount=friend

There is also a small group rate if two or more people sign up at the same time. For 2 it is $185 a piece and for 3 or more it is $175 per person.

We hope many of your readers and colleagues will be able to attend.

Onwards and upwards,

Peter

P.S.  From Scott:

Here's what Manohla Dargis wrote about last year's event, at USC: http://www.nytimes.com/2010/01/17/movies/17dargis.html

We're also giving away a pass to one lucky person who tweets the URL (http://distributionu-nyc.eventbrite.com) along with the hashtag #distribu. (We'll pick the winner Wednesday at 5.)

There's also some MP3 audio of one of the case study sessions last year, featuring the director of "Anvil" and the producer of "Good Dick," both of which were at Sundance 2008.

http://scottkirsner.com/DistributionU2009-casestudies.mp3

Further Closing Of Distribution Windows?

"While the plan could be a boon for consumers, it stands to be highly disruptive for the movie business..." Distribber's Adam Chappnick tipped me to this WSJ article on Time Warner Cable's pitch to Hollywood to open up a new distribution window that "would allow consumers to watch a movie at home just 30 days after its theatrical release—far earlier than the usual four months—for roughly $20 to $30 a pop."

Variety has now chimed in on the window issue, and not surprisingly, they seem to want to keep it open longer. They also getting into the price point of it all, both stating that Hwood feels the $20 price too low, but also pointing out that VOD sporting events that once the price gets close to $50, people tend to watch in groups.

What works for Hollywood product does not necessarily apply to Indie, or TrulyFree, films though.  Hollywood's been manufacturing the desire for their type of work for a century.  They have trained their audience well.  Indie film's audience remains relatively clueless about what work is out there, much less understanding why they might want it.  Desire for Hwood stuff is highest when it hits the screen.  Indie work needs time to build that interest.  How we do that is still a major question.

Filmmakers vs. Aggregators: Distribber speaks of Win, Win!

Today's guest post is from Distribber founder Adam Chapnick responding to the question of just what IS Distribber and how can it make the world safer for filmmakers. Distribber was recently acquired by IndieGoGo, and in the wake of the publicity surrounding the announcement, we received a tremendous outpouring of enthusiasm and interest in Distribber's service.  As is inevitable, there's been some confusion around what Distribber does and doesn't do.  

Distribber was created to help rights holders maximize the payback from their work and investment.

More specifically, Distribber was conceived as a solution to several persistent complaints from filmmakers and other creative rights holders about distributors in general and aggregators in particular.  ("Aggregator" is the term used for a company that acts as a gatekeeper between a rights holder and a retail platform, such as iTunes, Netflix, Hulu or Cable VOD operators like Comcast, Time Warner, etc.)  

The complaints surrounded 3 specific pain points: 

Complaint #1.  Eternal revenue-share for finite service
Aggregators (other than Distribber) work on a revenue-share basis, meaning that they make money by keeping between 15% and 50% of your revenue that they collect from the retail platforms on your behalf.  They take this portion of revenue for the entire term of your deal with them.  The complaint from filmmakers was that while aggregators take this money "forever," they didn't seem to be working forever.  To many, it seemed that aggregators placed their film on the platforms and then moved on. 

This situation was even more frustrating for larger rights holders -- production companies, sales reps, etc. -- who controlled the rights to several (often dozens) of titles, and who engaged in significant marketing and grassroots outreach but lacked access to iTunes, except through revenue share entities.  The shared-revenue structure has continued to frustrate these larger companies as they have been the core demand-drivers.

Now, in defense of aggregators, encoding a film, ushering it through Quality Control "QC" and having the access to place it on iTunes or Netflix or Hulu or Cable VOD or anywhere else is indeed a valuable service -- and often a time-consuming one.  

However, it seemed that one could put a fair price on that service that accounted for the work and value of relationships, and offer it to filmmakers cleanly, without the burden of a revenue-share.  This would enable a filmmaker, production company or other rights holder to know their cash outflow in advance, and enjoy 100% of the benefit of their film's success.  So, Distribber adopted a flat-fee-for-service model.

Complaint #2.  Large deducted expenses, often including fees for marketing services that seemed unhelpful or nonexistent
Filmmakers complained that distributors and aggregators deducted expenses that seemed unreasonable, like $1500 for encoding, or an array of costs for marketing services that the filmmaker wasn't sure had actually been done.  

Here, the opportunity was again to charge a fair price, once.  So, Distribber adopted a fair price.  The $1295 one-time fee for iTunes placement was less than some rev-share companies charged for the encoding alone, and after only 185 sales at $9.99 on iTunes, rights holders have been entirely in profit.

Without putting too fine a point on it, it bears emphasizing:  after 185 iTunes sales at $9.99, a rights holder is in profit for the rest of the film's life on iTunes. Going forward, Distribber charges $79 per year for account access, collection and sales stats.  

The best evidence that we were on the right track came when the Age of Stupid production team chose to use Distribber -- they have been incredibly successful trailblazers in the hybrid distribution movement, and their endorsement told us that our service is providing its intended benefits for its ideal users.

To compare Distribber's model with revenue-share models, consider the illustration below.  At 1000 iTunes sales (retail price $9.99), rights holders give up 174% more money under a 15% rev-share than they pay to Distribber ($3,550 compared to $1295).  Under a 25% rev-share, rights holders pay 228% more ($4,250).  At 10,000 sales, Distribber's one-time fee doesn't change, but a 15% rev-share deal now costs ten times the Distribber fee ($13,000), while a 25% rev-share deal costs over fifteen times more ($20,000).  Obviously, at 20,000 sales, the disparity only increases.

Looking at revenue, with Distribber's flat fee, at 1000 iTunes sales, rights holders are paid 65% more than they would be with a 15% rev-share deal ($5,705 vs. $3,450), and they're paid more than twice what they'd get from a 25% deal ($5,626 vs. $2,750).  At 10,000 sales, Distribber clients keep $11,705 more than they would under a 15% rev-share, and  $18,705 more than they would under a 25% rev-share.  And again, at 20,000 sales, a rights holder does even better.


What A Filmmaker Is Charged, With:                     What A Filmmaker Keeps, With:

Distribber 15% Rev-Share 25% Rev-Share Distribber 15% Rev-Share 25% Rev-Share
At 1000 iTunes sales -$1,295 -$3,550 -$4,250 $5,705 $3,450 $2,750
At 10000 iTunes sales -$1,295 -$13,000 -$20,000 $68,705 $57,000 $50,000
At 20000 iTunes sales -$1,295 -$23,500 -$37,500 $138,705 $116,500 $102,500

(The chart assumes Rev-share companies deduct from filmmaker's revenue $2500 for encoding and/or marketing.)

And now, with Distribber's addition of Amazon VOD and Netflix's streaming service, we decided that as a limited-time promotion, for the same $1295, Distribber clients could have our Amazon and Netflix service for free. This of course only makes the above comparison even more lopsided in Distribber clients' favor, since it adds revenue without adding any expense.

Complaint #3.  Late payments, and sometimes no payment

Filmmakers complained that even after resigning themselves to a rev-share deal, and agreeing to the small payout left after expenses and revenue share deductions, they had to chase distributors and aggregators for reports and checks, and sometimes with none being sent at all.

So, Distribber has decided to do away with reports and checks, and instead employ a user account system, whereby clients login with a username and password.  Here they gain access to collection stats by platform, and see their collected funds balance.  Clients withdraw their own money on demand, with the click of a button.  Having all sales stats and collection in one account removed a major, time-consuming headache from our clients lives for $79 a year.

Next: More Pain, More Answers

Even a casual follower of the distribution business knows that there are plenty of areas it can be improved, and in plenty of ways.  Distribber is continuing to actively developing new methods and models to serve rights holders across a variety of platforms, from internet to cable to mobile. 

With the proliferation of tools like Wordpress, Facebook, Twitter and all the plugins and apps that support those services, it's more possible than ever for innovative companies, teams -- or even individuals -- to disrupt old marketing models and connect with audiences.  Filmmaker/marketers like Gary Hustwit, Lance Weiler, Tiffany Shlain and others have shown the way to create demand via their own efforts and investment. Peter Broderick is shepherding rights holders through a hybrid strategy that teaches careful allocation of specific rights to companies that are highly specialized, with the goal of maximizing the revenue a filmmaker keeps.

The key thing to understand about Distribber is that it's a powerful tool to help enterprising rights holders keep the most of their own money.  The more skilled you are at connecting with audience, the more buzz that you've built, the better Distribber's deal works for you.  

ADAM CHAPNICK is CEO of Distribber.com, an IndieGoGo company that places film and TV content on digital sales platforms such as iTunes, Netflix and Amazon for a flat fee while allowing filmmakers to keep 100% of their revenue. Adam can be reached at adam@distribber.com .

Pricing DIY DVDs & Other Fetish Items

Adam Chapnick twittered about NeoFlix's  DIYFlix blog posting about most popular pricing techniques for their clients.  It ran counter to my instincts as I would have thought more gravitated to the high and low end, but by far the most popular price point is $15-$20.  The DIYFlix blog itself has a pile of good advice & food for thought, so check it out.

Some of the best advice in this category comes from the example of HELVETICA.  As Scott Kirsner points out in his indispensable right-of-the-moment guide to building an audience (Fans, Friends, & Followers) "Selling just one thing is old hat".  
Multiple versions and merchandising is the way to go.  So much more can be done with this.  By all means there should be multiple versions of all films, with different additional content, commentary, even cuts.  Why is that we only get the dvd with the film, and maybe a t-shirt or action figure?  If fans want to show their appreciation for a work there should be something more substantial.  One of my favorite pieces of film fetish paraphernalia is this: Brendan Dawes' Cinema Redux print of Kubrick's 2001 The film is reduced to one image from every second of the film in high resolution.  Each row has sixty frames in it.  
Why can't we have more beautiful works derived from the films we love?