Launching Films: Step by Step Guide to Distribution

A film is written, actors are cast, scenes are shot and then it goes through the editorial process (these steps could take from a few months up to a few years - it's a rather lengthy process!)... but what happens next?

The film is distributed....





www.launchingfilms.info - "Film is about shared experiences, about letting everyone in to enjoy a time of escapism, be it through drama and excitement, comedy or tragedy"

"As a filmmaker, I know only too well that films do not exist for their own sakes... they only exist when they are being experienced by an audience."

Sir Alan Parker CBE

The Role Of the Distributor

The film distributor must be brought on board. It is the task of distributors to identify and deliver the largest possible for every film.

500 films are released each year on average. But cinemagoers are thought to known in advance which film they want to see - due to the distributors efforts to promote the films in which they're handling.

Digital has had a transformative impact. It's remodelled the way in which films are released / promoted / consumed - therefore cinema's must offer more of an experience to keep attracting a mass audience. People need more convincing nowadays as they can so easily access films at home, both legally and illegally.

What do Distributors do?

"a highly competitive business of launching and sustaining films in the market place"

The role of a distributor includes:

considering why they'd go and see it

estimating the revenue potential across all the formats of its release

persuading exhibitors (cinema operators) to play the film

developing plans and partnerships to build awareness of and interest in the film

aiming to convert as much interest as possible into cinema visits

identifying its audience

Who are the Distributors?
As is the case in most territories (countries), the UK has six major distributors (directly affiliated to the Hollywood studios) and many independent (unaffiliated) distributors who tend to handle films made outside the major studios.

Distributors negotiate with film producers to gain the rights to a film - usually by inputting finance (scale depends on size of film, plus the number of production companies / distributors involved) or offering their infrastructure eg. studios - the larger distribution companies anyway...

Independent distributors are more likely to acquire their film rights from independent producers.

Copyright systems entitle creators to receive a fair return for the risks they take in innovation and investment. In bringing films to market, distributors act under license on their behalf.

Distributors will look for distinguishing features that may help sell it to audiences eg. USP, ensemble cast, previous reputation from other films

A film's marketability (how it can be promoted to its particular audience) and playability (how it actually performs in the market place) are not necessarily the same thing.

Distributors will firstly consider who is the target audience and then distinguish who is their secondary audience.

The larger the production budget, the more likely a film is to have a distributor signed up before all its financing is confirmed.

Only exceptionally will a film make a profit from its cinema release alone. Distributors will often review the 'downward chain' before committing to a new film.


Film Festivals Provide:

a competition, where new titles may be screened to juries of filmmakers and awarded prizes. Such accolades flashed on a film's poster can add prestige but may also pigeon-hole it as 'arty';

a high-profile platform where films can be showcased prior to release. 

a market, where distributors seeking to acquire product may meet with sellers (agents, producers, studios)

Distribution Deal;

Distributors sign a formal contract with the producer, sales agent or studio, specifying the 

rights they hold in respect of the title.

Distributors normally seek to acquire all available rights in their territory - spreading risk / 

opportunity across multiple platforms. 

Likely to have pre-secured television rights as part of the deal... 

Planning the Release

Developed in consultation with producers...

• Sometimes film is 'locked' - meaning that the distributor more or less knows how successful the film will be - know the cast / quality of acting / good director etc

However sometimes, the distributor is unaware - may only know the title.

• The most important strategic decisions a distributor makes are when and how to release a film in order to optimise its chances. Through a combination of market knowledge, commercial experience, statistical research and professional judgement, distributors gauge the audience for each film.

• Distributors estimate what the film may earn eg. on box office release / dvd purchase ... and then draw up a marketing budget 

WHAT...

The distributor must think about what kind of film it is....

(some questions they must ask themselves about the film..........)

1. Blockbuster? Niche / independent? / Art-house?
2. Cast - any major 'star' - do they have a cult following / how were they received in their previous films? or ensemble cast?
3. Premieres / film festivals
4. Media reviews - is the film able to be reviewed in top magazines etc -- or any hopes for award nominations?
5. What certificate will the film have? BBFC certification 

WHEN...

1. Competition... what films are other distributors planning on releasing around the same time? -- planned release dates often change as competing distributors jockey for position week by week -- Not only other film competition ... but major game releases / TV show finales e.g.  'The X- Factor'
2. Major holidays e.g.  Easter / Christmas / Bank holidays - families etc, more likely to go to cinema - released on weekend

HOW...

Distributors generally pay all release costs...

Budgets are estimated in advance - a theatrical distribution budget may be itemised as follows:

• UK distribution expenditure can vary from thousands of pounds to millions per film
• Release can cost as much as or more than the cost of making the film itself

Film Marketing

Job of distributor: 

1. to create visibility and to raise enough awareness and interest in a film to persuade potential audiences to go and see the film

A marketing plan is produced -- designed to navigate a route to market that allows interest to peak as the film opens in cinemas. This will take into account the competitive environment, to ensure that the opportunities to raise interest and awareness are not lost under the weight of other films or entertainment on release.

1. Film Artwork - e.g. posters - must stand out
2. Trailers - main source of advertisement (most popular) portrays the film in a way that will persuade an audience to go and see the film
3. Digital marketing - social networking - free marketing!
4. Awards / film festivals / premieres - create a buzz for the film

Films must then be listened to exhibitors - cinemas! Deals are negotiated between the distributor and the exhibitor

Special Effects

EON Productions

EON is one of the UK's most successful film production companies, known for producing the Bond film series. The company is based in London's Piccadilly and also operates from Pinewood Studios in the United Kingdom. It was founded in partnership by Albert Broccoli and Harry Saltzman until 1975, when Broccoli became the sole producer.

The first film that the company produced was in 1962 called Dr. No, the first ever Bond film and since then, they have only produced one non-bond film- Call me Bwana in 1963. Although, due to lack in popularity, the company focused solely on 007 sequels. The two founders have separately produced non-bond films, for example Broccoli produced the film Chitty Chitty Bang Bang. 

The Bond films were and are still extremely popular, worldwide, giving EON its name. They produce mainly films of a particular genre, that being action. Although only two other films have been produced by the company. This is perhaps because the company has completely devoted itself to producing the Bond films, starting in 1962 and continuing at present (2013) with the production of the next film expected to be released in 2015, called Bond 24 (the 24th Bond film). The Eon series has seen continuity both in the main actors and in the production crews, with directors, writers, composers, production designers, and others employed through a number of films.

In 2008 Eon signed a deal with Columbia Pictures to develop fifteen thrillers and family films outside the Bond franchise, with budgets of up to £40 million. The company hopes the move will allow more British writers to establish themselves in the United States.

History of the Film Industry Timeline

History of the Film Industry

Something that changed / impacted the film industry in the 1940's and 1950's...
During the 1940's many inventors were trying to improve the television model. Although the TV had already been invented in the early 1900's, people didn't purchase them in their homes until the 50's, and since then, television has been the main medium for moulding public opinion and the most popular media platform. 
Television has had a major impact on the film industry as it allowed people to watch films at home instead of going to the cinema (although the 1940's were the 'Golden Age for the Film Industry'). This applied especially to elder people, who did not visit the cinema often, or even ever. Watching films on the TV was an easier option in the comfort of their own homes. 
It also increased the acknowledgement of actors and actresses, for example Marilyn Monroe, who was the most famous actress of the 1950's. 
One negative effect of the television is that the number of people visiting the cinema has increased. But on the other hand, the capital has been made up from an increased number of cinemas and films released.
Following from the invention of the television, came video recording. The first videotapes were introduced in the mid 1950's and people were purchasing their own video tapes by the late 50's. This had an extraordinary impact on the film industry as a massive income was generated from the public buying films on tape. 
If the television had not been invented, then the film industry of today would be extremely different. For starters, people would not be able to watch as many films, therefore knowledge of the media and the industry would not have been great. Furthermore, if videotapes had not been introduced, then neither would have DVDs and the film industry would be a lot less better off, since a large proportion of money produced in the industry comes from DVD purchase. 

Growing the Audience of Today & Tomorrow

Today the average British person watches over 80 films per year, at cinemas or at home. Technology has also provided many new ways of watching films, on various devices such as laptops, tablets and even mobile phones. 

The British audience contribute £4.2 billion to the global film industry, which is why continuing to grow the audience is so important. This will also benefit the British public, as they receive more access and more choice. 

Britain do not see many British films in cinemas, on television; anywhere, due to larger film industries. In proportion to Hollywood blockbusters, independent British films receive only 5.5% market share. The lack of British independent films shown in the cinema is due to the extremely high costs of promotion and marketing. 

The consultation have endorsed a strategy that supports both new and traditional ways of watching films.

1. To connect the widest possible range of audiences throughout the UK with the broadest and richest range of British films and other films from around the world.
2. The BFI should explore with industry partners developing and launching a British film 'brand' - raising awareness and expectation - to build a stronger proposition for British film at home and abroad. 
3. Strategy which develops a UK-wide film network - which can offer cultural experiences, creative practice etc.
4. To enhance social cohesion across the UK, using film as a catalyst for creativity and shared community experience.
5. Big Lottery Fund should be asked to consider entering into a funding partnership with the BFI, to create a programme of assistance for local film clubs and societies in areas of rural deprivation or isolation.
6. BFI should co-ordinate a joined-up UK-wide film festival offer, to promote independent British film and maximise value for money.
7. BFI should co-ordinate a new unified offer for film education which brings together making, seeing and learning about film - available in every school across the UK.

Introduction to The British Film Industry

What Makes a British Film?

• The Government often decide whether a film should be a "British Film"- they receive tax incentives
• 'The Films Order 1999' - modification of the definition of a British Film
• The company which produces the film should be based in Britain
• At least 70% of production costs spent in Britain and 70% of labour costs on European and Commonwealth citizens

The Importance of the British Film Industry - 

• Helps British economy - brings money to the country
• Job and career opportunities for many people

The British Film Institute (BFI)

What they are and what they do -

• Charitable organisation set up in 1933
• Encourage the development of film and TV in the UK
• Promote education about moving image
• Promote access to British and world cinema

"We use Lottery funds to nurture and invest in a diverse mix of first-class filmmakers UK-wide"

In 1999 the BFI carried out a survey across the UK to find out the 'Top 100 British Films'.
It is clear that there aren't as many popular British films compared to the larger production companies such as Universal and Paramount.