{"id":8710,"date":"2016-02-02T09:41:38","date_gmt":"2016-02-02T09:41:38","guid":{"rendered":"http:\/\/dev.wordpress\/?p=8710"},"modified":"2016-06-08T14:24:28","modified_gmt":"2016-06-08T18:24:28","slug":"good-deal-film-festivals-and-the-road-to-distribution","status":"publish","type":"post","link":"https:\/\/www.adorama.com\/alc\/good-deal-film-festivals-and-the-road-to-distribution\/","title":{"rendered":"Good Deal: Film Festivals and the Road to Distribution"},"content":{"rendered":"

\"\"<\/p>\n

A still from “The Birth of a Nation.” Directed by Nate Parker, the independent historical film about the Nat Turner led slave rebellion landed a distribution deal of close to $17 million. Photo credit: Bron Studios.<\/h6>\n

Last month a little film-that-could took Sundance by storm in ways that were reminiscent of the Cinderella success tales of the late 1980s\/early 90s. \u201cThe Birth of a Nation,\u201d produced, starring and directed by first-time filmmaker Nate Parker, not only became the<\/em> critical darling among the many hopefuls vying for attention at Park City, Utah this year, it was also the recipient of the largest distribution deal in the long, storied history of the venerable film festival.<\/p>\n

The fact that Parker\u2019s title recalls that of a much earlier, somewhat lauded but very controversial silent film is not incidental. \u201cThe Birth of a Nation\u201d focuses on Nat Turner, the educated slave who led a violent rebellion during the first half of the 1800s. In essence, it is the \u201cAnti-Birth of a Nation\u201d as DW Griffith\u2019s original positions the Klu Klux Klan (and unfortunately racists in general) as the heroes of his film. And you would think something like Parker\u2019s vision would have made it to the big screen by now: it could be easily pitched as the \u201cBraveheart of the antebellum south.\u201d But Nate Parker spent seven years hustling to raise the funds needed to produce his film. And it seems to have paid off. Although made for $10 million, which is a sizable budget for an independent feature, \u201cBirth of a Nation\u201d was picked up by Fox Searchlight for $17 million.<\/em><\/p>\n

While Nate Parker should certainly be congratulated for his efforts (his film also took top honors including the Grand Jury Prize and Audience Award), the film fest circuit has been lacking in that press driven buzz surrounding an \u201cexciting\u201d new director and his or her first film. Filmmakers land distribution deals all the time at festivals. But rarely do we hear about those breakouts in ways that used to dominate entertainment news over twenty years ago. While that kind of excitement is now more or less reserved for genre movies appearing at niche festivals like Fantastic Fest or Fantasia, rarely do these titles get full theatrical distribution. And unless you\u2019re an avid follower of films appearing at festivals around the world, you could represent the majority of movie attendees who will never know these titles even exist.<\/p>\n

\"\"<\/p>\n

While Sundance might be one of the more famous film festivals in the world, there are plenty of other film fests programmed throughout the year. However, a successful screening does not guarantee a distribution deal. Photo credit: Jonathan Hickerson, courtesy of The Sundance Film Festival.<\/h6>\n

Filmmakers like Spike Lee, Quentin Tarantino, Kevin Smith and Allison Anders became household names practically over night due to festival exposure alone. Films like \u201cSex Lies and Video Tape\u201d ensured the careers of Steven Soderbergh and actor James Spader thanks to its premiere at the 1989 Cannes Film Festival. And this was before the era of the Internet and the 24\/7 entertainment social feed. The aforementioned talents were the subjects of lead stories featured in Time Magazine, RollingStone and the NY Times among others. And a lot of that was due to the attention they earned on the festival circuit \u2013 and not in spite of it.<\/p>\n

Not everyone can be a Soderbergh or Tarantino for that matter. Nor do they have to be. Film festivals still offer some of the best opportunities for obtaining that distribution deal. \u201cFestivals are the perfect platform for these stories as those attending are absolutely craving to see and hear them all,\u201d says film producer and director Alex Kuciw. \u201cThe work screened has an opportunity to generate buzz and good word-of-mouth if your project succeeds in reaching the festival audiences\u2026 which could lead to sales.\u201d<\/p>\n

Alex has been working within the film industry for almost 15 years. His credits include co-producer of the well-received 2012 horror anthology \u201cV\/H\/S\u201d and is currently producing a documentary on Michael Mann\u2019s \u201cThe Keep.\u201d Another film he\u2019s produced, the Scooter McCrae directed short \u201cSaint Frankenstein,\u201d recently screened at the Ithaca International Fantastic Film Festival, the Buffalo Dreams Fantastic Film Festival and the prestigious Sitges Fest in Spain. So Alex has had a lot of experience with the festival circuit. Yet, how easy is it to land a distribution deal? \u201cListen, there\u2019s no magic formula\u2026 Some films arrive at a fest having already made a deal. Who knows, maybe it was because of a noteworthy actor?\u201d Alex continues, \u201cOf course we all want our project to catch that kind of zeitgeist and quite honestly I\u2019m not 100% sure that perfection alone would help.\u201d<\/p>\n

\"\"<\/p>\n

Alex Kuciw (far left, wearing the cap) directing his latest film “God’s Country.”<\/h6>\n

Filmmaker David Spaltro agrees. David has spent a great deal of time traveling from festival to festival promoting his own work, \u201cIn today\u2019s market a screening or award or buzz doesn\u2019t guarantee any distribution deals. Or if they do, there are so many various forms of distribution, the ease for filmmakers to \u2018fourth wall\u2019 their films digitally, that\u2019s kind of irrelevant.\u201d David has made three, full-length features thus far. His second film, \u201cThings I Don\u2019t Understand,\u201d was screened at over 45 film festivals internationally and gathered many Best Picture, Acting, and Directing awards.<\/p>\n

\u201cI think there are definite strategies to think of when submitting and embarking on a festival tour with your film,\u201d David offers. \u201cLike every other decision, you have to see your film as a product and see how the circuit is going to best serve the film and yourself for distribution, marketing and the all important networking.\u201d Is there more to the process than just submitting your film? David: \u201cI hear all kinds of stories about \u2018rules\u2019 involving films, festivals, premiere statues, etc. I\u2019ve been rejected by a festival one year and then invited the next year personally to screen the film they rejected the year before because we had won a cache of awards and gotten some great reviews since that rejection.\u201d<\/p>\n

Alex Kuciw offers his own anecdote regarding the effort that continues long after the acceptance stage, \u201dI remember being at Sundance the year that \u2018Napoleon Dynamite\u2019 screened, I had already heard about the film\u2019s good buzz, in fact if I remember correctly they were the hottest ticket in town.\u201d The comedy directed by Jared Hess was indeed one of the breakout hits at the 2004 Sundance Fest and yet another title picked up by Fox Searchlight. Alex: \u201cOne day I was walking down a Park City street and the filmmakers and cast were still running around hanging posters for their movie. I stopped them and asked why since the buzz was already so overwhelming. I don\u2019t recall their answer but I was always struck by the amount of hustle they had at promoting it even when reaction was already so positive.\u201d Alex concludes, \u201cFor all I know it was this hustle that got them their festival deal.\u201d<\/p>\n

\"\"<\/p>\n

David Spaltro (standing, left) and the cast of “Things I Don’t Understand” at the 2013 Hell’s Half Mile Film & Music Festival.<\/h6>\n

The progress of technology, specifically the rise of Video On Demand platforms like Netflix and Amazon, has created new distribution opportunities for independent filmmakers. Yet what seems new and impressive can be fraught with uncertainties so erring on the side of caution is advised. \u201cWhen we were screening with \u2018Things I Don\u2019t Understand\u2019 we got all kind of pitches from big and small boutique sales agents and distributors,\u201c recalls David Spaltro. \u201cAnd it was a crazy and informative experience as a lot of them had different experimental concepts to try and approach the ever-changing market on how to release product, find an audience and make a profit.\u201d David then warns, \u201cI think there are also a lot of false prophets out there who talk a big talk, throw out some buzz words and promises and are really just small time aggregators charging fees or stealing product to just toss out on the web for pennies. But this is something a filmmaker can kind of take control of themselves now with sources like VHX and Vimeo to put their own work and charge directly to an audience they build up with no overhead.\u201d<\/p>\n

In other words, the festival appearance end goal may not involve gaining a distributer at all. Exposure \u2013 and the positive feedback that follows \u2013 might be desirable enough (although landing a distribution goal could be viewed as the icing on the cake). While \u201cSaint Frankenstein\u201d has screened at three festivals, both Alex Kuciw and the film\u2019s director decided to make it available through Vimeo\u2019s streaming service. \u201c(We wanted) to get the short film in front of as many eyes as we possibly could since we were riding a solid wave of buzz from its festival appearances,\u201d explains Alex. \u201cTo be honest I have never been in the middle of making a distribution deal yet. But I was at Sundance the year \u2018V\/H\/S\u2019 screened as I had produced director Glenn McQuaid\u2019s segment Tuesday the 17th<\/sup>. I saw how the film played before an audience and caught that exciting zeitgeist with a festival crowd first hand.\u201d<\/p>\n

So sometimes you can<\/em> capture that lightning in a bottle. In the case of \u201cV\/H\/S\u201d not only did it acquire distribution via Magnet Releasing for limited theatrical and VOD streaming, its eventual success resulted in not one but two sequels. \u201cI\u2019m certain the producers who put the whole project together made a deal just a few hours after its premiere there,\u201d Alex concludes, \u201dI saw them whisked away for an early morning meeting with one interested party just before an after-party.\u201d<\/p>\n

As well as currently producing \u201cA World War II Fairy Tale: THE KEEP Documentary\u201d Alex Kuciw just completed directing the short film \u201cGod\u2019s Country,\u201d whereas David Spaltro is currently developing a horror film based on Steve Peck\u2019s novel \u201cA Short Stay in Hell\u201d and a mini-series tentatively titled \u201cWelcome to Hockey Town.\u201d His latest film “In the Dark” is now screening in festivals across the country.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

At this year’s Sundance Film Festival, Nate Turner’s independently produced “The Birth of a Nation” was rewarded with a record-breaking distribution deal of almost $17 million. Yet, does a festival screening guarantee a distribution deal? 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