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A Filmmakers' Guide to Distribution and Exhibition

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A Filmmakers' Guide to Distribution and Exhibition A Filmmakers’ Guide to Distribution and Exhibition A Filmmakers’ Guide to Distribution and Exhibition Written by Jane Giles ABOUT THIS GUIDE 2 Jane Giles is a film programmer and writer INTRODUCTION 3 Edited by Pippa Eldridge and Julia Voss SALES AGENTS 10 Exhibition Development Unit, bfi FESTIVALS 13 THEATRIC RELEASING: SHORTS 18 We would like to thank the following people for their THEATRIC RELEASING: FEATURES 27 contribution to this guide: PLANNING A CINEMA RELEASE 32 NON-THEATRIC RELEASING 40 Newton Aduaka, Karen Alexander/bfi, Clare Binns/Zoo VIDEO Cinemas, Marc Boothe/Nubian Tales, Paul Brett/bfi, 42 Stephen Brown/Steam, Pamela Casey/Atom Films, Chris TELEVISION 44 Chandler/Film Council, Ben Cook/Lux Distribution, INTERNET 47 Emma Davie, Douglas Davis/Atom Films, CASE STUDIES 52 Jim Dempster/bfi, Catharine Des Forges/bfi, Alnoor GLOSSARY 60 Dewshi, Simon Duffy/bfi, Gavin Emerson, Alexandra FESTIVAL & EVENTS CALENDAR 62 Finlay/Channel 4, John Flahive/bfi, Nicki Foster/ CONTACTS 64 McDonald & Rutter, Satwant Gill/British Council, INDEX 76 Gwydion Griffiths/S4C, Liz Harkman/Film Council, Tony Jones/City Screen, Tinge Krishnan/Disruptive Element Films, Luned Moredis/Sgrîn, Méabh O’Donovan/Short CONTENTS Circuit, Kate Ogborn, Nicola Pierson/Edinburgh BOXED INFORMATION: HOW TO APPROACH THE INDUSTRY 4 International Film Festival, Lisa Marie Russo, Erich BEST ADVICE FROM INDUSTRY PROFESSIONALS 5 Sargeant/bfi, Cary Sawney/bfi, Rita Smith, Heather MATERIAL REQUIREMENTS 5 Stewart/bfi, John Stewart/Oil Factory, Gary DEALS & CONTRACTS 8 Thomas/Arts Council of England, Peter Todd/bfi, Zoë SHORT FILM BUREAU 11 Walton, Laurel Warbrick-Keay/bfi, Sheila Whitaker/ LONDON & EDINBURGH 16 article27, Christine Whitehouse/bfi BLACK & ASIAN FILMS 17 SHORT CIRCUIT 19 Z00 CINEMAS 20 The editors have made every endeavour to ensure the BRITISH BOARD OF FILM CLASSIFICATION 21 information in this guide is correct at the time of GOOD FILMS GOOD PROGRAMMING 22 going to press. However the reader is recommended to UK FILM PRODUCTION OUTPUT 23 check with individual organisations for up-to-the BFI PROGRAMME UNIT 25 minute information. ARTISTS’ FILM & VIDEO 29 SAMPLE DISTRIBUTION BUDGET 36 SAMPLE RETURNS 39 Copies of A Filmmakers’ Guide to Distribution and THE SHOOTING GALLERY & FILMFOUR 45 Exhibition are available on the bfi’s website and from ATOM FILMS 48 the bfi Exhibition Development Unit, Regional Arts Boards, regional screen agencies and national film CASE STUDY: CARINE ADLER 52 bodies. This guide is also available in large print CASE STUDY: NEWTON I. ADUAKA 53 format on request. CASE STUDY: TINGE KRISHNAN 54 CASE STUDY: RICHARD KWIETNIOWSKI 55 ISBN 0-85170-914-1 CASE STUDY: LYNNE RAMSAY 57 © Copyright bfi 2001 CASE STUDY: JAMIE THRAVES 58 A Filmmakers’ Guide to Distribution and Exhibition This guide is for anyone in the film business who needs a more detailed account of standard UK distribution and exhibition procedures. The aim is to find an audience for completed short films and low budget features. For information about production finance, producers should see The Low Budget Funding Guide (Film Council). For information about self-promotion to the industry, ABOUT THIS GUIDE producers should see First Facts (First Film Foundation). 2 The format of this document is like a travel guide, following the classic routes of distribution and exhibition, with information boxes, selected contacts and a festival calendar. Key points are picked out in bold, and there’s a glossary of industry terms at the back of the Guide. The sector is currently on the verge of enormous changes due to developments in digital technologies. For creative and financial reasons, increasing numbers of both new filmmakers and established auteurs are now shooting on DV (although digital cinema projection is still in development). Having established global opportunities for short films, with the arrival of ADSL lines the Internet is about to offer the same for features of cultural (rather than mainstream commercial) significance. These advances do not make the traditional pleasures of festivals and cinema going obsolete, but go far in democratising access to the strong personal visions of diverse filmmakers. Carine Carine Adler Under the Skin INTRODUCTION 3 You’ve made a film, a short or low budget feature, so now what? How to get all of that hard work and money where it should belong - in front of an audience? At script stage filmmakers should have already asked themselves: who is the audience and how best to reach them? Now it’s important to ask again, and to be objective: • What type of film is this and what have I achieved in making it? (The realisation of personal dream? A calling card to the industry? A work of genuine public interest?). • Who is this film’s audience? (If the honest answer is friends and immediate family only, go no further). What are the unique selling points of the film to that audience? • Would I pay to see this film? (How do you feel if you see a short unexpectedly in front of a feature in a festival or at the cinema: irritated or delighted?). If your main aim has been to gain experience, then you’ve already achieved your goal and perhaps the film warrants no further expenditure. However if this is an accomplished work in which audiences will want to invest their time and money, then planning for its distribution and exhibition is the next step. How to Approach the Industry Filmmakers raising production finance may stamped addressed postcard for have to be bloody-minded, but this quality notification. Some companies will doesn’t translate well to distribution and return unsolicited tapes, but to exhibition. A different approach is needed, ensure this enclose a stamped as this side of the industry works hardest addressed envelope. for co-operative producers respectful of Expect delays in the assessment of other executives’ expertise. • your film. Don’t try to pressurise a company Inform yourself about the past and • into taking your film by fabricating a • present activities of the company bidding war. you’re approaching. Be sure that your If rejected you can ask for some work is appropriate to their agenda. • feedback and further guidance, but do INTRODUCTION • Make sure that you have the not call when you’re angry, and do 4 materials and necessary clearances to not send a peevish letter of complaint service the requirements of the to the head of the company company you’re dealing with. contesting the decision. Follow guidelines for submitting work. • The usual requirements are a VHS Even if your film isn’t right for a certain copy of your film (check sound and context it may well find success elsewhere. image quality before sending) with an But listen to what people are saying - you entry form or single page of will not get constructive advice from an information and a short cover letter. executive who senses that you can’t handle Don’t send extra materials (stills, the truth about your film. It’s best to be • scripts, etc.) until requested. philosophical and objective, as dealing with Don’t contact the company to confirm other peoples’ reactions to your film is part • receipt of materials. If you’re worried of the learning curve. After all, audiences about this, either use recorded are huge, disparate groups who will delivery postage or enclose a ultimately vote with their feet. Best Miscellaneous Advice From Industry Professionals Get online - from production See as many films as you can, both • information, to sales, distribution and • contemporary and from the history of exhibition, marketing and publicity, world cinema. Check out shorts on the Internet is an invaluable resource the Internet. for filmmakers. Information is power! Find out all you Have at least one very strong • can about the industry by reading the • production still. This will be used weekly trade press (Screen endlessly. International, Variety, etc.). Have all clearances (especially music Working at any level in the industry • clearances) in place before • will gain you valuable experience. approaching buyers. Unpaid/expenses only work • Make sure you allow enough time to experience placements are a way in. INTRODUCTION get the film print right before your 5 first exhibition opportunity. Material Requirements For both shorts and features, the for the marketing of the film and filmmaker should have budgeted for and standard technical delivery requirements. created the following materials during Do not be tempted to cut these from your production; these are essential elements production budget. Stills & Transparencies A set of good quality black & white sending stills to the press has been cut by production stills and colour transparencies, the availability of online stills distribution both portrait and landscape formats, services (images can be downloaded). including images of the stars in action and any scenes of major importance. A Striking images will be used repeatedly in photograph of the director will be needed festival catalogues, marketing and for festival catalogues and press publicity materials, media reviews and interviews. The cost of duplicating and articles. Press Kit All films should have at least an information is compiled by the production information sheet featuring a synopsis press officer, and thereafter adapted by (short summary of the film in no more the sales agent and distributor according than one or two lines naming the star/s, if to their specific requirements. Some relevant) and production details (director, larger feature productions budget for an country of origin, year of production, EPK (electronic press kit) for use by running time, print format, contact television media. Usually produced on details). This forms part of a press kit, DigiBeta, this consists of filmed interviews which may include a long form synopsis, with the key cast and crew (a ‘featurette’) more information about the production, a b-roll (on set footage of the crew filming complete list of cast and crew, key the actors) and 35mm clips from the biographies, sample interviews.
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