- Distribution is focused on marketing and sustaining a global product in local markets.
- Distribution can be divided into three stages - licensing, marketing and logistics.
- It's the Most important part in the film industry.
- 'The invisible art' - a process known only to those within the industry. - Distribution is collaborative process, requiring the materials and rights of the producer
- Operation of the exhibitor to promote and show the film in the best way possible.
Licensing
- Process of distributor acquiring the legal right to make use of a film.
- International distribution ensures that films find their way to the 90+ market 'territories' around the world.
- Independent producers have to sell their films to different distributors in each territory.
- Independent production companies are usually small concerns and therefore might choose to hire a specialist sales agent who understands the value of a film in many different markets.
- 'Local' distribution - involves the distributor gaining the licence to release and make use of the film in a particular country.
- Distributor will usually pay the producer a minimum guarantee for the licence.
Marketing
- The schedule for forthcoming releases is coordinated and published by the Film Distributors Association.
- A distributor will assess this schedule to identify a Friday release date where there are only a few films scheduled for release.
- Finding a 'light' week will ensure that there will be screen space and review columns in the press.
- The distributor will try to position the film distinctively and avoid a release date occupied by other films with similar traits (story, subject, country of origin).
- After setting a release date, the distributor works towards the theatrical release, investing in the materials and the marketing campaign to support it.
- The costs of theatrical distribution, met by local distributors, are often referred to as 'P&A' (Prints and Advertising).
Marketing: Prints and Advertising
The quantity and production of release prints and trailers:
- Specialised films will often be released with fewer than 10 prints into key independent cinemas
Press materials, clips reels, images, press previews, screener tapes:
- For the majority of releases, favourable press response is a key factor in developing the profile and desirability of a film.
The design and printing of posters and other promotional artwork:
- The cinema poster - in the UK this means the standard 30" x 40".
Advertising campaign - locations, ad size and frequency:
- Advertising: magazines, national and local newspapers and press coverage is used to raise awareness of a release.
- The cost of print advertising in the UK is comparatively high. Its seen as making distribution in the UK a riskier business than in most other countries.
- In order to extend advertising and develop more effective communication with audiences at low cost, distributors are looking increasingly to 'viral marketing' - different forms of electronic media via the internet, email and mobile phones.
Press campaign / contracting a PR agency:
- Many independent distributors in particular do not have press departments, and will consequently hire a press agency to run a pre-release campaign.
Arranging visit by talent from the film:
- The use of talent: usually the director and/or lead actors - wins significant editorial coverage to support a release.
Other preview screenings:
- A distributor will consider the use of advance public screenings to create word-of-mouth and advance 'buzz' around a film.
Logistics
- Phase of distribution at its most basic - supplying and circulating copies of the film to theatres, of tapes and DVDs to shops and video rental stores, and managing the effectiveness of the supply.
- Cinemas spend their money publicising film play-dates and times in local papers or through published programmes.
- Each print can cost around £1,000 - or twice that if subtitled - so a degree of care is required of everyone involved in handling the print.
- Prints are hired by the exhibitor for the duration of their play-dates, and therefore each print is made for repeat use.
- Distributor will invest in sufficient prints to provide optimum coverage through the first period of theatrical release, usually lasting up to 6 months.
Case Study: Bullet Boy
- Low budget, independent feature helmed by first-time feature director Saul Dibb.
- UK rapper Ashley Walters as Ricky: young man newly released from prison, but unable to extricate himself from the cycle of gang violence that has become an everyday feature in some parts of inner-city London.
- Showed the effects of Ricky's life on his mother and his younger brother.
- 2004: the film quickly gathered a reputation - first film to tackle the difficult subject of contemporary gang and gun crime in Britain’s inner cities.
- The release was handled by Verve Pictures.
- This take on contemporary urban life offered a unique selling point for the film.
- In order to broaden the theatrical release of the film, Verve applied for funds from the UK Film Council's P and A Fund.
- Released: 8th April 2005, opening on 75 prints UK wide.
- The campaign included advertising in all of the national daily newspapers, two tabloids, newspapers with a black perspective, a selective London Underground campaign and extensive use of radio stations.
- First six months of theatrical release, the film had grossed an impressive £450,000 at the UK box office
Digital Distribution
- Digital technology: cost effective and a logistics-light alternative.
- It will, eventually, be cheaper and much less stressful to send films as computer files to cinemas across the UK.
- Digital distribution: large scale has started to appear in certain parts of the world, notably China and Brazil, where conventional logistics cannot.
- DSN (Digital Screen Network)will initially work with files transferred from a high definition digital master (either HDD5, or HD Cam).
- It will be possible for the distributor to send feature film files electronically, via broadband networks, thus eliminating dependence on transportation.
- It will be less expensive in the coming years to offer a wide theatrical opening with many copies and to screen a film for just one performance at any cinema.
- In theory at least, it will be possible for both distributors and exhibitors to respond more precisely to audience demand.
- The adoption of digital technologies offers greater opportunities for distributors to create joined-up campaigns for theatrical and DVD releases.
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