7 Myths of Film Distribution From Raindance Film Festival

Film distribution is the number one concern of any filmmaker. We see hundreds of movies every year at Raindance. While filmmakers know how to make a movie, few have a single clue about how to go about monetising the fruits of their labours.

I have worked as a consultant on many different movies with budgets in the millions down to micro and no budget movies. The rules surrounding the profitable release of the film are pretty much the same regardless of the budget of the movie.

Let me try and explain the common misconceptions and myths about film distribution. From this I hope you will be able to see how to create a workable strategy to get your movie distributed – profitably.

Myth #1: Filmmakers focus on making good films.

The producer looks after marketing and distribution. Filmmaker’s don’t need to get too involved with the producer’s job.

Reality Check #1

Some filmmakers get lucky, make a film that gets out there on it’s own. But the percentages aren’t too favourable: few filmmakers are actually that lucky.

The film business is a marketing business. If you start making a movie without considering the audience, or understanding the basics of film finance and how the money flows, you are encumbering the chances of success.

Knowledge is power. Study examples of indie successes like Blair Witch Project and Paranormal Activity. These filmmakers were experts at understanding marketing and distribution.

Lo To No Budget Filmmaking

Myth #2: A film distributor is excited – they’ve asked for a screener

Distributors read the trade papers and the production reports searching for new product. If your producer was smart enough to get listed in the trade papers, chances are you will get calls from prospective distributors. But is this good news?

Reality Check #2

Everyone is so incredibly busy. The worst mistake you can make is to send a distributor a rough cut. They will watch the rough cut and then never ever watch the finished version. I had a great 93 minute film play at Raindance a few years ago – it won awards all over the place. The UK distributor who financed the movie only ever saw the 2 hour version and dumped it carelessly onto a DVD release totally messing up the film.

The trick is to figure out how to unveil the movie in a way that will attract distributors. This is the reason film festivals have become so important. There are 4 reasons to attend film festivals – and reason number one is to unveil your film and get a distributor offering you cash. A filmmakers homework is to try and figure out which of the 100 top film festivals would be right for you and your film. Then you need to plan how you are going to present yourself to the film festival you have been selected for.

Myth #3: I’ve been accepted into Cannes – I have it made!

The top 3 film festivals in the world are Toronto, Sundance and Cannes. Getting accepted into one of these film festivals, or to Berlin, Venice, Rotterdam or Karlovay Vary are the dreams of nearly every filmmaker. Getting your film selected by one of these film festivals will certainly get you noticed. But will it get you the distribution deals you crave?

Reality Check #3

Get accepted into one of the world’s top film festivals and your work has just begun. First you have to create a strategy and assemble a team.

Your key team member is going to be your publicist. A screening at a major film festival will also mean that you will want to have an after party. All of this costs money, Remember you will want to get the cast to the screening too. They say that an afterparty at Cannes costs a minimum of a quarter million dollars. So add a party planner to your team. And make sure your interview technique is up to scratch. Good filmmakers know that this is simply a part of the marketing budget of the film, and done right will guarantee a good return on investment.

Attending a major festival without a marketing and publicity strategy will impede your chances of getting a decent deal.

Myth #4: I’m getting lots of festival invites – it’s just a matter of time

Having your film a bunch of film festival is the ultimate ego trip. films I have produced have been in over 50 top film festivals around the world. Attending with your film, doing Q&A sessions, presenting workshops and partying til you drop is all part of the scene. Will all this glamour lead to a deal?

Reality Check #4

Having fun and traveling around your world to festivals does not guarantee the sale of your film. In fact, it can backfire if the perception of your film is that it is nothing more than a festival darling.

The reason you attend film festivals is to build pedigree for your film, and for your career. This is done by getting reviewed, by being interviewed and by winning awards. Get enough of these and your are more likely to catch the serious glance of a distributor.

Myth #5: I can self distribute my film

Anyone who creates content, be it a book, song or movie can self distribute. In the publishing industry this is called vanity publishing – a dirty word until some recent bestseller successes like that enjoyed by Amanda Hocking.

Reality Check #5

Self-distribution is a viable option if you are prepared to work very hard at it. Of the thousands that attempt this every year only a handful succeed – and their success is almost directly related to the amount of effort they have put into it.

One of my favourite self-distribution stories is Lee DeMarbre’s 2001 classic Jesus Christ Vampire Hunter. He followed up a successful string of festival appearances with a tour of the north-eastern States where he booked the film into a string of latenight cinema screenings. Following that he managed to get the film distributed by Lloyd Kaufman’s Troma label, and most recently it is showing on a string of internet aggregators like Netflix. Lee has managed to create a revenue stream for his film over a decade-plus span. But, as he says, he’s worked his butt off.

Myth #6: DVD is dead

One reads about the closure of DVD stores and the birth of online distribution channels like Distrify, Blinkbox and Netflix. Does this mean the glory days of DVD are over?

Reality Check #6

DVD is not dead – it is still the largest revenue earner in America, where it grossed over $15 billion last year. There are hundreds and hundreds of boutique DVD distributors out there. Don’t be lazy. Research the marketplace and find one that fits you and your film.

Myth #7: I’m a filmmaker. I don’t need to know about the internet

There are two types of filmmakers out there right now: Those who loathe and abhor social media and wouldn’t be caught dead with a Twitter account, and those who love and embrace it.

Reality Check #7

The fact is, the internet is a powerful tool that can enable you to send messages directly to your audience without having to go through a middle man, like a distributor or broadcaster.

Distributors are also influenced by your own social media presence because it is proof that your movie works, and because it gives them a network to plug into in order to get bums on seats. A good social media profile will enhance your film distribution.

Fade Out

The distribution models are changing rapidly because of the different film distribution platforms offered by the internet. Most of the old paradigms don’t work as well as they did back when I started Raindance in 1992.

What have I forgotten?

Yours in filmmaking,

Elliot Grove



Photo Credit David Martinez / BIFA 2018

Few people know more filmmakers and screenwriters than Elliot Grove. Elliot is the founder of Raindance Film Festival (1993) and the British Independent Film Awards (1998). He has produced over 700 hundred short films and five feature films: the multi-award-winning The Living and the Dead (2006), Deadly Virtues (2013), AMBER (2017), Love is Thicker Than Water (2018) and the SWSX Grand Jury Prize winner Alice (2019). He teaches screenwriting and producing in the UK, Europe, Asia and America.

Raindance BREXiT trailer 2019

Elliot has written three books which have become industry standards: Raindance Writers’ Lab: Write + Sell the Hot Screenplay, now in its second edition, Raindance Producers’ Lab: Lo-To-No Budget Filmmaking and Beginning Filmmaking: 100 Easy Steps from Script to Screen (Professional Media Practice).

In 2009 he was awarded a PhD for services to film education.

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