I’m a former AD (20+ yrs DGA) who learned a lot from being the right hand of so many directors and I had wanted to direct for a long time but relied on meritocracy and the gatekeepers and finally said f**k it i’m gonna finance it myself. It has been fun and I’m enjoying the process but as you said there are good, bad and challenging days and I had to do it and hope to have another couple of full swings at it again… thanks for the essay and for commenting. I moved to Paris from LA to find my spark and in the process I lost my LA community so I’m rebuilding my community unconventionally like here on Substack.
I’m in the middle of post on my first feature, starting to think about how the hell it is going to get out into the world and I read this - nothing new - but still, my stomach is queasy and I want to crawl into bed. Grateful for the reality check
There are good days and bad days. I’m currently having a challenging one. But I really think if you keep trying eventually something will happen. I’m realizing that audience growth is not fast. It could even take multiple movies. My resolve is to learn to enjoy the process I’m going through right now. We do this because we love it right? I’m genuinely asking.
This was an excellent post. Very insightful, and the clear breakdown of the three models is helpful. I also saw “Last Stop” at CUFF when it played and it was my favourite film at the festival that year. (I think it won the Audience Choice Award.) It’s really interested to read a bit of what went on behind the scenes to get this thing made. Thanks for sharing everything.
First, this is a KNOCKOUT of a post. It’s hugely important service you’ve just done to NonDe, but really to anyone at any stage of the process. Call to arms heard; agree we’ve all got to keep gaming out every possible avenue until we get closer to sanity. This very hard to read. I feel for all sides. It’s so incredibly difficult to get to day one of shooting. It has like come after years of rejection. Then, you make it, that thing you loved and nurtured is the very reason two best friends are estranged. The the joy of showing the work, is poisoned by the anxiety and fear that comes with the sacrifices by both sides. Not that this would have changed the outcome, but i borrowed from a template for an agreement with investors that I feel is so vital. I used to wince and say “that’s too much. Over the top, you’re scaring off any investor.” In large font , bold and underlined- right in the middle of page 1. It says “EVERYONE INVOLVED WILL WORK TIRELESSLY TO RECOUP AND EVEN TURN PROFIT. BUT, INVESTING FEATURE FILMS IS A HIGH RISK BUSINESS.” Don’t know the specifics of the film. I wonder if James had been given a severe warning about how risky it is, maybe he could have managed his expectations. These are difficult conversations. But, as best we can, we try to inform all involved about just how tough the road ahead is. Can’t wait to see the doc. Thank you again for this hugely important post.
The thing I would add to this is that when you go the traditional distribution route, they absolutely don’t do everything for you. We did all our own marketing and managed to push our film to the number one western on Prime with some creative thinking. The folks who buy, sell, and promote films seem to be utterly lacking in creativity. Unfortunately, the only thing they know how to do is sell names, and if you don’t have any they don’t seem to have any ideas. Somehow we have to get to a place where the quality of the film is the thing we care about most. And that obviously will have to be led by the creatives.
I saw Eric's doc Sell Your House at the deadCenter film festival. We need more docs like his: it was playful, funny, heartbreaking, edited with verve and filled with great riffs and references on film and filmmaking. A lively and memorable piece of work.
Great article, and analysis, of three different distribution models. I think either a hybrid or a self-distribution model would be the way to go. Building an audience is not easy but how many filmmakers have handed their film over to a distributor and made money? You should research your audience and gage receptiveness before you make your movie.
Great article. It closely mirrors the available—also unfortunate—models in the publishing industry… as does your proposed solution. Definitely, the most practical solution in both industry is creating a team of fellow dreamers, who have the diverse talents, connections, and resources to significantly help each other. But this isn’t as easy to do as one might hope. Still, it’s definitely the approach that’s needed… e pluribus unum.
Thank you for this unvarnished truth bomb of a post — can’t wait to see your film and know a ton of filmmakers who’d benefit from its look at distribution, I know some great filmmaker clubs and collectives in addition to your film school screenings ..
Ted! Love the nonde movement you’re leading! I’m on board! I’m the creator behind the hit streaming series #BrooklynStart, ‘a show about a conversation that no one wants have’. It’s about a group of Brooklynite teachers/parents navigating gentrification and the ever changing socio-economics of Brooklyn and set against the backdrop of the most segregated public school system in the country NYC Schools, Being talking with Jennifer Esposito and Paul Walter Hauser about coming on board as producers—they love the concept and pitch. Would love to have you at the helm too. Think Ted Lasso meets The Wire, and fuhgeddaboudit, boom…#BrooklynStart
Great article thanks for sharing and I’ll definitely check out your film.
I’m curious how the $3M gross revenue number for their film was made? According to IMDb, worldwide box office was just under $650K. So that means they must’ve had a really strong VOD release - and then I know they’ve made some SVOD license deals. Based on my experience, those numbers are crazy good and pretty rare, especially for a $1M indie.
I’m assuming you’re getting the information from reports to the producer who sold his house, and was the $50K he got back the MG? He definitely should’ve seen a return with that kind of revenue. Well Go USA has (or had) a decent reputation with filmmakers, especially for thrillers and action films.
I hope your film is a success. Btw, I used Bitmax for my most recent release which it sounds like you’re using based on that $3000 number and they’ve been very good. Best of luck.
Thanks for the comment Blake. All great questions.
Yes, they had a really good VOD release. This is something that Jim Cummings (the lead in Last Stop) is very good at and they utilized his very active audience for weeks before it hit TVOD in presales. This pushed the film onto the top ten page of apple TV where it stayed for weeks. This is Jim’s strategy for all his movies and it always seems to work for him. That said, he has that built in audience which helps a ton.
The $50k was not the MG. They went a bit over budget and had some last in first out investors so the MG immediately was spent on that. The 50k is just the return James has seen so far after the distributor recouped their costs and took their 30ish percent. The math doesn’t math to me either.
Interesting, thanks for the info. I’m very familiar with Jim. That’s actually why I watched this movie originally. Been a fan since his Thunder Road short film at Sundance. Pretty sure I’ve seen all or most of his feature work since then. Very cool he can drive that kind of VOD business. Maybe I need to cast him in my next movie. :)
I’m a former AD (20+ yrs DGA) who learned a lot from being the right hand of so many directors and I had wanted to direct for a long time but relied on meritocracy and the gatekeepers and finally said f**k it i’m gonna finance it myself. It has been fun and I’m enjoying the process but as you said there are good, bad and challenging days and I had to do it and hope to have another couple of full swings at it again… thanks for the essay and for commenting. I moved to Paris from LA to find my spark and in the process I lost my LA community so I’m rebuilding my community unconventionally like here on Substack.
I’m in the middle of post on my first feature, starting to think about how the hell it is going to get out into the world and I read this - nothing new - but still, my stomach is queasy and I want to crawl into bed. Grateful for the reality check
There are good days and bad days. I’m currently having a challenging one. But I really think if you keep trying eventually something will happen. I’m realizing that audience growth is not fast. It could even take multiple movies. My resolve is to learn to enjoy the process I’m going through right now. We do this because we love it right? I’m genuinely asking.
This was an excellent post. Very insightful, and the clear breakdown of the three models is helpful. I also saw “Last Stop” at CUFF when it played and it was my favourite film at the festival that year. (I think it won the Audience Choice Award.) It’s really interested to read a bit of what went on behind the scenes to get this thing made. Thanks for sharing everything.
Thanks Andrew, you’re very welcome. And now you can see a whole documentary about what went on behind the scenes!
First, this is a KNOCKOUT of a post. It’s hugely important service you’ve just done to NonDe, but really to anyone at any stage of the process. Call to arms heard; agree we’ve all got to keep gaming out every possible avenue until we get closer to sanity. This very hard to read. I feel for all sides. It’s so incredibly difficult to get to day one of shooting. It has like come after years of rejection. Then, you make it, that thing you loved and nurtured is the very reason two best friends are estranged. The the joy of showing the work, is poisoned by the anxiety and fear that comes with the sacrifices by both sides. Not that this would have changed the outcome, but i borrowed from a template for an agreement with investors that I feel is so vital. I used to wince and say “that’s too much. Over the top, you’re scaring off any investor.” In large font , bold and underlined- right in the middle of page 1. It says “EVERYONE INVOLVED WILL WORK TIRELESSLY TO RECOUP AND EVEN TURN PROFIT. BUT, INVESTING FEATURE FILMS IS A HIGH RISK BUSINESS.” Don’t know the specifics of the film. I wonder if James had been given a severe warning about how risky it is, maybe he could have managed his expectations. These are difficult conversations. But, as best we can, we try to inform all involved about just how tough the road ahead is. Can’t wait to see the doc. Thank you again for this hugely important post.
Thank you for this comment. It truly means a lot to me.
The thing I would add to this is that when you go the traditional distribution route, they absolutely don’t do everything for you. We did all our own marketing and managed to push our film to the number one western on Prime with some creative thinking. The folks who buy, sell, and promote films seem to be utterly lacking in creativity. Unfortunately, the only thing they know how to do is sell names, and if you don’t have any they don’t seem to have any ideas. Somehow we have to get to a place where the quality of the film is the thing we care about most. And that obviously will have to be led by the creatives.
That is well said, Craig
I saw Eric's doc Sell Your House at the deadCenter film festival. We need more docs like his: it was playful, funny, heartbreaking, edited with verve and filled with great riffs and references on film and filmmaking. A lively and memorable piece of work.
Thanks a million, Rustin!
Great article, and analysis, of three different distribution models. I think either a hybrid or a self-distribution model would be the way to go. Building an audience is not easy but how many filmmakers have handed their film over to a distributor and made money? You should research your audience and gage receptiveness before you make your movie.
Great article. It closely mirrors the available—also unfortunate—models in the publishing industry… as does your proposed solution. Definitely, the most practical solution in both industry is creating a team of fellow dreamers, who have the diverse talents, connections, and resources to significantly help each other. But this isn’t as easy to do as one might hope. Still, it’s definitely the approach that’s needed… e pluribus unum.
Thank you, Jerold. TBD if it works out for us!
Thank you for this unvarnished truth bomb of a post — can’t wait to see your film and know a ton of filmmakers who’d benefit from its look at distribution, I know some great filmmaker clubs and collectives in addition to your film school screenings ..
Ted! Love the nonde movement you’re leading! I’m on board! I’m the creator behind the hit streaming series #BrooklynStart, ‘a show about a conversation that no one wants have’. It’s about a group of Brooklynite teachers/parents navigating gentrification and the ever changing socio-economics of Brooklyn and set against the backdrop of the most segregated public school system in the country NYC Schools, Being talking with Jennifer Esposito and Paul Walter Hauser about coming on board as producers—they love the concept and pitch. Would love to have you at the helm too. Think Ted Lasso meets The Wire, and fuhgeddaboudit, boom…#BrooklynStart
Great article thanks for sharing and I’ll definitely check out your film.
I’m curious how the $3M gross revenue number for their film was made? According to IMDb, worldwide box office was just under $650K. So that means they must’ve had a really strong VOD release - and then I know they’ve made some SVOD license deals. Based on my experience, those numbers are crazy good and pretty rare, especially for a $1M indie.
I’m assuming you’re getting the information from reports to the producer who sold his house, and was the $50K he got back the MG? He definitely should’ve seen a return with that kind of revenue. Well Go USA has (or had) a decent reputation with filmmakers, especially for thrillers and action films.
I hope your film is a success. Btw, I used Bitmax for my most recent release which it sounds like you’re using based on that $3000 number and they’ve been very good. Best of luck.
Thanks for the comment Blake. All great questions.
Yes, they had a really good VOD release. This is something that Jim Cummings (the lead in Last Stop) is very good at and they utilized his very active audience for weeks before it hit TVOD in presales. This pushed the film onto the top ten page of apple TV where it stayed for weeks. This is Jim’s strategy for all his movies and it always seems to work for him. That said, he has that built in audience which helps a ton.
The $50k was not the MG. They went a bit over budget and had some last in first out investors so the MG immediately was spent on that. The 50k is just the return James has seen so far after the distributor recouped their costs and took their 30ish percent. The math doesn’t math to me either.
Interesting, thanks for the info. I’m very familiar with Jim. That’s actually why I watched this movie originally. Been a fan since his Thunder Road short film at Sundance. Pretty sure I’ve seen all or most of his feature work since then. Very cool he can drive that kind of VOD business. Maybe I need to cast him in my next movie. :)
You definitely should! He’s the best!