Film distribution

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Film distribution

  1. 1. Film Distribution
  2. 2. What is a distributor? <ul><li>It is the link between the film-maker & the public </li></ul><ul><li>FILM MAKER > DISTRIBUTOR > PUBLIC </li></ul><ul><li>Each distribution company takes on a certain number of titles each year and creates individual release plans for them. </li></ul>
  3. 3. Distribution details <ul><li>Distribution involves acquiring a film from the producers and trying to make it reach the widest audience possible by selling it to the exhibitors (cinemas) </li></ul><ul><li>A film usually needs to make 2.5 times what it cost to make just to ensure it does not lose money </li></ul>
  4. 4. Distribution involves: <ul><li>Everything between making the film and exhibiting the film: </li></ul><ul><li>Promoting films (trailers, billboards, posters, interviews) </li></ul><ul><li>Getting them into cinemas </li></ul><ul><li>Getting them on DVD/Blu-ray </li></ul><ul><li>People watching on TV, in a plane, on a IPOD </li></ul><ul><li>Spin offs/related products (e.g. merchandise – clothing, technical products, Happy Meals!) </li></ul>
  5. 5. <ul><li>A successful Hollywood film can make about $120m from the box office. </li></ul><ul><li>On top of that, it can generate about $60m from ancillary products, such as videos, DVDs and pay-per-view. </li></ul><ul><li>Strong merchandising, however, can then add another $50-200m, depending on how exploitable the film is. </li></ul>
  6. 6. Industry Opinion <ul><li>If you break it down and look at it as a business then the audience has the greatest power. It’s the audience that tell you what they like. So if the audience likes a particular superstar, the Hollywood is forced to use the superstar and that star then becomes extremely powerful. </li></ul><ul><li>(Tony Angelotti- Hollywood Stuntman) </li></ul>
  7. 7. Industry Opinion <ul><li>In a world where money spent on the budget of a film often sees 50% going on promotion as opposed to what you actually see on screen, the idea that we have a world where the consumer can exercise authority is absurd. </li></ul><ul><li>This industry is like any other. Of course it has to sell things, but it doesn’t rely on waiting, listening, responding to what audiences want and then delivering it to them. It relies on knowing which parts of the world and media need its products and will pay for them. </li></ul><ul><li>(Toby Miller – Film Academic) </li></ul>
  8. 8. So who is correct? <ul><li>Does market competition give the consumer more power and choice? </li></ul><ul><li>Or does it just convince us we want what is being made for us? </li></ul><ul><li>Did millions of people go to see Avatar because it s such a great film or because it was marketed well? </li></ul>
  9. 9. The BIG players. <ul><li>5 major distributors in UK are: </li></ul><ul><li>United International Pictures </li></ul><ul><li>Warner Brothers </li></ul><ul><li>Buena Vista </li></ul><ul><li>20 th Century Fox </li></ul><ul><li>Sony </li></ul><ul><li>9 out of 10 films in UK are viewed as a result of these distributors </li></ul>
  10. 10. Individual Release Plans <ul><li>Decide on: </li></ul><ul><li>Release date </li></ul><ul><li>How many prints to produce and where to screen them </li></ul><ul><li>Advertising campaigns </li></ul><ul><li>Artwork for ads, posters, flyers, billboards </li></ul><ul><li>On premieres and talker screenings </li></ul><ul><li>Booking talent for press interviews (actors/directors) </li></ul>
  11. 11. What about the rest? <ul><li>Half the films released in Britain do not reach the whole country </li></ul><ul><li>Smaller companies face an old fashioned issue: every film in cinema is a separate ‘print’ on a reel, bigger companies can afford to distribute more reels! </li></ul>
  12. 12. Releasing Patterns <ul><li>Saturation – usually film backed by Hollywood, many prints made (600-800), screened at multiplexes and huge publicity and release </li></ul><ul><li>Wide release – 100 prints, multiplex and independent cinemas, gradual openings </li></ul><ul><li>Limited release – 10-20 prints, known as ‘art house’, small independent or foreign films, if in a festival may only be 1 print </li></ul><ul><li>Cinemas pay distributors a percentage of box office profit, usually 35-60%, lower if smaller film (25-30%) </li></ul>

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