Self-Distribution: The Struggle of an Independent
Written by James Noonan | Posted by: Anonymous
The thought of self-distributing can strike fear in the hearts of independent filmmakers, or it can provide a great challenge. Traditionally, self-distribution has been viewed as a last resort, but there are filmmakers out there who choose to self-distribute. There are those precious few who know their market: Frederick Wiseman’s Zipporah Films has distributed its own films for over 20 years to universities and libraries.
But now, there are more films than distributors, and more mainstream independent filmmakers are frequently finding themselves in a position in which they will not only have to make the film, but distribute it as well.
Several local filmmakers have made themselves responsible for getting their works shown theatrically. Successful results can help them get that elusive distributor. Most recently, Frank Ciota’s "The North End," Maureen Foley’s "Home Before Dark," and John O’Brien’s "A Man with a Plan" were all initially self-distributed. "Home Before Dark" succeeded with its five week run at the West Newton Cinema. Maureen Foley says David Bramante, who booked the film, was very pleased with its success.
Self-distributing can be costly, but for some, it is a necessary step. "It’s complicated," Foley says. "You have to generate ads and negotiate with exhibitors, and you have to do it all yourself. You can either hire a press agent, or do all the phone calls to the newspapers. It’s both costly and extremely labor intensive." Foley premiered "Home Before Dark" in Cincinnati, then took the film to Northampton, Boston and New York. It won the Grand Jury Prize at the Hamptons Film Festival, and Lifetime recently bought the broadcast rights. "We thought the film could do well if we could get it to audiences," Foley adds.
Filmmaker Steve Gentile remembers when the film he helped produce and edit, "Complex World" found itself in a familiar position. "Complex World" was shot in Rhode Island and played in Providence. Gentile says that the filmmakers were lucky to get the attention of a friend of John Daly from Hemdale, a well-known distributor at the time.
"He [Daly’s friend] did not even see the film," Gentile said. "He saw posters and the crowds at the local theater." But he told Daly, who was interested. Daly stopped in Providence while on his way to New York. The theater manager borrowed a Mercedes, donned a chauffeur’s cap and picked him up at the airport. Gentile says that they stocked the audience with "laughers" to help better their odds of snaring the distributor. Daly liked the film even though he did notice the laughers, and it was picked up by Hemdale for domestic distribution.
Self-distribution is a hard road that can be made easier with the cooperation and interest of local theaters. The West Newton Cinema, the Landmark Kendall Square Cinema, the Coolidge Corner Theater are only a few of the exhibitors who are independent film–friendly, and book films that are self-distributed. Self-distribution can be worth the labor when the ultimate reward is that a film is seen by as many audiences as possible, rather than sitting on a filmmaker’s shelf, being seen by no one.
