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Once upon a time, there was a catch in terms of gaining entry into the business of making films. Fledgling filmmakers might try financing a short to demonstrate their cinematic skills to industry insiders, but then find no outlet for the finished product, resulting in a nonrecoupable and potentially expensive calling card. These amateur filmmakers (the term “independent filmmaker” usually reserved for avant-garde pioneers ranging from John Whitney and Jordan Belson to Stan Brakhage and Andy Warhol) might shoot in 16mm and have their effort blown up to 35mm, or, as was the case with a young Steven Spielberg’s demo film Amblin’, actually lens in 35mm. Some filmmakers tried creating films even more cheaply, using Super 8 reversal film, which afforded no room for error in exposure but could, at some expense (and no small loss in image quality), be blown up to 16mm or 35mm.
But even assuming that distributors or studios would screen the product, there always was a good chance that they would dismiss it with, “This only proves you can make a short, not a feature,” leaving the filmmaker out shivering in the cold as before, but now in considerable debt as well.
These days, length is not quite the same issue, since there’s an ever-growing demand for products that fit the short-attention-span theater lifestyle of many potential audiences. YouTube is by far the largest venue for watching short-form entertainment on the web, but there are many others. And with a variety of venues in which to post a product, the filmmakers may not be so easily locked into an unprofitable deal with the first vendor who shows interest in the project, be it long-form or short.
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Unsuccessful in his attempts to find a satisfactory theatrical distribution deal, filmmaker Edward Burns (The Brothers McMullen, Sidewalks of New York) debuted his film, Purple Violets, on iTunes in November 2007 instead of releasing to theaters or direct to DVD. Getting aboard the Apple/iTunes express was a big step for New Video as well, which helps bring television series, documentaries, independent films and other products to the DVD and digital marketplace. Even known entities like The Jim Henson Company employ New Video, knowing more visible placement of product can be achieved rather than going direct to iTunes. New Video’s Senior Manager of Digital Distribution, Erick Opeka, notes several reasons that it’s more difficult to secure theatrical distribution as of late. Opeka explains, “Shuttering of many indie distribution outlets (Warner Independent, New Line, Picturehouse, etc.), others in trouble (Thinkfilm) [and a] glut of product in the marketplace makes it hard for films to ‘find an audience.’ Typically, they’re out of theaters in one week, never getting a chance to get their legs.”
“There’s more and more competition for consumers’ time,” Opeka continues, “and the fractured media market means it’s tough to advertise and find an audience for films cost-effectively.” Being on many sites (iTunes, Amazon, Netflix, Vudu, VOD, PlayStation, Xbox, Hulu), indie films can achieve wider distribution than the typical 30-50 small-city theatrical run at a fraction of the cost. These new platforms have hundreds of millions of users in aggregate, putting the filmmaker’s content in front of their target audience. Instead of competing directly for mind share, these platforms make movies available in context. They reach users who are looking to experience films in the context of gaming, social networking or web browsing, providing a tangential experience.
The presence of indie films in digital venues also provides public awareness of the projects for their eventual DVD release, as was the case with Purple Violets. “Right now, we’re seeing eight to 12 percent of revenue coming from digital sales, and in more recent cases, some titles are garnering 18 to 20 percent. We anticipate this number to rapidly approach 25 to 30 percent over the next several years as more digital retail outlets become viable.”
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