It is really important that precise day by day case studies are written about successful self-distribution efforts, like the one in Peter Brodericks bulletin 48. Consultants like me love to work with them.
Tech tools like Gathr need more visibility and filmmakers need to get good at using them. Filmmakers don’t need distributors, they need marketing. By giving a cut of revenue to affinity partners to promote the film - you recreate the value of a distributor by finding an delivery to an audience yourself
With only theatrical and streaming income available for recoupment very few independent films can recoup . The film business has ceased to be a business . The 110 year old structure of film is crumbling and a new system needs to be created that fits 21st C technology . Dreambird aims to do that .
Ted Hope has written about this quite a bit. The importance of us filmmakers building our communities and finding our true fans is likely the way to our Field of Dreams. Looking forward to seeing what you guys come up with. When will your platform launch?
Dreambird is closing its investment now and we plan to be fully functional in about 10 months. We will provide for production , distribution and consumption . A full service economy .
Kendall, it's true there is a vast budget range in regards to "indie" film, but I think the point is that even with a $5-$10 million production, the distribution system is broken, so these discussions still apply. But obviously, if you have a $100,000 movie, it's a lot easier to recoup.
One thing I noticed is how foreign sales really drove financing of indies in the past but now not so much. Kind of a bummer. personally, I thought that model worked really well.
It is really important that precise day by day case studies are written about successful self-distribution efforts, like the one in Peter Brodericks bulletin 48. Consultants like me love to work with them.
https://www.sundance.org/case-studies/creative-distribution/columbus/
Didn't I write this?
you did!
Tech tools like Gathr need more visibility and filmmakers need to get good at using them. Filmmakers don’t need distributors, they need marketing. By giving a cut of revenue to affinity partners to promote the film - you recreate the value of a distributor by finding an delivery to an audience yourself
With only theatrical and streaming income available for recoupment very few independent films can recoup . The film business has ceased to be a business . The 110 year old structure of film is crumbling and a new system needs to be created that fits 21st C technology . Dreambird aims to do that .
Ted Hope has written about this quite a bit. The importance of us filmmakers building our communities and finding our true fans is likely the way to our Field of Dreams. Looking forward to seeing what you guys come up with. When will your platform launch?
Dreambird is closing its investment now and we plan to be fully functional in about 10 months. We will provide for production , distribution and consumption . A full service economy .
when you talk about an indeed, what budget range are you talking about? i feel liked there is different definitions of indie film.
Kendall, it's true there is a vast budget range in regards to "indie" film, but I think the point is that even with a $5-$10 million production, the distribution system is broken, so these discussions still apply. But obviously, if you have a $100,000 movie, it's a lot easier to recoup.
One thing I noticed is how foreign sales really drove financing of indies in the past but now not so much. Kind of a bummer. personally, I thought that model worked really well.