A Conversation with the Filmmakers of Four Eyed Monsters- Does Digital Mean Distribution No Longer Matters?

Following our case study on the independent film Four Eyed Monsters, we decided to interview the filmmakers themselves, Susan Buice and Arin Crumley.  Four Eyed Monsters paved the way for DIY and online/grassroots distribution.  After the film premiered at Slamdance in 2007, the filmmakers found themselves in territory familiar to many independent filmmakers, a successful festival run followed by no distribution deal.  Susan and Arin then decide to market the film themselves by using innovative online tools like a videocast that documented their struggle to distribute the film.  They also created an online petition where fans could sign up to show their support for the film in order to convince local movie theaters to agree to screenings. Eventually Four Eyed Monsters successfully grossed a total of $129,000, $100,000 of which came from online sales. Below is some select excerpts from our interview with Susan and Arin, followed by our key takeaways.

MG: With Four Eyed Monsters it seemed like where you succeeded was on your own and not with the traditional gatekeepers of independent film.  When you look at the big picture of the independent film industry, how do you guys characterize what you did and how it's different?

SUSAN BUICE: A lot of what we were doing was a reaction to the feedback that we were getting on the film festival circuit…We ended up talking to distributors and they said “We like your film but you’re not famous and we can’t really sell a romantic comedy with no famous people in it to an audience; it’s too hard to market.’ And so we were like: we’ll become famous.  We’ll make people 'like us.'  We’ll make this video podcast; we already have this footage. And it wasn’t like ‘Oh we’ll get in this for fame,’ we [said to ourselves] we’ll make something so people have that connection and want to watch a film about whether these two people end up together or not together… So we knew we had this content that was leading into another project and we figured that other project would just be a continuation of Four Eyed Monsters because it was documentary stuff as opposed to narrative stuff.

We were telling distributors ‘we still want you to distribute the film but we’ll just take care of the marketing’ and they [told us] 'That’s not proven, let’s not do it.'  And after we got kind of shut down we [asked ourselves if] we still think it’s a good idea, do we believe in the idea enough ourselves that we would distribute it ourselves if it works. And that’s when we decided to move to my parent’s house and start making video episodes.

MG: You guys got an audience actually in the wake of trying to put out a film and then it ironically allowed you to put out a film in a profitable or break even way. Let’s say I'm not making that film whatsoever [a comedy\drama about online dating]; how do I structure my campaign in a way that uses the takeaways from you guys?

ARIN CRUMLEY: There’s this kind of dream that there’s this social medium button you press and it all works…The difference I believe is the volume of additional content.  Like how much extra stuff other than the movie exists.  And in our case we had more media than the film itself.

You need to create a story world, story universe. And that is maybe not something the filmmaker has planned for. They were hoping they could just get a consultant to come on in and read a little manual and then they’re going to get all the answers and they just have to do that and they’re all set.

For people who love the cinema medium there’s this resistance like “I don’t want to go design video games, that’s not what I do. Why do I have to do that?” No one said you have to do that. I mean in our case we got to make a video podcast that we wanted to make and other documentary media that was really fun to work on. So I think that should be the design challenge. What would be cool that relates to your project that you can make and create a media presence around it?

[For example:] create a trailer that is similar to a Kickstarter or crowdfunding campaign that creates a campaign to distribute the film.  It shows the trailer and then the director pops up on camera and says, “I can’t release the film; sorry, but I would love to… If you can simply request and tell me where you guys are we can do this and we can bring the film to your town”…And they did this with Paranormal Activity after we did this with Four Eyed Monsters and they got like a million people to request local screenings which gave the studio confidence to spend money on a wider release.

MG: Cause that's sort of the magic of Kickstarter, though you're technically raising money what Kickstarter also does is identify an audience. In a way what you're basically saying is you don't need the actual funding part you just need to manifest demand for it?

ARIN CRUMLEY: We are now in an era of post-crowdfunding explosion. So what does that mean? Crowdfund everything? Not necessarily. I think it means something else as well.  There are phases to your production, and different phases that previously wouldn’t have involved marketing of any kind now might.

And this is the idea of [Arin’s website] OpenIndie and other sites like Flicklist -- an app that lets you list films you want to see.  And they're working on a bookmark where on any page any filmmaker could put this universal button [that communicates] “People, hit this button -- this is the only way we’ll know what platforms to put this on or what cities to put this in or what countries this should go to”... Just ask, who are the people who want to see this thing.

MG: Because you were one of the first pioneers to build an online audience, do you think you will distribute your next film by yourself and possibly skip the film festival route? Or do you still see value in those gatekeepers and possibly getting a distributor?

SUSAN BUICE: I still see value in film festivals but it's different than I initially thought. Pre-Four Eyed Monsters I thought you could go to festivals to prove your worth and get picked up.  Now I look at going to film festivals as a way to generate buzz and as a way to meet people for your future career.  Not even to help your film necessarily, but to help you get a job on another film or to help you make your next movie.  I think if we go to film festivals with our next project that is going to be our goal.

ARIN CRUMLEY: It's like a non-event to distribute something. You will, in the process of authoring a film, distribute it; you will put it in a format that is distributable and that is distribution -- you're done. [With] digital, it's invisible.

The conversation about distribution should really just stop. It's so easy. There really should just be a conversation about marketing… The question really is marketing. And I think the answer is… media brand. Sundance is a media brand, HBO is a media brand.  And I think the opportunity right now is to create those media brands.

Key Takeaways:

In conclusion, our interview with Arin and Susan brings up the possibility that distribution has become so easy through digital and online tools, that the process of trying to get a "distributor" to pick up your movie could be more about branding. For example, getting your film distributed by Sony Pictures Classics isn't meaningful in terms of the actual practice of distribution -- ie delivering the film itself to the theaters.  Technology is increasingly making service they provide look more and more overvalued. The P & A costs spent by the distributor often means the filmmaker never recoups. However, the advantage of having a distributor like Sony Pictures Classics is that your film has been validated by the SPC brand. Just like your film playing at Sundance is kind of an award-like validation -- it helps legitimize and market your film but doesn't actually have anything to do with your distribution. Eventually anyone could have the power to digitally send their film to a theater. So what is a distributor left to do? Marketing. Something else that can be increasingly done on the internet.

However, when more and more people have the ability to market, brands mean even more because they help a customer make sense of the chaos of the marketplace.  This explains why festival submissions have increased over the years and major studios still dominate the marketplace.  Since new technology has made it easier and cheaper for people to make movies than ever before, there is a growing need for studios and festivals to act as the curator to the influx of independent films produced over the years.

Nevertheless, Arin highlighted the potential for filmmakers to build their own brands through creative online content like the video podcasts they created for Four Eyed Monsters. The Obama campaign was able to adapt a similar strategy to supersede the conventional news and media markets by generating its own media channels through YouTube and online listservs.  This enabled the campaign to communicate with its supporters efficiently at inexpensive costs and successfully build its own identity. Could filmmakers gain more creative and monetary control of their films by designing their own marking campaigns online instead of relying on studios and conventional movie theaters to brand their films?

However, the Obama campaign was only successful at moving its online community to action through a massive offline effort through phone calls, one-on-one meetings and door to door canvasing on the ground. Recruiting such a large grassroots team for distributing a film does not seem feasible.  Still, the success of the Four Eyed Monsters' videocast reminds us that we should not underestimate how creative online content can be used to build relationships and loyalty with an audience – just like the creative videos of the Obama campaign contributed to a feeling of community and loyalty. Furthermore, with film, it is likely there may be less of a need for as much on the ground organizing as that which is required by a political campaign.

In future posts we plan to further explore creative and resourceful ways filmmakers can build their audience online without relying on the traditional gatekeepers to brand their film.

A Conversation with Chris Dorr- How Filmmakers can go around the Gatekeepers

In our next interview, we talked to Chris Dorr about his insights on how the film industry has evolved in the digital age of distribution.  Chris has a broad background working in both the independent and studio film world. He started his career at Film Arts Foundation where he raised money to support independent filmmakers and then worked on bigger studio films at Disney and Universal Pictures.  Chris is currently working as a media consultant for MTV Networks, Tribeca Film Festival and the Canadian Film Center. Below are three questions our interview with Chris raised that relate to how the film industry is adapting to emerging digital and grassroots tools.

Q1) How do you determine if your film is better on or off the festival circuit?

Chris suggested, “One might argue the only films that really benefit from Sundance are the ones like Beasts that are the few two or three that get big, big attention and [for] everyone else if you went there or not doesn’t really matter…” Therefore if your film is unlikely to win big on the festival circuit and if you already have at least the potential for a built-in audience, you might want to consider self-distribution.

In our recent post on the feature documentary Honor Flight, we learned that they were able to set the Guinness World Record for the largest film screening by tapping into a built in network of veterans who were interested in seeing the film, which documents the compelling story of war veterans who visit the WWII Memorial in D.C. as part of the Honor Flight program.  However, when the Honor Flight team took the film on the festival circuit, the momentum for the film slowed down since they were unable to top the excitement generated by their massive debut.  In addition, festival rules inhibited them from selling DVDs at screenings or online. This makes us wonder if more independent filmmakers should consider ways to distribute their film directly to their audience instead of relying on the traditional gatekeepers at festivals to give their films recognition. Especially since the multitude of ways to distribute your film digitally has changed the traditional process of getting buzz and attention for your film.  Filmmakers can often get more attention for their film by posting a trailer on YouTube or running a Kickstarter campaign instead of waiting for a critic to review their film at a festival.

Q 2) Can you generate your own distribution circuit online?

This next questions Chris raised relates to the possibility of using digital and grassroots tools to not only fundraise, but also distribute your film.  Chris pointed out,

“One of the reasons why people want to go to Sundance is Sundance is heavily covered by all kinds of media all over the world… Now there may be the same way to gain that kind of attention without going to any of the festivals. I think there will continue to be ways to of getting around the typical gatekeepers that people can use to build their own audience. But what you have to be able to do is figure out how to get mass media attention without spending mass media dollars.”

Digital tools like Kickstarter and blogging have enabled filmmakers to avoid the traditional publicity and marketing costs that go into a festival or movie theater run. In our recent interview with self-distributing filmmaker Gregory Bayne, he discussed how he was able to gain publicity for his film, Driven, which tells the story of UFC legend Jens Pulver, by making the film available to watch online during a limited time for free.  This lead to Mixed Martial Arts websites and blogs giving the film free publicity and later Warner Brothers acquired the film so they could distribute it on demand.  Greg was able to save thousands of dollars on marketing by hosting free online screenings that made it possible for more people to see his film than any film festival could provide.

Q 3) Does the independent film industry’s financing paradigm place it in a third category, somewhere between non-profit and for-profit film? If so what does that look like, and are there precedents?

The last question our interview with Chris raised relates to why people donate to projects on crowdfunding sites like Kickstater in the first place.  Chris recognized that Kickstarter is

“Neither for profit or non-profit; it’s somewhere in the middle.  In certain cases, you’re getting X, Y or Z which are actual things, certain incentives that are built in… I think we’re wrong in thinking something is for profit or non-profit.  It’s just different kinds of subsidies.”

This insight brings into question whether people donate out of an altruistic desire to help the filmmaker which is similar to a non-profit, or to simply obtain a DVD or movie poster, or do people donate because it appeals to both their altruistic and consumer desires. The idea that using Kickstarter lies somewhere in between running a for profit and non-profit company reveals that filmmakers should not limit their film campaign to run like either. Kickstarter and other crowdfunding sites give filmmakers the potential to attract supporters who wish to donate out of an altruistic need to help others and/or their desire for a material reward.  Although there is not yet a term for this kind of fundraising, it has been utilized by many film campaigns and is especially useful for independent filmmakers who need to take advantage of all available resources to get their films made and distributed.

Conclusion

In conclusion, our interview with Chris lead us to discover that although the emergence of digital tools is changing the film distribution rapidly, it also opens the door for independent filmmakers that are not afraid to go off the beaten path. However, it can be tricky to figure out which path to take when there are so many options.  This leads us to three questions we think will help independent filmmakers determine whether their film is best suited for a traditional or non-traditional distribution model, 1) Is my film likely to perform well at a top festivals? 2) Is there already a built in audience behind my film? 3) Will I be more likely to reach my target audience online or through community screenings?

Although these certainly are not the only questions filmmakers should be asking when distributing their film, it hopefully starts the process of thinking about whether you should go the traditional or non-traditional route. In future posts, we plan to look at the different categories of non-tradition distribution models and explore what models are most adaptable for certain kinds of independent film.

Jay Craven: Cultivating Your Film Audience

Background & Context This week we interviewed Jay Craven who has developed his own grassroots screening circuit in the specific New England region whose culture, history, and stories take center stage in his films, which often take place in rural Vermont and New Hampshire. For screenings, Jay focuses on small towns, some of which have populations as small as 300. These towns are so small they typically can’t support a movie theater, and so locals typically look to church theater productions and high school sporting events for entertainment. This provides Jay with a unique opportunity to cultivate his own audience instead of competing against big budget films at the box office.

Key Takeaways

Jay has used three grassroots methods to establish a circuit of town screenings: 1) engaging the audience early on to grow a list of supporters 2) turning town screenings into a community event and 3) using offline and online sign-ups to grow his audience.

1) Jay was able to build an infrastructure of grassroots supporters that later helped finance and distribute his feature films by screening short student films in New England towns.  He came up with the idea of using grassroots organizing methods to distribute films during the Vietnam War. Jay explains,

“In 1971, I helped to make a Vietnam War documentary that was called Time is Running Out. We made 50 prints and took it to colleges and communities across the country--to help organize a big civil disobedience demonstration in Washington, DC in May 1971, where 14,000 people got arrested for committing civil non-violence disobedience… It was initially through this experience that the idea of mission-driven filmmaking appealed to me.”

When Jay joined the faculty of Marlboro College, his productions became educational opportunities for his students. He made a regional comedy series (WIndy Acres) with mostly students and he set up internships for ten students on his feature film, Disappearances.  In 2012 he took this idea one step further.  Two-thirds of the crew for his latest film, Northern Borders (2013) consisted of students from a dozen different colleges who came to Malrboro College for a film intensive semester that included literature and film study along with hands-on production classes, visiting artists, and six weeks of feature production, where students worked in substantial positions ranging from script supervisor, boom operator, associate editor, and location manager to assistant directors, costumes, props, and production coordinator. For Northern Borders, half the budget would be provided by Marlboro. This is a great example of the prominence and potential of academic institutions as points of intersections for grassroots ideas and industry tools (what with their shared resources) — a recurring theme we plan to explore later on in our study.

After Where the Rivers Flow North screened at Sundance and other film festivals, Jay activated his grassroots network of supporters in rural Vermont towns to do another round of regional screenings before its theatrical release. The film ultimately grossed a million dollars theatrically.

This is another example of how filmmakers can establish their contacts and audience through other means besides screening their film.  Similar to how B-Side was able to grow its email listserve by providing an online service that people opted into at film festivals, Jay was able to cultivate his own audience in rural New England towns by first organizing a touring film series to small towns where he showed classic, foreign, and indie films, along with his films and his students' shorts. Also similar to how B-Side was able to later use their listserve to distribute Super High Me locally, Jay was able to distribute his future feature films by gradually growing the network of supporters who originally attended his short film screenings.

2) The audience Jay seeks to attract to his town screenings may or may not be consistent movie fans, but they take an active interest in major events in their hometown.  Jay recognizes that,

“half my audience at least does not go to the movies very often except if I bring something to them… The theater is pretty full, and so the audience is reacting together, and there is a kind of chemistry that forms and there is an electricity that comes off the event that is like a performing arts event."

Not to mention that Jay enhances the appeal of the screening by being present himself to hold Q & A’s afterwards at nearly 80% of the events. Furthermore, by making screenings more accessible to residents in rural towns who have limited options for live entertainment, Jay is able to trigger a word of mouth campaign within the community. Jay notes that, “If my movie were playing 25 miles away at a movie theater, people who were motivated and into it would go. But when the movie is in their town or the town next to where they are, and their neighbors and friends are buzzing about it they will go because it is an event.”

From our perspective working on the Obama campaign, making campaign events more accessible played a critical role in expanding the campaigns’ volunteer base.  Similar to how Jay turned church basements, school auditoriums and libraries into town screenings for his film, the Obama campaign transformed barber shops, supporters’ homes and storefronts into phonebanks, voter registration drives and canvasses.  The effort to make the campaign more accessible led to thousands of volunteers to get involved especially in rural areas where supporters would have had to travel 30-60 minutes to reach the closest field office to their town. The accessibility and word of mouth campaign from Jay’s town screenings lead to an average audience of 80 in towns where the population size averaged 300. That means Jay was able to attract 26% of a town’s total population to the screening of his film.

3) Jay also grew his list of grassroots supporters by establishing a solid sign-up process at screenings and through offline postcards. Jay discussed,

“the standard that we have used a lot is postcards because for small and even medium sized towns you can mail a post card to everybody in town… when you go to larger areas you start working with mailing lists… and we have are own [email] lists. I have a solid list that is probably 4,000 people.”

Jay has people who attend his screenings sign in so he can add them to an email list he uses to advertise his screenings locally.  This allows Jay to continuously build his audience through every screening on his tour. In addition to sending emails to advertise screenings, Jay sends offline postcards to residents in small New England towns. Postcards add a personal touch that help Jay advertise in rural areas where people might not have Internet or are not frequent uses of the web.

Conclusion

The main question Jay’s town distribution model raises is whether independent filmmakers are better off trying to reach a demographic beyond indie and blockbuster audiences through local or regional screenings.  Not only is this method cost effective, but it also provides filmmakers with an opportunity to tap into support from people in small towns that are not lured into high budget Hollywood movies and more likely to appreciate the regionally specific cultural aspects of independent film.

However, Jay’s town circuit is dependent upon a very specific region of northern England where the setting of most his films take place.  Could town screenings for independent films be effective in other rural and medium sized towns across U.S? Should independent filmmakers consider making screenings more accessible to people in small towns where the cultural themes and setting of their film resonate? By knowing that his film will connect with a specific audience that he knows he’s going to target, Jay can avoid the problematic bottleneck “gatekeepers” of independent film festivals. We plan to explore how Jay Craven’s town screening model might be applicable for distributing independent films with different cultural themes in future posts.

-Michael, Josh and Carl