On Fleek
15/10/19 15:18 Filed in: Post Production | Distribution
Pull the tab on a Sofia Mini Blanc de Blanc and *clunk* aluminum cans in celebration! We just signed with Indie Rights Movies to distribute our film. It’s been a long and crooked road to get here and it’s a little head spinning that soon anyone can buy our movie and watch it. That was always The Goal, but in the unending series of defeats that is moviemaking, you kinda forget that along the way.
It’s a tough market. Despite what you read or hear nobody gives a shit about indie film anymore. Virtually every movie that *made* American independent cinema couldn’t get their film distributed now by any of the big streamers or boutique studio shingles. I’m talkin’ “Slacker,” “She’s Gotta Have It,” “The Brothers McMullen,” “Clerks,” “El Mariachi,” etc., etc., etc. John Sayles wouldn’t have a career now. John Cassavetes probably couldn’t get into a festival. Nowadays, if you don’t have a name actor—and it better be the *right* name actor—you can fuck the fuck right off through the fuck you exit under the fuck off sign. It’s kind’ve unreal. Of course, we don’t have name actors, but we have great ones. But even that and our festival awards won’t buy you a Carmel Macchiato. You put your film Out There and you realize real quick you’re in a different business entirely. You’re in the movie makin’ business and they’re in the middle man business. And you think long and hard before signing on the line which is dotted. Because once you lift your pen off that paper you’ve given a lot of control of your artistic work over to someone you never met before. And in a fingersnap it’s no longer art it’s a commodity.
We submitted to thirty shops, places you’ve heard of, places you haven’t, and got five offers. Indie Rights was *by far* the most attractive. It doesn’t take much head scratching to figure out that you aren’t gonna make money at a lot of these distribution companies. Indie Rights’ straightforward eighty/twenty split in our favor is probably the best we’d do anywhere, even the Big Name places. Fingers crossed we can make even some of our money back in the endlessly splintering landscape of digital distribution.
So now I have thirty days to deliver the master feature, trailer, audio elements, Blu-Ray & DVD images, artwork, Chain of Title legal paperwork, and... there's a lot of shit. It’s overwhelming on a little show like this one. But soon this long national nightmare we call "Clocking The T" will soon be over.
Long story short: Coming soon to theaters, disc, and streaming near you!⠀
___
© Michael Thibault 2019, All Rights Reserved. May Not Be Printed, Published, Posted, Transferred, Or Duplicated Without Permission.
We submitted to thirty shops, places you’ve heard of, places you haven’t, and got five offers. Indie Rights was *by far* the most attractive. It doesn’t take much head scratching to figure out that you aren’t gonna make money at a lot of these distribution companies. Indie Rights’ straightforward eighty/twenty split in our favor is probably the best we’d do anywhere, even the Big Name places. Fingers crossed we can make even some of our money back in the endlessly splintering landscape of digital distribution.
So now I have thirty days to deliver the master feature, trailer, audio elements, Blu-Ray & DVD images, artwork, Chain of Title legal paperwork, and... there's a lot of shit. It’s overwhelming on a little show like this one. But soon this long national nightmare we call "Clocking The T" will soon be over.
Long story short: Coming soon to theaters, disc, and streaming near you!⠀
___
© Michael Thibault 2019, All Rights Reserved. May Not Be Printed, Published, Posted, Transferred, Or Duplicated Without Permission.