FDA Guide to UK Film Distribution 2008

Contents
FDA Guide to UK film distribution 2008
Foreword by Tim Bevan CBE 2
Film distributors deliver the audience 4
Acquisition and source 6
Planning a release 10
Film marketing 16
Licensing films to exhibitors 25
The wider picture 28
Summary 30
Working in film distribution 31
Film Distributors’ Association 34
2 Distinguishing features: 3
Foreword by Tim Bevan CBE
“The creative process of making a film, from developing the
script, through casting and pre-production, then shooting,
editing and all the stages of post-production, often lasts for
years. But when a completed film is brought to market, it’s
usually just one of eight or nine titles opening that week alone.
It has barely three days – its first weekend – to make a strong
impression and hold its place in cinemas.

We filmmakers rely greatly on our
professional distribution colleagues
to navigate the most advantageous
path for our products into and through
the brutally competitive market place.
Having worked with many distribution
teams, I’ve long admired the brilliant
designers who can condense a
feature film into a single poster image,
distinguishing it memorably from the
pack. Likewise the skilled media and
publicity planners, who can devise
effective campaigns that inspire people
to see a particular new release.
This business is becoming ever more
complex. As the internet plays an
increasingly central role in many daily
lives, traditional mass media channels
continue to fragment. And as our
society grows more diverse, the vast
array of ‘content’ on offer is likely to
expand further – even though few of
us have more spare time to consume it. edition of this FDA guide, which
As an industry, we succeed only when invites you to explore the essential life
the stories we tell reach and move of a film after its production phase.”
the audiences for whom they were
intended. I believe that dedicated, Tim Bevan CBE
passionate, innovative distribution Co-Chair, Working Title Films
and marketing, connecting films with www.workingtitlefilms.com
their audiences both in the UK and
worldwide, are absolutely vital to the
film industry.
I’m delighted to introduce the 2008
4 Film distributors deliver the audience
You may have read or heard a great deal about film actors and
filmmakers. You may be familiar with local cinemas, DVD stores
and many movie websites. You may appreciate that some films
influence our culture, shaping the way we see the world.
But did you know that, right at the heart
of the film industry, there’s a dynamic
sector working to connect every new
film with the largest possible audience?
This is the distribution sector and it’s
vital to the health of the whole film
industry. Distribution is the highly
competitive business of launching and
sustaining films in the market place.
The skills involved are very different
from those needed for making films.
Like other forms of entertainment,
the film business is product-driven:
the films themselves are the main
reason why we buy tickets. There’s
an insatiable public appetite for great
stories on the screen as well as in print.
But today more than ever, consumers
call the shots, deciding what
information to receive or reject, access theatrically (in cinemas). As many
or delete. So how do people get to
know about the range of films on offer
and come to feel they really want to see
one or more of them in particular?
Films don’t become well known, or
find their place in the world, by
accident. The distributor’s task is to
bring each one to market, starting
from scratch (except for a sequel) and
realising its potential.
“As a filmmaker, I know only too
well that films do not exist for
their own sakes… they only exist
when they are experienced by
an audience.”
Sir Alan Parker CBE
The film value chain
Usually feature films open first
forms of entertainment are increasingly
available ‘on demand’, and as social
media supplant traditional channels,
consumer choice proliferates. Yet the
cinema remains special and resilient.
It is the place where filmmakers still
aspire to have their creative work
showcased as it comes across to its
best effect.
The audience seated in a darkened
stadium-style auditorium before a
super-size screen enveloped by digital
sound… The cinema, where movies are
made to be seen, provides a uniquely
immersive out-of-home experience.
Theatrical distribution has long been
– and still is – the most effective way
to bestow stature on a film and create
demand to see it. The profile built up
on a theatrical launch endures and
reaps dividends throughout the release
cycle, influencing the audiences and
commercial value a film subsequently
n
 xhibitors (cinema operators), who
E
present the finished films on screen
n
n
The media
Marketing partners
The public
5
commands. In an age when we’re all n
 host of external suppliers such
A
bombarded with media choices, the
cinema presents films with a vital shop
as publicists, designers and
advertising agencies
This generic guide, spanning the arc
of UK theatrical distribution, explores
window. what distributors do and how they do it.
Following the big screen run, films are
Distributors also present and ‘sell’ the
films they are launching to:
released in flexible timescales on a
plethora of other formats, so audiences
Disney
may choose how, when and where to
watch them:
n
 ome entertainment release –
H
films packaged on digital media
such as DVD and made available
for download
n
 hen shown on various forms of pay/
T
subscription television
n
 inally, broadcast on free-to-air
F
television. Films may be scheduled
repeatedly on TV channels year The secret’s out: This
after year sequel to the huge hit,
National Treasure (2004),
romped into UK cinemas
Team effort for February half-term 2008.
Distributors share and discuss their From powerhouse producer
Jerry Bruckheimer and
release plans with: director Jon Turteltaub, the
action-adventure starring
n
 ilmmakers and producers, who are
F Nicolas Cage as treasure
hunter Ben Gates was shot
likely to have nurtured their projects partly on the streets of
for years through the development London. The cast includes
Dame Helen Mirren who will
and production stages also appear in the fantasy
film, Inkheart.
6 Acquisition and source deal to be in place before principal
7

Momentum
photography begins. This may be
viable on the basis of a hot script and
anticipated cast. In practice, producers
As films are creative works – intellectual property rather than tend to seek finance from multiple
sources, including:
physical goods – their copyright is owned by the people or
organisations that produced or financed them. Distributors act n
 re-sales to various territories via a
p
specialist sales agent
throughout under license on their behalf. n
bank loans
n
institutional or private investors
n
beneficial tax schemes
Where and how do UK distributors whatever ownership, may compete to not necessarily the same thing. Who n
public subsidies
obtain the films they release? From one pick up a film with available rights so does the film ‘speak to’? Do the
Comic vision: Writer/director Jake Paltrow cast his sister, Gwyneth, and Penélope
or more of various sources: competition to sign a hot property can story, characters and situation grip In the UK, most of the latter are co- Cruz opposite Martin Freeman and Simon Pegg in his comedy, The Good Night. Pegg
be fierce. the intended audience? Does the film ordinated by the UK Film Council, the will also be seen in 2008 in How to Lose Friends and Alienate People and, at the end
n
A continuous flow of new content from ‘deliver’ and justify the expense and government’s strategic agency for film. of the year, as Scotty in JJ Abrams’ new Star Trek. Meanwhile, popular movies such
as Ghostbusters and Robocop are “remade” when all the tapes in a video store are
a parent studio When considering acquiring a new risk of a theatrical release? accidentally wiped by a junkyard worker (Jack Black) with a magnetised brain. Be Kind
film, distributors usually look Read about the UK Film Council’s Rewind is the latest comedy written and directed by Michel Gondry.
n
A studio or production company for something fresh, original or Although a film’s entertainment support for the film industry at
with whom the distributor has outstanding. Is there an imaginative value is not directly linked www.ukfilmcouncil.org.uk
negotiated an output deal covering ingredient or special idea which could to its production budget, today’s
a slate of titles appeal to a significant audience and event movies, often containing No fixed formulae apply to film financing
in due course form the basis of a many computer-generated effects or advances. Each case is affected by
n
A third-party sales agent, acting on marketing or publicity campaign? shots, can cost $150–200m to variables such as the film property itself,
behalf of a producer produce. A further $100m is often the script, cast and market conditions.
Distributors recognise the importance spent on releasing and marketing
n
A single title acquired at any stage of local product – British audiences such films worldwide, so the stakes Sometimes a distributor becomes a
before, during or after production naturally warm to good quality British are extremely high. partner in a project, contributing in
films, Irish audiences to Irish stories, advance to its development/production
As in other countries, the UK has a and so on. The earlier a distributor is involved, costs and later bringing it to market.
number of major distributors (directly the better Over the coming years, the greater
affiliated to the Hollywood studios) and A film’s marketability (who is the A distributor’s opinion on a film’s use of digital media throughout
independent (unaffiliated) distributors audience, how it can be promoted to marketability may, and ideally should, be the theatrical sector is likely to
who tend to handle films made outside them) and playability (how it actually sought before it goes into production. have a bearing on film financing

Pathé
the studios. Any local distributor, of performs in the market place) are It’s generally preferable for a distribution as it changes established models.
8 Acquisition and source (cont’d)
Generally, however, the larger the
production budget, the more likely a
film is to have a distributor attached
before all its financing is confirmed.
The distribution contract
Distributors sign a formal agreement
with the producer, sales agent or
studio, specifying the rights they hold in
respect of the title, such as:
n
to release it in UK cinemas
n
to promote it in all media before and
during its release
n
whether or not a local edit may
be made to secure a particular
classification
n
how the income from the release will industry clocks up annual
be apportioned and accounted for
n
the date on which the distribution
license expires
Importantly, in addition to the theatrical
window, the license usually extends
to the ancillary markets such as home
entertainment and the further right to
license the film to UK broadcasters.
Distributors normally seek to acquire
all rights in their particular territory,
spreading the risk and opportunity
across multiple platforms. Most
theatrical distributors do not physically
handle distribution in other media or
tie-in merchandising, but in both cases
they have sister companies or business
partners that do so.
The UK has a thriving home
entertainment sector, while
increasing numbers of homes
have large plasma screens
delivering HD-TV. Worth £3 billion
– more than treble the value of
cinema ticket sales – the DVD
market remains vital to the
on-going prosperity of the film
industry. In addition, the UK
computer and video games
software sales of around £2 billion
For further information, go to
www. bva.org.uk and
www.elspa.com
If a broadcaster has contributed to the
financing of a feature film, it is likely to
have pre-secured TV rights as part of
the deal, so the rights available to an
incoming film distributor would extend
only to theatrical, DVD and downloads.
9
In some cases, the distributor may
Sony
Twentieth Century Fox
need to pay an advance/minimum
guarantee against future earnings to the
producer or sales agent. The advance
commitment is for the distribution
license rights plus the costs of
theatrical prints and advertising (P&A).
Distributors prepare reports for the
producer or rights owner, detailing the
marketing spend, together with forecast
and actual theatrical revenues. These
reports are submitted at least quarterly
in the first year following launch and
usually twice yearly after that.
Individual distributors may release any
number of films, sometimes as many
as 25 every year. A typical week sees
nine or ten new films opening in UK Monster hit: This sci-fi
action adventure, which
cinemas. Inevitably, with 500 or more scored a UK film chart
new releases a year, all competing for topping first weekend
screen time, media space and audience gross of £1.9m in January
2008, has its origins in
interest, the theatrical market place is two successful franchises.
highly competitive, churning, chopping Ridley Scott’s original
Alien burst on to screens
and changing all too quickly. back in 1979, while John
Weapon reloaded: The hero of three movies in the McTiernan’s Predator
1980s, veteran John Rambo here leads a mission to was unleashed eight
rescue relief workers in Burma. Writer/director Sylvester years later. The extra-
Stallone also successfully revived his iconic character terrestrial creatures have
Rocky Balboa in 2007. Other proven action figures endured through several
rejoining the big screen fray include Detective John sequels, while in this latest
McClane in last year’s Die Hard 4.0 and the adventurous incarnation a hybrid monster
archaeologist, Indiana Jones. wreaks havoc.
10 Planning a release
Every film has its own tailor-made distribution plan, which the
distributor develops in consultation with the producers and/
or parent studio. The most important strategic decisions a
distributor makes are when and how to release a film – how to
position it in order to optimise its chances.
Through a combination of market
knowledge, commercial experience,
statistical research and professional
judgement, distributors gauge the
audience for each film.
Who can be convinced to spend
money on a cinema ticket for this
film? Why should they do so?
What sort of audiences have similar
films attracted recently?
Relying solely on conventional wisdom
is never an option – each release
must be individually planned given
current circumstances. A detailed
understanding of who the target
audience is (age range, sex, lifestyles,
media consumption, social networks)
informs all subsequent decisions on
how and where a film is promoted.
Focus on the audience
Naturally the intended audience can
vary considerably film by film, for
example from families with young
children to teenage males or females
to older adults, or sometimes a
combination. UK cinemagoers tend
to be upmarket, especially for more
specialised fare, while cinemagoing is
a shared experience with an average of more than £30 billion a year. The
three people per party.
The most frequent cinemagoers tend to billion page views per month!
be aged 15–24 – teenagers, students,
young adults. They are the most
voracious media consumers of any age most popular online activities, and
group, and although television remains growing. Up-to-the-minute special
popular, the internet usually plays a
central role in their lives. More than half text to registered customers opting
of 15–24 year-olds in the UK visit the
cinema at least once a month – it’s a
favourite out-of-home leisure activity
The UK cinema audience is broadening
slightly as the population ages and
diversifies. In 2007, there were 162.4m
distributor’s challenge is always to
attract as wide a demographic spread
as possible – ideally to help a film ‘break
or family groups – perhaps an older,
more discerning segment who may not
frequent cinemas as much – the more
11
admissions, an average of 3.1m per out’ or ‘cross over’. outstanding it has to be to sustain a
week. This equates to an average of 2.7
visits per person in the year, up from If you look at how a film performs in
theatrical life.
barely one a year in the 1980s, but still the market place, the greater its box- Although much information can be
fewer than in countries such as Ireland,
Australia and the US.
office takings, the more likely it is to
be attracting infrequent cinemagoers
gleaned from discussions with the
filmmakers or by reading the script,
and repeat visits. It’s a function of the every project is a one-off. Release plans
It’s important never to lose sight of a
film’s core target audience. But the
market that the more a film is designed
for an audience beyond 15–24 year-olds
can often be confirmed only when the
finished product is available to view.
In his mind’s eye (left): Mathieu
Amalric played a journalist
for young people – but overall, just paralysed by a stroke who
a quarter of the population goes communicated his memoirs
by blinking his left eye. Julian
that often. Schnabel’s acclaimed film, based
on a remarkable true story, had
a screenplay by award-winning
Most UK homes and businesses writer, Ronald Harwood, and a
have internet access and cast including Max von Sydow
broadband penetration continues and Emmanuelle Seigner. Amalric
went on to play the villain in
to rise rapidly. Over 20m people in Quantum of Solace.
the UK now shop online, spending
most popular social networking
websites attract more than 50
Checking film/cinema information
and booking tickets are among the
offers can also be sent by email or A nose for true love (right):
This modern day fairy tale, starring
Christina Ricci as Penelope,
to receive them. alongside James McAvoy and
Reese Witherspoon, was shot in
London and features a supporting
cast full of British talent.
Pathé Momentum
12 Planning a release (cont’d)
Rolling the distribution dice
Like all companies, film distributors aim
to recoup their costs and turn a profit at
the end of the year. But launching films
is expensive and risky – audiences have
many other leisure choices in and out of
the home. Most releases do not make a
profit from their theatrical runs alone.
Audience tastes are notoriously
unpredictable and traditional
preferences may not count for a lot in
practice. Nobody can be absolutely
certain what makes a hit, or when and
where it might happen. Notwithstanding
the best made plans, cinemagoers
discover particular films they like or
dislike when they open.
“It is clear to me that films only
achieve their extraordinary potential
when they are able to reach global
audiences, week in, week out.”
Lord (Richard) Attenborough CBE
One or two films every year become
‘sleeper’ hits, playing for longer
and generating greater returns than
expected. But just because one
romantic comedy or action adventure
plays successfully to a particular
audience is no guarantee that the next
such release will do likewise: it depends
on the individual film and market
conditions. It’s well nigh impossible to
entice people to a film in which they
have no interest.
As it’s such an unpredictable, product-
driven business, each distributor’s
earnings, market share and profitability
fluctuate year by year. Inevitably this
reflects the success or otherwise of
individual titles.
Market research in the form of
pre-release test screenings may
be conducted to probe audience
reactions or to evaluate alternative
marketing campaigns – fundamental
considerations for every release.
These screenings, after which the
viewers complete questionnaires,
can help the distributor to be more
confident of the expected audience
or box-office prospects. In the US,
research screenings are held for most
productions.
The competitive jungle
As well as the target audience and
commercial risk, what factors do
distributors take into account when
developing their release plans?
n
 ompetition is always a primary
C often open in the UK between
consideration. Which films are other
distributors likely to release at the
same time and during the following
weeks – especially those targeted at
a similar audience? Is there space in
the market for something different –
some ‘counter-programming’? Are
the most appropriate screens for this
film available and likely to be offered?
Projected release dates often change
as competing distributors jockey for
position week by week.
n
Is it an event film, a prospective mass
market blockbuster, or a specialised
film for a more discrete audience?
n
Is there any star power among the
cast? What were the lead star’s last
couple of films and how were they
received commercially and critically?
Is the film made by a ‘name’ director
or producer?
n
Is it a film for a holiday period? If
so, which season? School holiday
dates may vary around the UK, and
with those in other countries. What
kinds of films have been released
successfully in particular slots in
previous years?
n
Is it a film with hopes for award
nominations? The Academy Award®,
Golden Globe and Orange British
Academy Film Award contenders
December–February, when the
annual awards publicity reaches
its peak, although this can cause a
bottleneck in an already congested
release schedule.
For more about the British Academy
of Film and Television Arts, visit
www.bafta.org
n
 re any cast members available for
A content is included in a panel on the
UK/international publicity or to attend
a premiere?
n
 ill the film lead the media reviews of
W university towns, where local audiences
that week’s new releases?
n
Is there already a buzz about the film,
due to its stars or makers, a book on
which it is based, or perhaps some
controversial subject matter? What is
posted about the film online?
n
If it is a sequel or franchise entry,
what elements distinguish it or give
contemporary resonance over and
above its predecessor(s)?
n
 as the film already opened in the US
H managed in completely different ways.
or elsewhere? Substantial success
in the US, reported via websites
and other media, can contribute to
positive word of mouth in the UK –
although this can work both ways, as
a disappointing US performance may
adversely affect perceptions here.
n
 hat certificate will the film have?
W
The certificate awarded by the British
Board of Film Classification (BBFC) is
important as it can affect the potential
audience. Distributors submit a
copy of each film to the BBFC for
classification as soon as possible,
paying a fee according to the film’s
length. Consumer advice about the
film’s advertising.
For UK classification guidelines
and consumer advice on current
releases, visit www.bbfc.co.uk
Satisfying anticipated demand
Different releases are naturally
For example, a saturation release
at cinemas everywhere may open
simultaneously on 800–1,000 screens
UK-wide, playing at two or more
screens per multiplex. Sometimes, a
13
35mm print can service more than one
screen if it is ‘interlocked’ between
adjacent projectors.
This strategy, usually deployed for
‘tentpole’ titles such as large-scale
sequels or star-led holiday releases,
helps to accommodate mass
audiences eager to see a film at the
earliest opportunity.
By contrast, the specialised release of,
say, a foreign language film or revived
classic may comprise 25 prints or fewer.
Initially, the film may be booked into
selected screens in London and some
are known to favour such films, before
touring more widely during the following
weeks. Very occasionally, a film might
be ‘platformed’ in just one location
before rolling out UK-wide. London, with
an increasingly diverse population of
7.5m people, accounts for around 25%
of UK cinema admissions.
The UK has approximately 650
cinemas with 3,400 screens. A
majority of films released go out on
fewer than 200 prints, whether 35mm
or digital. Every year, across all films,
UK distributors procure and supply
around 100,000 new prints.
14 Planning a release (cont’d) Cost Category
35mm prints (for conventional projection)
No. 35mm prints
£ Cost Category (cont’d)
Publicity
Press screenings
£
15
Cost of 35mm prints Talker screenings
Digital dimensions Cinema’s migration to digital Cost of 3D / IMAX® prints (if any) Premiere, if any

Paramount/DreamWorks
The recent expansion of digital
cinema in the UK presents new
releasing and programming
opportunities for film distributors and
cinema operators respectively.
As well as utilising 35mm celluloid
prints (with digital soundtracks), films
can be distributed today on specially
encoded media disks. They are
ingested into a server in the cinema
and played out through a state-of-
the-art digital projector. The disks are
significantly less expensive to duplicate
than 35mm copies (around 10% of the
cost), while digital encryption can also
render the disks highly secure.
Disney/Pixar
transmission is set to continue.
Whatever the means of transmission,
however, the fundamental principles
of motivating audiences film by film
remain the same.
Budgeting the release
As early as possible, the distributor
screens the finished film privately and
confirms how it will be positioned.
In the UK, where distributors pay all
the release costs including marketing
and the duplication of prints, the
distributor draws up and works to
a comprehensive budget, covering
the launch and the sustaining of the
film post-release. Importantly, the
Trailer print costs Visiting talent hospitality
Print transport to cinemas Festival screenings/travel
Other print related costs PR agency fees & expenses
Press kits (online and/or printed matter)
Digital copies (for digital projection) Other publicity costs
Digital Master cost
Encoding/encryption applications Campaign production
No. digital copies Film poster design
Disk duplication cost Poster printing
Despatch to cinemas Print advertising production
Other digital costs TV ad production
Radio ad production
Film certification charge (BBFC) Film trailer production
Subtitles/audio description tracks
Media (launch and sustain) Official UK film website content
Press/print advertising Foyer POS display items origination & print
TV advertising Promotional leaflets/flyers, if any
Radio advertising Other production costs
Outdoor advertising

A mighty draw: Animated films accounted for more
than 1 in every 7 tickets to UK cinemas in 2007. Two
examples from 2008, both with impeccable pedigrees:
Kung Fu Panda sports a voice cast including Jack
Black, Jackie Chan, Lucy Liu and Ian McShane, while
WALL-E comes from the makers of Finding Nemo and
A Bug’s Life, both of which appear in the UK’s top 50
cinema hits of all time.
Digital images appear on screen in
pristine quality and do not deteriorate
over time. Digital remastering enables
classic films to return to the big
screen looking as good as new. Digital
projection equipment also enables
cinemas to present films in state-of-
the-art 3D, and more and more big
films – live-action and animation – are
being released with 3D versions.
investment and projected return can
be reassessed subject to commercial
performance week by week.
A distribution budget may be itemised
as shown opposite. It covers all
the print costs associated with the
physical release and all the ‘ad pub’
(advertising/publicity) costs associated
with media and marketing activities:
Online advertising
Other media costs
Promotions
On-air media promotion(s)
Contribution to any retail partner/other promotion(s)
Total UK distribution expenditure can vary from a few tens
of thousands of pounds up to £4m–5m per film.
In co-ordinating all these elements, often for several
different releases at a time, distributors must exercise
Other
Research screening/exit polling, if any
Additional materials (specify)
Couriers, copying, other incidental expenses
Total
formidable project management skills. It’s possible for a
fine film to get lost in the mêlée without careful handling
and distinct promotion, but beware! Even inspired
marketing can’t save a film for which the public has
no appetite.
16 Film marketing
Complementing the distribution plan, every film has
a detailed marketing plan.
The marketing objective is to create
visibility, raise awareness and engage
interest, cutting through the blizzard of
competing messages.
Distributors must compete for a
significant share of voice not only
against other distributors but also
other leisure activities in and out of
the home. They all aim to entice the
same public, who have never had
as much choice as there is today.
However large or small the marketing
distributors have to work hard to make
each one stand out. 17
Film posters may be originated by the
studio or sales agent (as applicable)
and rolled out internationally or
adapted for use locally. Alternatively,
they may be devised in the UK from
scratch, depending on what approved
materials are available to the distributor
aspire to have positive ‘word of When constructing a campaign, and how the film is best presented to
mouth’ circulating on all their releases. distributors aim to reach as much local audiences. A poster is designed
Pre-requisites for this include high of their target audience as possible, for every release, in quad format
awareness and strong interest. Word of as frequently but cost-effectively as (the traditional UK size of 30” x 40”,
mouth can make or break your release: possible. They must bear in mind that landscape orientation) or one-sheet
negative word of mouth is extremely different audiences react to advertising, format (the US equivalent with similar
difficult to overcome. and reach a decision to see a new dimensions, portrait orientation).
film, in different ways. Older audiences
Post-release, hopefully, a combination may respond best having seen a film Many months before release, an
of favourable word of mouth and advertised on television and in the initial teaser poster may be created to
further advertising will give the film press, while for younger audiences it is announce that a film is coming and
‘legs’. Nowadays, theatrical runs rarely more appropriate to promote the film to whet the audience’s appetite.
exceed eight weeks, even for the online, on radio stations or bus Twentieth Century Fox Entertainment

budget, audiences must be reached in
appropriate, contemporary, compelling
ways and persuaded that this is an
especially entertaining, must see film.
Their interest should peak as it opens
in cinemas.
Word of mouth
Social recommendation is key. A
personal recommendation from a
friend, colleague or relative can be
the most powerful trigger for a trip to
the cinema, so distributors naturally
biggest hits, and all too often last much shelter panels.
less than this.
As with any product, film distributors
must have a thorough knowledge of
the market and innovative ideas about
engaging consumers. Distributors’
campaigns are generally highly
productive as most cinemagoers
consider in advance which film they
want to see before setting off for
the cinema.
In each case, a variety of
complementary media and
promotional options is considered:
Poster
The main image distilling the appeal of
the film – its stars, theme/genre, credits
and often a tagline to whet audiences’
appetites. With sometimes a dozen
or more different posters on display
in a cinema foyer at any one time,
Trailers Love triangle: Katherine Heigl, hot from Knocked Up Hot fuzz: This teaser poster for the comedy Semi-Pro,
(2007) stars with James Marsden and Malin Akerman featuring a single image and tagline, appeared months
Probably the single most cost-effective in the new romantic comedy, 27 Dresses, directed by before the film’s release. In 2008, Will Ferrell also stars in
marketing technique, playing to a Anne Fletcher who also appears in the film. another comedy, Step Brothers, alongside John C Reilly.
captive audience of active cinemagoers.
Full trailers, screened shortly before a
film opens, may be preceded by early
teasers (30–90 seconds). Exhibitors,
who programme their own screens,
select trailers appropriate to the feature
film before which they’re played.
Distributors fund the duplication, and
sometimes the production, of trailers;
18 Film marketing (cont’d)
a wide release will often have
2,000 copies circulated to cinemas.
Sometimes trailers for new theatrical
releases are also added to the front of
suitably targeted DVDs.
Distributors also provide display
material for cinema foyer spaces,
such as cardboard standees, banners,
window clings and mini-posters.
Media advertising
Usually the largest expenditure item on
Media advertising costs rise and
fall according to general market
conditions throughout the year.
Terrestrial television is traditionally
the most effective visual means of
reaching a mass audience. The cost
of TV advertising, running into many
hundreds of thousands of pounds
or more for a package of spots in all
regions, is prohibitive for most film
releases given their potential returns.
Depending on the audience for an
individual film, distributors may buy
commercials (most often 30” or 10”)
on terrestrial and/or digital TV channels
and radio stations. They may also place
display-advertisements reproducing the
film’s poster artwork in newspapers,
lifestyle and listings magazines,
outdoor poster sites and bus panels.
Blockbusters with top stars need
heavy advertising spends to support
their wide releases. But given the need
new releases. Online dialogues are
evolving fast and the web accounts
for a growing slice of film companies’
attention and expenditure.
Most films have an official website,
or perhaps a UK website hosted by
a partner company, offering trailers,
stills galleries, production information
and behind-the-scenes footage.
Even before the start of principal
photography, distributors may release
news snippets or teaser images
During shooting, video diaries and
blogs may be posted direct from
the set, aiming to engage the core
audience by gradually accelerating the
drip feed of buzz and hype.
But of course the internet is a two-
way street – with individuals in control
of their own viewing. Film clips are
among the web’s most searched-for
content, while more and more user-
generated items, often including film or
soundtrack grabs, are posted on social
19
from wider groups, especially
teenagers. Sometimes producers
invite suggestions via a website and
bloggers’ ideas have been known to
make it into the finished films.
The moment a film is screened,
reviews and feedback can be shared
instantly and constantly around the
world, as online communities swap
opinions in a galaxy of chat rooms. Film
distributor websites incorporate links to
exhibitor sites where local tickets may

Warner Bros.
a P&A budget. for inventive marketing on limited online, seeding interest among fans. network sites, drawing comments be bought online.
budgets, less conventional media such
Today the UK has more than 1,300 as beer mats or T-shirts may also be
daily or weekly newspapers, 126,000 considered for films, where appropriate.
roadside poster sites (and another
120,000 sites on the London UK film distributors invest around
Underground), 17,000 radio stations £175m a year in media advertising
available on the internet, and over 250 alone to launch and sustain their
commercial TV stations – compared releases. Television and outdoor,
with just one thirty years ago. Every taken together, typically account for
week, a billion text messages are sent 70% of expenditure. Entertainment
Sony Paramount Paramount Disney
in the UK, not counting communication companies as a whole spend
Quantum leap: Over the last decade, the internet has changed the way film
via emails or websites. People have more than half a billion pounds on companies engage with audiences and, in turn, the way audiences can find out about
grown accustomed to using media advertising each year. current and upcoming titles. These are the official websites promoting four highly
how, when and where they wish, and anticipated films of 2008.

can easily opt out of advertising that
doesn’t quickly spark their interest. This
provides a challenge for all advertisers,
film distributors included.
Wizard campaign: The characters of Harry Potter and
the Order of the Phoenix, the UK’s most popular cinema
release of 2007, appeared on posters sited around the
country. The sixth film in the blockbuster franchise,
Harry Potter and the Half-Blood Prince, is out in 2008.
Online and digital marketing
Fizzing with networks of film fans, the
internet plays a pivotal role in shaping
many cinemagoers’ perceptions of
20 Film marketing (cont’d)
Publicity
Editorial coverage of a film can be
highly persuasive – the public often
accepts independently-written news
stories and features more readily than
advertising. The space itself is not paid
for, in the way that display advertising
is paid for, but column inches and
airtime are limited and the subject of
heavy competition in their own right.
A distributor’s publicity team,
frequently supported by specialist
agencies, devises ‘hooks’ for articles
and competitions. They arrange
press and broadcast interviews with
available members of the film’s cast
and sometimes chaperone artists
visiting the UK for junkets or premieres.
In today’s multi-channel digital
environment, there can be a host of
outlets for entertainment news and
features. The more the film’s talent
is willing and able to support the
distributor’s publicity effort around the
world, the better!
Publicists compile press kits for
journalists, containing cast and crew
lists, biographies, notable facts about
the production and a synopsis. It’s
very important to have a selection
of fine images from the film, taken
during production by a specially
hired unit photographer. Distributors
disseminate all these materials for
publicity purposes normally via online
pressrooms with password access.
Screenings for newspaper critics
are normally held on the Monday and
Tuesday before a film opens to the
public; those for writers with longer
lead-times are scheduled further in
advance. Three times a year, FDA
arranges four-day events named
Cinema Days for regional journalists,
with preview screenings and press
conferences. Although positive reviews
are no guarantee of commercial
success, critics’ plaudits can be very
important in helping to distinguish and
champion a film and extracts are often
used in advertising.
Twentieth Century Fox Warner Bros. Browse the latest news of FDA
Everyone’s raving about them: These two very different films became popular talking points in early 2008. The sci-fi Cinema Days trade events at
thriller, I Am Legend, gave Will Smith the biggest hit of his outstanding career to date, while unusual comedy Juno, our dedicated website,
starring Ellen Page as the eponymous pregnant teenager, earned four Oscar nominations.
®
www.cinemadays.com
Set visits: As with any product
development, the film production
process is conducted confidentially
behind studio doors or on guarded
locations. Film sets are normally strictly
closed to the public. But distributors
may have valuable opportunities to
visit the set, especially of UK-based
productions, along with key journalists,
exhibitors or marketing partners.
Awards buzz: The build up to the
major awards (see page 13) is an
important time for publicists promoting
the films vying for consideration.
Lasting around three months prior to
the annual Academy Awards (Oscars®)
in Hollywood, the awards season is
a feverish period of speculation, then
nomination of shortlists, culminating
in the presentation ceremonies, which
yield a global profile and prestige.
Promotional partnerships
Depending on the film’s theme and
target audience, the distributor will
endeavour to arrange third-party
promotions. Such tie-ins generate
displays for the film in shops,
restaurants or on packs – places
where conventional advertising cannot
reach – and enable customers to
interact with the characters, perhaps
by collecting premium items or entering
a competition.
Importantly, too, tie-in advertising
under license by a promotional partner
or a company with product placement
in a film can add substantial weight to
the distributor’s own campaign.
Merchandising
Many releases, particularly family films,
have merchandising programmes co-
21
ordinated by the film company or an
external consultancy. Manufacturers
may be licensed to use approved logo
devices, images or character likenesses
on specific products, normally in
exchange for an advance fee set
against subsequent royalty payments.
Tie-in merchandise can embrace toys,
action figures, ringtones, clothing,
stationery, calendars, anything. Films
regularly have official soundtracks,
books and games, which occasionally
generate significant revenues for
publishers in their own right.
On-air media promotions, for example
on a radio show or children’s TV
programme, can make effective use of
film merchandise or location holidays
as prizes. Such exposure helps to
stretch the film campaign and create
extra talking points.
Occasionally, a film becomes a
ubiquitous event, saturating the media
as well as appearing in advertising,
partner campaigns and other outlets.
It may become an international news
item and develop into a popular
cultural phenomenon. That audiences
around the world can take a new set of
22 Film marketing (cont’d)
characters to their hearts, often within
a very short period of time, indicates
how powerful and influential a medium
the cinema can be.
Premieres
Perceived as glamorous and
exclusive, but painstaking and
expensive to organise!
Distributors’ publicists organise
premieres as an official launch for a
film, giving or reflecting an ‘event’
stature and providing a platform for
photo opportunities and red carpet
interviews. Star-studded premieres
and after-show parties are covered by
celebrity magazines and news media,
and sometimes transmitted worldwide.
Some TV companies present half-
hour programmes devoted to one big
premiere and this exposure is naturally
very important.
Most premieres in the UK – around
fifty a year – take place in London’s
Leicester Square, which has
a centuries-old tradition of
accommodating artists, exhibitions
and novelty shows. Sometimes a gala
screening in aid of charity raises a
substantial sum via ticket sales and
donations, but from the distributor’s
professional perspective the aim of
a premiere is to give the film a high-
profile, entertaining launch, boosting
that all-important buzz factor.
Preview screenings
A useful way to fuel pre-release word
of mouth among audience segments
that the distributor wants to persuade
to see the film. Preview screenings are
targeted carefully, with tickets offered
to readers of a particular print/online
publication, or listeners of a radio
programme, matching the film’s
core audience.
Sometimes a film is previewed widely
to the public a few days before the
official release date. This is a way to
satisfy demand to see it as soon as
possible and to boost the opening
box-office receipts.
Festivals
There are dozens of busy film festivals in
towns and cities worldwide, but the main
annual events attended by thousands of
international film buyers and sellers, and
almost as many journalists, are presently
at Sundance (Utah), Berlin, Cannes (right),
Venice and Toronto.
These festivals, each with their own The UK’s top film festivals – Edinburgh
23
Artificial Eye
personality, serve various functions: in June, London in October – are
aimed mainly at public audiences. They
n
 market, where distributors seeking
a showcase a panorama of new cinema
to acquire product may meet with from Britain and around the world, but
sellers (agents, producers, studios); do not have markets attached.
n
 competition, where new titles may
a For the Edinburgh and London
be screened to juries of filmmakers film festivals, you’ll find news and
and awarded prizes. Such accolades programme information, when
flashed on a film’s poster can add available, at www.edfilmfest.org.uk
prestige but might characterise it and www.lff.org.uk respectively.
as ‘arty’;
Tracking and refining
n
 high-profile platform where films can The ideal form of publicity is word
a
be showcased prior to release. of mouth – when a film becomes a
favourable talking point. Research
Distributors sometimes choose to companies working for the distributors
launch films, mostly independent may track levels of awareness as a
works of notable quality, at a suitable release date approaches. With a month
international festival, where critics and to go there may be low awareness:
insiders may discover them and go on each campaign is effectively a new
to champion them in early reviews and product launch, generally running in the
columns. The eyes of the film world media for a few intense weeks.
and the mass media are focused on
the leading festivals, such as Cannes Usually on Tuesdays, distributors hold
in May, which accommodates many marketing team meetings, reflecting on
premieres and junkets. Trade papers each film they have in current release
publish daily editions for industry and progressing plans for the next few
members and journalists. Other titles. Some aspects of marketing, such
important events in the international as a major promotional partnership,
calendar include the American Film may require a year’s lead-time; others, Many prizes: Writer/director Cristian Mungiu’s
film, telling of an abortion in 1980s’ Romania,
Market, Santa Monica, and the Mercato such as running extra advertising to may appear to have a bleak premise, but it
International Film e Documentario capitalise on good reviews or awards was warmly applauded around the world as
a brave and touching piece with compelling
(MIFED) held in Milan. nominations/wins, can be turned leading performances by Anamaria Marinca
around at very short notice. and Laura Vasiliu.
24 Film marketing (cont’d)
Accessible cinema
UK distributors harness digital
technology to make their films
increasingly accessible to cinemagoers
with less than perfect sight or hearing.
Today, 150–200 films are released
each year with subtitles and audio
description. New titles are made
available to cinemas every week. Some
film trailers are presented online in
accessible formats too.
Whenever you see these symbols on
a film advertisement, you’ll know that
subtitles and audio description tracks
have been produced for its release:
For comprehensive information
on accessible film releases and
screenings UK-wide, visit
www.yourlocalcinema.com,
a website supported by FDA and
other bodies.
Inspiring young audiences
Film Education is a registered charity
that encourages the study of film
and media within the UK National
Curriculum (except films classified
‘18’). Distributors may commission Film
Education to create study resources
in digital or print form, themed by
curriculum subject and key stage to a
new release, and to supply them to its
database of teachers. Film Education
also promotes schools’ use of local
cinemas by arranging screenings for
school parties, special events such as
the annual National Schools Film Week,
and teacher training seminars.
Discover more about Film
Education’s current services for
teachers at www.filmeducation.org
Warner Bros.
Cutting-edge: Tim Burton’s darkly comic, award-winning
film, based on Stephen Sondheim’s musical, Sweeney
Todd, was made at the UK’s Pinewood Studios. Johnny
Depp, whose creative association with Burton dates
back to Edward Scissorhands, portrayed the demon
barber with relish. In January 2008, both men attended
the film’s London premiere, together with other members
of the cast and crew.
Licensing films to exhibitors
An important consideration in any distribution plan is where
the film should play.
Which sorts of cinemas and screens are
most appropriate? Given the intended
audience, how can the theatrical
release achieve its greatest impact?
How many prints or screens are likely
to be sustainable?
Every theatrical release is effectively a
joint-venture: the distributor supplies
the film, the exhibitors supply the
screens, and the arrangements are
reviewed week by week. Like all
retailers, cinema operators must be
persuaded to ‘stock the product’.
Distributors show their forthcoming
titles to cinema bookers, discuss
release dates and advertising plans,
and make campaign presentations to
cinema managers.
Potential blockbusters may be
booked into every available multiplex
simultaneously, while for smaller
releases, particular screens are likely to despatched to each cinema playing the throughout the theatrical run.
be identified and the release nurtured
carefully from week to week. Many
cinemas aim to show a broad spectrum
of titles. Others, depending on their
location and catchment area, may
specialise in films for discerning tastes.
The distributor’s sales strategy and
marketing strategy go hand in glove,
with the film’s target audience kept
front of mind. For each film, the sales
department negotiates a confidential
license agreement bilaterally with each
exhibitor interested in playing the
film. Under English law, the maximum
booking period for a new release is
two weeks, after which, by mutual
agreement, the film may continue
to play if it is drawing a significant
audience.
35mm print management
Distributors’ print managers arrange
for a print(s) to be boxed, labelled and ensure that all prints are kept safe
film. As films are ‘locked’ (completed
25
and signed off) ever closer to their
release dates, so the time available for
print duplication and transportation
gets tighter.
At the laboratories that duplicate
the film prints, strict quality control
procedures are applied and the colour
specifications are rigorously checked to
match the filmmakers’ intentions.
On arrival at the cinema, just a few
days before first playdate, the cans
containing the reels that form the
35mm print are unsealed. The reels are
physically joined together and laced on
to the projector.
For digitally equipped screens, the data
on the disks are ingested on to a hard
drive in the projection room. Security
protocols adopted across the industry
26 Licensing films to exhibitors (cont’d) 27
As well as the films themselves, Distributors may flash ‘UK’s no.1 hit’ title, indicating to the distributor how Out of the net share, the distributor t he screen average (the average box-

Sony
n

cinemas receive copious quantities
of publicity and promotional
material from distributors. For more
information on this, visit
www.nationalscreen.co.uk
No second chances
A film can only be launched once. Its
first weekend in cinemas is crucial
to further progress. The distributor’s
marketing effort builds up to the
opening weekend, which normally
draws by far the largest audience of
any weekend in the theatrical run. It’s
not unusual for a film to generate 30%
on the second week advertising, or add many tickets were sold (on the day or
‘US no.1 smash’ to capitalise on a top pre-booked) and at what price. Cinema
opening in America. ticket prices are always set by the
individual exhibitor.
Almost two-thirds of cinema
visits take place over the weekend Box-office takings – the gross receipts
(Friday–Sunday), with the other four – are often reported in the press. But
weekdays accounting for 8–10% the sums that distributors earn are
each. Monday is traditionally the substantially less than these figures.
least busy day. Revenue from ticket sales is shared
between the distributor and exhibitor
Although films conventionally start in (normally after the exhibitor’s costs of
UK cinemas on Fridays, distributors operating the screen are recovered).
sometimes open on other days or The percentage each party takes varies
run previews the prior weekend. film by film and week by week. Very
aims to recoup any minimum guarantee
plus the P&A costs incurred in releasing
the film. Any outstanding balance is
shared with the producers according
to a pre-agreed formula, as set out in
the distribution contract. Alternatively,
the distributor may simply retain a
distribution fee, with all net proceeds
being paid to the producers.
The hold-over challenge
On Monday mornings, after the
weekend box-office takings are
collated, the distributor’s sales team
discusses with each exhibitor the hold-
office gross per screen) of every film
on current release, with only those
ranked at or near the top being likely
to retain a screen
Sustaining a release and keeping it
on screens week by week is one of
the main challenges in today’s fast-
churning market. Films can be years
in the planning and production phases
– and then sometimes barely a few
weeks on cinema screens.
Courtesy of Nielsen EDI, you can
keep track of the top films at the

Making waves: 13 year-old Alex Etel from Manchester stars in

Scottish boy who discovers a mysterious egg about to hatch.

this adaptation of a Dick King-Smith adventure story about a
or more of its entire box-office during New releases may face exceptional generally, UK distributors receive 25- over of any current release for a further UK box-office every week via FDA’s

Shot in Scotland and New Zealand, The Water Horse also

the first three days of release. competition from a major sports event 40% of the gross. So, if a film grosses week from Friday (four days later). website, www.launchingfilms.com,
such as the World Cup, or the weather, £5m in cinemas, its distributor may and elsewhere.

stars Brian Cox, Emily Watson and David Morrissey.

Distribution plans usually assume that as well as other films. Unseasonably eventually collect around £1.5m–£2m, A vital fixture in the working week,
the revenues and number of screens hot temperatures, which entice allowing for the deduction of VAT which these flexible, bilateral negotiations

Tony Leung and Wei Tang, who was named

directed by Ang Lee, Lust, Caution starred
on which a film plays will decline, people outdoors, can affect any title’s exhibitors must pay for each ticket take into account:

Role play: An erotic, wartime spy thriller

by Variety in 2007 as one of the top ten

often rapidly, as competing titles are
launched in successive weeks. But
such plans are necessarily flexible:
better than expected box-office may
lead to quick investment in some extra
prints or advertising.
commercial destiny from day to day. sold. This net share is traditionally
known as the distributor’s ‘rentals’. n
t he new releases coming into
Box-office returns the market (typically nine or ten
Since every film is its creators’ Distributors do not participate each week)
intellectual property, the prints or disks in the exhibitor revenue from
are rented to, or hired under license advance booking fees or the drinks, n
 ny previews planned for the coming
a

actors to watch.
by, the exhibitors, rather than being confectionery and popcorn sold in weekend, intensifying the competition
Indeed, an impressive ‘opening frame’ sold outright, as with most packaged cinema bars and foyers, or in any for the available screens
with a gross running into several million or manufactured goods. Exhibitors proceeds from screen advertising.
pounds can become a news story. complete a weekly return for each
Universal
28 The wider picture
The global filmed entertainment business has annual revenues
of approximately $70 billion, with compound annual growth
forecast at 6%. The UK is an important hub for both production
and consumption.
Most films nowadays secure their
production finance from more than
one source. Even the US studios may
share the costs of a big production or
split the distribution rights between
say the US/Canada (domestic) and
the rest of the world (international).
Some films are licensed piecemeal,
territory by territory; others are handled
by the same company via its offices
worldwide. For local distributors,
dubbing or subtitling may be an
additional release cost.
Evolving distribution patterns
Traditionally, films opened first in US
cinemas, then rolled out gradually in
other countries. Today, in an effort to
combat intellectual property theft and
to capitalise on global publicity, the
gap between the US and international
releases is shrinking. Indeed, more and
more films open practically ‘day and
date’ (simultaneously) in many parts of
the world. With master prints arriving
in each country ever closer to launch
date, such releases represent huge
logistical exercises for the
distributors involved.
The entertainment industry’s single
greatest concern is copyright theft,
even though distributors try hard to
protect the security and integrity of
the creative works they are
releasing. Stealing intellectual
property that is copyrighted is
against the law – just as with
physical property. Films are most
vulnerable to illegal copying during
the early or pre-release stages
of their existence. Despite some
lingering perceptions that piracy
is victimless, the cash trade in
knock-off film copies has serious
repercussions in the UK. It feeds
organised crime networks to the
tune of hundreds of millions of
pounds a year, cheats consumers
of the full viewing experience, and
may also cost local jobs and future
investment. As downloading speeds
accelerate, so the threat from
online piracy rises too.
Discover more at
www.copyrightaware.co.uk,
www.fact-uk.org.uk and
www.allianceagainstiptheft.co.uk
You can report local film piracy
activity anonymously at any time.
Call Crimestoppers on 0800 555 111.
Blockbuster status conventionally
applies to the minority of films that
gross more than $100m in US cinemas,
although today’s biggest openers can
pass that figure in their first week. It’s
now common for films to earn more
internationally than domestically,
a trend that will endure as many
European, Asian and African markets
continue to develop.
Economic multiplier effect
With box-office ticket sales currently
worth around £900m ($1.7 billion) a
year, the UK is the no.1 cinema market
in Europe and the third most valuable
in the world after the US/Canada and
Japan. When you factor in the extra
amounts consumers spend during a
cinema visit on food, drink, travel and
other items, the theatrical market alone
pumps more than £2 billion a year into
the UK economy. FDA tracks the wider
impact of theatrical distribution year
by year.
In addition to the UK, cinemas in
the Republic of Ireland yield annual
box-office takings equivalent to
about £75m.
The performance of British films here
in their local market can have a
significant influence on the attention
they receive and their commercial
prospects overseas.
29
Nevertheless, releases that perform
well in one country’s cinemas will not
relatively – in the home entertainment
sector than in cinemas.
necessarily do well in all countries, Notwithstanding the haemorrhage
and may need to be positioned and
marketed differently. One distributor
from film theft, cinemagoing has been
positively affected by new media
may succeed with a film that loses formats coming on stream. Most films
money for another distributor in another that succeed theatrically go on to do
territory. Distributors’ expert knowledge well throughout their release cycle – the
of local tastes, cultural sensitivities and relationship is symbiotic, the audiences
market conditions guides a film through complementary.
its openings around the world.
Non-theatrical film presentations
Cinema release boosts in coaches, aircraft, ships, hotels
subsequent prospects or other leisure outlets must also
Although most films do not recover be licensed. Filmbank Distributors
their production and launch costs from offers UK licenses for screening
the theatrical release alone, cinema films in selected venues outside the
revenues constitute a minority of the cinema or home on behalf of many
total a film can earn. theatrical distributors.
Visit www.filmbank.co.uk
With a title’s profile and stature
established, there is potentially
substantial and vital income to be
derived from the subsequent license
periods – DVD and other physical
media, download, video on demand,
pay-per-view, terrestrial TV. Indeed,
when overall DVD revenue is also taken
into account, the UK rises to become
the world’s no.2 market for film. Some
titles, especially in the action/adventure
or horror genres, may perform better –
30 Summary of the theatrical
distribution cycle
The business of developing and
delivering audiences immerses film
distributors in a great deal of activity
before and during a cinema release.
Here’s a step-by-step summary – but
note that, for any given title, some
steps may overlap or be combined.
Principal photography takes place, in studios and/or on agreed locations,
After their final playdate, the film prints
are returned or transported securely
to another cinema. Ultimately, most
35mm prints are destroyed under
supervised conditions. As much
material as possible is recycled. Film
cans are cleaned and reused, while
digital disks may also be reused. With
a small number of copies ultimately
retained in archives, the distributor’s
rights in respect of the theatrical
release expire.
Film prints/disks including the BBFC certificate are delivered to cinemas
Producer/studio acquires rights to film a story or treatment
Screenplay is developed
Production finance and cast and crew are confirmed
followed by some months of post-production, editing and scoring
Master print of finished film is delivered to local distributor
Distributor determines release strategy and release date
Distributor presents the film to exhibitors and negotiates
bilateral agreements to have the film shown in cinemas
Distributor’s marketing campaign creates a ‘want to see’ buzz
among the target audience and launches the film
a few days before opening
Film’s run extends any number of weeks subject to demand,
which may be augmented by additional marketing activity
Working in film distribution 31
A challenging career connecting films with their audiences in a
fast-moving market place – how does that grab you?
The film distribution sector is small, most thrillingly creative, emotionally and imaginatively, and to remain cool
considering the scale, profile and charged, technologically advanced and under pressure. Awareness of today’s
influence of its output. Only about hotly anticipated anywhere! evolving media landscape is crucial.
300 people work in UK theatrical Sometimes distributors need specialist
distribution – less than 1% of the film/ Sharpen your skills public relations or event management
cinema industry’s total workforce – Good experience for a film industry expertise to help arrange a premiere
although employees in advertising/ marketing position may be gained or a junket, and external agencies
media buying, PR and design agencies at an advertising or media planning may be appointed to handle a
with distributors as clients collaborate agency, especially by working with particular project.
closely on the planning and execution a film or entertainment client, or by
of film campaigns. project-managing in another area of Sales staff, who deal with the licensing
intellectual property such as DVDs or of films to exhibitors, use various
A distributor’s managing director games. As a marketing team member, strategies depending on the film and
normally supervises a relatively small you’d be expected to be alert to the agreed scale of its release. Cool
staff working in specialist departments: opportunities and to justify your ideas negotiation skills, absolute discretion
to colleagues and those involved in and the ability to get on well with a
n
Marketing, publicity & promotions the film’s production. Lots of ideas and range of customers are vital attributes.
n
Sales sound judgement are called for when
n
Technical developing both the creative and media Key administrative roles include
n
Finance & administration elements of a film campaign, and invoicing exhibitors or paying suppliers;
decisions are carefully evaluated. ordering and checking film prints,
In some ways, these departments trailers and posters; and arranging for
undertake activities similar to their For publicity, experience as a materials to be delivered to the right
demand-side counterparts in any journalist or press officer is useful. location at the right time. It’s important
industry. But for film distributors, the No two days are ever the same, but to be well organised with lots of drive
products they handle are among the you should be able to write succinctly and stamina, or to possess current
32 Working in film distribution (cont’d) 33
technical knowledge of digital formats, and far between. For your reference, sessions to help distributors refine Film is one of the high-profile
laboratory processes and aspects of a digest of work placement their skills in this area. We work with creative industries, all of which have
3D or IMAX® presentation. opportunities is posted on training experts The Script Factory: exciting potential to generate wealth
www.launchingfilms.com. It may also visit www.scriptfactory.co.uk. and jobs through the application of
Getting started help to keep an eye on the publications individual skills and talents and the
As you would expect, the film industry where media jobs and placements are Diversity – good for business development of intellectual property.
is hard to break into. Competition tends advertised. A little relevant experience The UK today is made up of many The Government is committed
to be fierce. The distribution business can count for a lot. communities. Film distributors strive to helping the creative industries
offers relentless yet rewarding work, to recruit from as wide a talent pool flourish: a strong, stable, successful
and sheer tenacity is an important Once you’re in, you may find that as practical so that their companies film industry, for example, brings
quality in itself. If you’re really training courses are offered to help remain competitive in the future. As economic and cultural benefits
determined, keep at it! refine your knowledge and skills. opportunities arise, selecting people across the UK. With new releases
from a range of backgrounds with arriving in cinemas every week,
Having a passion for a wide spectrum For anyone who is in, or thinking various perspectives enables distributors it is the distributors’ task to give
of films is a great start. But it is only of getting into, the audio/visual to remain lively hubs of fresh ideas. each one a distinctive, compelling
a start and not enough on its own. industries, Skillset exists to support voice that will stand out from the
Explore what college courses are workforce training and skills Staying in tune with audiences’ tastes pack. Connecting films with their
available to make you better qualified, development across the sector. and the on-going changes in culture audiences is what makes
and try to keep informed about industry More at www.skillset.org. and society, and having an awareness Eros distribution such a vital part of Paramount
and media developments as well as the The UK also has a screen academy of, and care and respect for, people’s A day to remember: In Rohit Shetty’s Sunday (above), the film industry and central to Apocalypse now: The first trailers for Cloverfield
films themselves. One news source is network including a film business differences as well as their similarities, Ayesha Takia plays a young woman struggling to recall its success.” appeared six months prior to release and finished
24 hours in her life during which she may have been with just a release date, not a film title. Gradually,
FDA’s website, academy based at the Cass is not just desirable – it’s essential.
attacked – or committed a murder. The top Bollywood the innovative viral campaign clarified that this was
www.launchingfilms.com. Business School in the City of This isn’t merely paying lip service to film of 2007 in UK cinemas, where their popularity Rt. Hon. Margaret Hodge MBE MP an apocalyptic monster movie, set in contemporary
London, which offers a variety of diversity; it’s fundamentally good continues to rise, was Om Shanti Om, whose star, Shah Minister for Culture, New York City, told scarily from street level with shaky
Rukh Khan, attended the UK premiere in London’s hand-held cameras.
Try to see as many films by different highly regarded courses for business. Leicester Square. Creative Industries & Tourism
filmmakers as you can, and observe for film distributors and others. www.culture.gov.uk
how and where different genres are More at Best of luck
advertised and on which local screens www.filmbusinessacademy.com. We hope this guide has given a brief
they tend to play. As many filmmakers are quick to insight into how the UK film business
point out, the vital blueprint works and that you’ll want to go
Inevitably, vacancies in a small sector for a film is its screenplay. FDA on developing your interest. Happy
like distribution are relatively few commissions script reading training cinema-going!
34 Film Distributors’ Association
A bit about FDA: We are the trade
body for UK distributors, founded back
in 1915 when the film industry was just
beginning to take shape. Today, films
released by FDA member companies
account for about 97% of UK cinema
admissions. As a trade association not
an operating distributor, FDA itself is a
small company working in the member
service business.
FDA’s mission is to add value
n
 e are dedicated to delivering a
W security and the provision of subtitles
range of generic services that
improve and enhance the capacity
of our member companies and other
contacts to manage their individual
working lives better
n
 e strive to be a credit to UK film
W for IP Awareness.
distributors and a valuable resource
to the media, and to play a facilitating
role in developing the industry
FDA Council meetings are where
senior representatives of our member
companies meet to discuss matters of
generic (non-commercial) interest to the
sector and the industry as a whole.
FDA member services include
‘One voice’ representation of
n
members’ views in our regular liaison
with other groups
Investment in a range of generic
n
market research, legal advice, training
and a ‘mystery customer’ operation
visiting cinemas UK-wide
n
 irculation of benchmark guidelines
C at Beaconsfield Studios, and Film
on matters such as film print/disk
and audio description
n
 egular dissemination of information
R film theft, FDA is represented on the
and offers to members via e-bulletins
FDA media services include
n
 ompilation of a weekly
C Entertainment Film Distributors
schedule of screenings for
national and regional
press critics
n
 rganisation of the Cinema Days
O and the European Digital Cinema
events for regional film journalists
Current FDA members 35
n
 ublication of a Yearbook every
P
Spring containing a wealth of data
and comment on the previous year in www.adlabsfilms.com www.metrodomegroup.com www.tartanvideo.com
UK cinema
Industry development
FDA is proud to be a long-standing
sponsor of initiatives to foster the www.artificial-eye.com www.momentumpictures.co.uk www.fox.co.uk
next generation of both filmmakers
and audiences. We support the UK’s
National Film & Television School based
www.contendergroup.com www.optimumreleasing.com www.universalpictures.co.uk
Education, which develops the use of
film and media in schools.
Actively engaged in the fight against
www.dogwoofpictures.com www.paramountpictures.co.uk www.vervepics.com
boards of the Federation Against
Copyright Theft (FACT), the Alliance
Against IP Theft and the Industry Trust
www.parkcircus.com www.thefilmfactory.co.uk
We’re also a member of other bodies
such as AIM (All Industry Marketing for
Cinema), the International Federation of www.erosentertainment.com
Film Distributors’ Associations (FIAD)
www.pathe.co.uk www.warnerbros.co.uk
Forum (EDCF).
www.iconmovies.co.uk
www.sonypictures.co.uk www.theworksmediagroup.com
36 Contact FDA
In the course of everyday work, FDA
Get the insiders’ views of the
liaises with many different people
film business
and organisations. We welcome any
You can explore UK film distribution
approach where UK film distributors’
further, and watch some people who
generic interests are concerned. With
work in the business talk about their
general enquiries, or to comment on
roles, at our dedicated microsite:
this guide, please email info@fda.uk.net
or write to us:
www.launchingfilms.tv
Film Distributors’ Association Ltd.
22 Golden Square
London W1F 9JW

We aim to respond appropriately

within three working days of
receiving your enquiry.

To keep in touch with the fast-evolving

world of UK film distribution, visit FDA’s
website, www.launchingfilms.com.
You’ll find a weekly film release
schedule, a bank of industry data,
a gateway of links and much
more information.

© 2008 Film Distributors’ Association Ltd.

No part of this publication may be reproduced in any form by any means or for any purpose without the express prior permission of FDA. Design by wham media
FDA thanks all contributors to this revised and updated edition of the Guide, which supersedes all previous editions. Information correct at time of going to press. www.whammedia.co.uk
22 Golden Square, London W1F 9JW, UK
Tel: +44 (0)20 7437 4383 Fax: +44(0)20 7734 0912
Email: info@fda.uk.net