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Short Film Distribution Guide (Raindance) -- Read in "Fullscreen"

Short Film Distribution Guide (Raindance) -- Read in "Fullscreen"

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Published by Julie Thrasher
Raindance Short Film distribution guide - how to get your short film distributed in the UK a guide for independent film makers
Raindance Short Film distribution guide - how to get your short film distributed in the UK a guide for independent film makers

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Published by: Julie Thrasher on Apr 16, 2009
Copyright:Attribution Non-commercial

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08/08/2013

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short filmDistributionguiDe
NIGEL R SMITH
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page 2page 1
 
Niel has prdued a number  aardinnin shrt lms, inludinStland’s mst idely suessul shrt t date,
Cry for Bobo
, hih has mademre than 150 lm estial and ther eent appearanes spannin 34 untries.It has reeied 25 aards and mmendatins aln the ay, inludin a MélièsD’Arent r Best Eurpean Fantasy Film, a Ryal Teleisin Siety Aard ,a BAFTA nminatin and seeral estial Audiene Aards. Niel’s erts tprmte
Bobo
sa him bth seepin the streets  Harajuku and dinin iththe Kin  Mr.Films he’s prdued hae ariusly sreened: r a remte island mmunity;at a nentin  US atinal uidane unsellrs; in Italian shllassrms; t sta abard an Antarti explratin essel; and at a Eurpeanirus ln nentin.
about the
author
STRATEGY FOR YOUR SHORTYOUR FILMINTRODUCTION
 
DEVISING AN OVERALLDelivery materials2379
contents
APPENDICESFINAL COMMENTSOTHER OPPORTUNITIESTHEATRICAL SCREENINGSDIGITAL DISTRIBUTIONDVD SALESUK
&
INTERNATIONALINTERNATIONAL DISTRIBUTORS
 
SALES AGENTS
/
THE FESTIVAL CIRCUITTELEVISION SALESONLINE DOWNLOADSAND STREAMINGFOR PROMOTION113642446465525861NIGEL R SMITH
Cr y  f or Bobo
 
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Yu like yur lm. Le it, een. There ere prblems aln the ay (therealays are) but yu eel that yur lm is a suess. I yu’re a prduer, yu’restill talkin t the diretr. I yu’re a diretr, yu an still stand t be in thesame rm as the prduer. Yu’e shn the lm t riends h all le it.Yu’e shn it t enemies h berudinly tell yu that it’s pretty d.Sine, as a lmmaker, yur primary reasn r makin lms is presumably thatyu hae smethin t say r a isin t share, yu shuld ant t make eeryeasible attempt t reah as brad an audiene as pssible.Yu may hae made the lm as a steppinstne t reater thins  althuhe d appreiate the shrt as an artrm in its n riht  s yu ill ant thae it seen by industry ures h ill be able t assist yu reah yur al  beme a pressinal lmmaker.H d yu  abut ndin yur audiene and inreasin the lm’s and yurn prle?
YOUR
INTRO-
YoU’vE MADEA gREAT SHoRTFILM – Now YoUwANT AUDIENcESEvERYwHERE ToLovE IT AS MUcHAS YoU Do!
 This bklet is aimedat thse ith little rn experiene  shrtlm distributin rmarketin, and illlk at the prmtinand distributin  the shrt lm rm be it animatin,dumentary, narratier experimental. Itaims t pride yuith a sle  pratialinrmatin that illhelp yu t make yurlm as suessul as itan be. There’s been anexplsin in the number shrt lms prduedin Stland er thelast ten years  aninrease that’s beenehed arss thelbe  bruht abutby the aailability  inreasinly heapprdutin equipment and nnlinear editinstare aimed at bth the industry and hmensumers. It’s neer been easier  and perhapsheaper  t make a shrt lm and hundreds areprdued in Stland alne eah year. That’s a LoT  lms. Sme are ineitably mreamplished than thers but they hae all beenmade by lmmakers ith smethin t say anda desire t mmuniate this t an audiene.Yet the eneral publi is nly able t see a smallratin  these lms  and in this untry, leels aareness utside  thse nneted ith, raspirin t rk in, the industry, remain l.why spend all the time, ert, expense andheartahe t make a shrt lm i yu’re ntsubsequently in t  thruh all the time,ert, expense and heartahe  ettin it seenby audienes? The d nes is that there hae neer beenmre pprtunities r shrt lmmakers treah audienes ith their lms. The traditinalrutes  the internatinal estial iruit andteleisin sreenins hae been aumentedby the pssibility  DvD sales and theinreasin prealene  nline streamin anddnladin t a ariety  deies. The bad nes  primarily r prduers, but alsr diretrs h’e taken the driin seat n albudet prdutin  is that, hain spentseeral mnths ettin t a pint here they’resittin ith a master tape  their lm in theirhand, they’re still less than halay thruhthe press. They still need t et it seen byaudienes and that’s hat this bklet aims thelp them d. This is a questin yu shuld beaskin rm the ery earliest staes prjet and sript deelpment beause the anser an at leastpartially determine yur shtinrmat, runnin time, subjet matterand all manner  ariables. It uldseem asteul (and ery expensie!)t sht and pstprdue yurlm n 35mm i yur sle intent is tplae it n a lreslutin ebsite,r example. Many mpanies n’tinle themseles ith a prjetuntil they kn h and here itan be marketed, and hae made aninrmed ‘uesstimate’ as t its likelyhanes  nanial  and t a muhlesser extent ritial  suess. A shrtlm is a dierent beast rm a studieature, but it an be useul t think aln thse lines hen min tmake yur shrt.
FILM
DUCTION

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