JOURNAL
Distribution 101

The production of a motion picture is complex. The release of a motion picture may be even moreso! We've received numerous emails asking questions like: "Will FIRECRACKER be in theatres?" "When can we buy the DVD?" "Will it show in my town (or country)?" and the most often-asked, "When can we see it?" And these emails have come from Europe, Australia, Africa, South America, North America, Asia. Everywhere!

The motion picture industry has as many layers and middle men as any other. Perhaps more. Regardless, these people and organizations are a part of the distribution of a film. Each of them represents a tiny segment of the distribution of a film. So unless a film is allied with one of the really large distributors (and we know who they are!) there are a great many hoops to jump through, and people to work with, to begin the process of getting a film on screen, on the television or onto a DVD.

Most of us are familiar with the blockbusters that open on 3,000+ screens on the same weekend. By the end of several months, the films have shown in every country of the world and the DVD is eagerly awaited. In between those two the films appear on airplanes, cable channels and satellite feeds. These are all unique channels of distribution. Unfortunately, the world of independent cinema doesn't follow such an all-encompassing path, unless, of course, you are Mel Gibson.

In sequential order, the distribution of a film might follow these steps: 1) theatrical release, 2) pay-TV release, i.e. cable and satellite, 2) travel networks such as airplanes and cruise ships, 3) commercial television, and 4) DVD. This can happen in each and every country in the world, either simultaneously (like that seen by the blockbusters) or one at a time over the course of a number of years. Naturally, the commercial goals of any filmmaker might likely include widespread release.

In addition to being a great art form, filmmaking is also a business. Most of us have never stopped to consider exactly how a movie is released and all the possible ways that it can happen. I know I didn't. Furthermore, I never stopped to think about how it might not even be the same exact film in each different country. Oh, it will be mostly the same, but poster art changes, sometimes the title of the film is changed and there may well be editing within the film, depending upon customs and standards in a given country.

My first film, PEP SQUAD, was a satire on American school violence. The script was written in 1995 - long before any of the school violence had occurred - and actually predicted what was to come. We were in negotiations with a major distributor to release the film the very day that Columbine erupted onto the nation's conscious. The company called us immediately and said, "Sorry, we can't touch this now with a ten-foot pole." All of a sudden, poking fun at the American culture and confronting the causes of school violence - the causes that no one wants to talk about such as parents, bullies, and the society at large - wasn't commercially viable, especially in a comedy! PEP SQUAD had a message that the "society at large" didn't want to hear.

What followed was interesting. All of the domestic distributors were afraid to put PEP SQUAD out there. Some made their own watered-down versions. But the international marketplace was hungry for the film, especially one that detailed and gave insight to what was happening in the US. PEP SQUAD was released theatrically in a number of countries and still continues to show in places such as France and Germany. It has appeared twice on French satellite television, and just recently was slated to be released on DVD in Germany. So here it is, 7 years after its production in 1997, and it is still being released.

But in North America it sat on the shelf. Finally, when enough time seemed to have lapsed after Columbine, PEP SQUAD was released direct to video after several small theatrical engagements in Los Angeles and other cities. Alas, it was marketed as a horror film, even though it was obviously a comedy. Why? Because the distributor believed that its commercial viability was still threatened if taken as comedic commentary on the social problem of school violence. While I disagree with this approach, I do understand how they came to that conclusion. As we all know, art is often defined and categorized because of the culture that surrounds it. In society after society around the world, PEP SQUAD is seen as a hilarious commentary on the absurdity of America, but in America it can only be tolerated if it is an otherworldly horror film!

Explaining the business of distribution is complicated and difficult. To summarize, a film can be released theatrically in New York, but not Los Angeles; in Ohio but not Florida. Films can be seen on airplanes; on cable; via satellite; on video; on DVD; in classrooms; at colleges; in small fine arts theatres; on the internet; throughout many continents - but not necessarily every country; and even if seen in every way possible, films may not be shown in all of those venues all at once. The average lifespan of a film is around ten years, but just turn on the television and films from 20 and 30 years ago are routinely exhibited. Even though you've seen a film in the theatre, or watched it on DVD, it might be many years before it's available on cable. Or, it could show on cable years before being released in a theatre.

Distribution is probably the single most misunderstood aspect of the movie business. FIRECRACKER will be unveiled soon. We will have all the information available online as soon as we know. Keep posted to the website for updates. Remember, even after FIRECRACKER is released in theatres world wide, there will still be dozens of opportunities for you to see it. Anyplace. In any form.

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