The Role of Distributor

The role of distribution is an imperative factor in the success of a film; it could be considered just as or more important than the film itself. Because ultimately, distribution techniques determine the success of the film. To do this is a set of distributory plans as well as marketing plans, this includes'; advertising, publicity and promotions.

Initially, distribution will be examined and will be covered in various points. Sir Alan Parker of CBE notably said "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." Although philisophical, it is true and evidently supports the need for distrubtion techniques.



The film value chain - Feature films are usually released theatrically in cinemas nationally, internationally or worldwide. Depending on the success of the film, the film is the re-released in termporal incraments. These being; home entertainment - cds and dvds, subscription television and finally repeatedly schedualed on television. This chain is essential for the success of the film and its appearance in cinema and television almost advertises the need for home-based digital media. But it is evident that the cinema is where the majority of films begin their journey.



Team Effort - The cinema is the main showcase for filmmakers where their films and hard work will be showcased. But it is not just the job of the filmmaker to get the film circulating. Their plans are discussed with other filmmakers and producers, exhibitors, external partners and suppliers and colleagues.









The lifecycle of a film is as follows:
- Producers acquires rights to film or story
- Screenplay is developed
- Production, finance, cast and crew confirmed
- Principal photography takes place followed by post-editing
- Distributors develop a release strategy
- Distributors present film to exhibitors
- Marketing campaign begins
- Prints, disks and certification are sent to cinemas
- Film runs and extends to additional marketing and demand
- Following this the film is released in the film value chain



Distributors obtain their films through a number of sources including third party sales agents, parent studios, negotiated output deals and single titles being bought. Major and independent distributors compete for the rights of a film. Whether the film is acquired or not is subject to some criteria including originality, imaginative quality, exciting hook, marketability, playability and locality. (Locality is important, british films appeal to british etc). The target audience, characters, storyline and economic validity all account in the decision of buying and releasing of a film



The distribution contract - A formal agreement is signed with producers and sales agents specifying they hold the right in respect of the specific title. The hold the rights to release it in UK cinemas and use all media to promote it. The agreement usually considers the rights of UK broadcasters; this is to play their product in local territory and easily handle distribution across formats. Television access is usually pre-agreed with broadcasters. All economic matters are accounted for within the contract.



Market characteristics - There are more than 500 titles released yearly, so distribution and marketing space for films is competitive and ever-changing. Market knowledge, statistical research and professional judgement means that the distribution plan has to be finely tuned for a specified targert audience. Only an economically viable strategy will see a film distributed - to cover all costs and create profit.



Audience focus - A detailed understanding of target audience demographics is essential. The target audience can vastly vary from film to film, so directing marketing campaigns must be carefully thought-out. A core target audience is the main focus, however, it is essential to try and attract a wider range to increase cinema intake. For instance, more than half of 15-24 year olds visit the cinema once a month, while a quarter of the general population goes that often. This highlights the need for wider reaching audience targeting. 15-24 year olds are flooded with media, most notably the internet, this is largely considered when trying to attract those outside the young-adult demographic.



Distribution gamble - Test screenings, questionnaires are used occasionally to test the targeted audiences reaction to particular films. But this is often a gamlble, some films can achieve massive success, playing for longer and creating more success - "sleeper hits". However, some can be recieved badly, it is impossible to attract an audience to a film of which they have no interest.



Competitiveness - This concerns other films with similar release dates, similar target demographics and ultimately questions whether one film is favoured over another in terms of screenings and advertisement. There needs to be consideration in whether the film is specialised, star power/production values, cast publicity, time period (holidays etc). Whether the film has previous recognition such as, celebrities, previous books, controversial subject matter, a particular hype or the goal of awards can make a film stand out of the competition-based crowd. Success elsewhere, i.e.: abroad can alter the perception of the film as well as the BBFC's film certification; who can actually see the film?

Ditgital quality - Is always considered, older 35mm film projections are 10% more expensive than digital media. There are certain production values with digital media, such as pristine quality and the longevity and durability of the media itself. 3D films also offer a set of production values and promote a "new experience" within films and is often considered in part of the marketing hype.






Budgeting - A comprehensive budget is drawn which covers both launching and sustaining the film. The budget is associated with the physical release as well as advertising and publicity.

The marketing plan can be comprised of advertising, publicity and promotions.





Advertising is the central marketing theme and is usually constrained to various media outlets. Firstly, the use of posters is critical. It is comprised of a main image displaying the appeal of the film: production values, themes, genres and credits. There are often multiple posters for one film which can create a wider range of intrigue. These are usually created by a sales agent and displayed internationally. Posters are essential and can be placed in busy public zones such as bus stops, train stations, billboards - places where people are almost forced to look around their dull environment. These are typically large format posters and are expected to be found in busy places - people may even look for them intentionally.

Trailers are another important visual cue in marketing a film and can be promoted across film, television and the internet. Trailers are typically the most cost-effective means of advertisment and can be intertwined amongst other visual media, these trailers usually last 30-90 seconds and are designed with the most intriguing pieces of film giving insight and devloping intrigue and hype for the film. Trailer making is considered a filmmaking art in its own right, condensing a film down into something spectacular, but without ruining the excitement and plot of the entire production.

Online and mobile means are considered and can help to create awareness of a film before filming even begins. Film fan networks, forums, and social networking can be a way to help create hype of a new film. Often trailers, production information, galleries and additional footage is shown to entice the target audience. However, there is risk in this; film reviews online can instantly tarnish the reputation of a film.




Publicity
Is another important format within marketing and can typically help to create a word-of-mouth type effect. Screenings for critics is useful to gain a representative review of the film which can effect the level of viewing. A collection of awards can be essential; awards give an instant gratification and feeling of security. How could the film be bad if its awarded? Premieres and preview screenings can be used to create a "buzz" or "hype" and generate the word-of-mouth effect much needed. These events usually attract celebrities, the cast, aswell as news crews to document the event. They can be themed and often glamourized as if to highlight the importance of the film, good reception and good presentation can reflect the quality of the production in the audiences eyes.












Promotions

Is the synergy within the marketing campaign, often using partnerships and merchandising as a form of advertisement. For instant, partnership with restaurants, shops, food and drink can act as a form of unconvential advertisement. While you are buying a particualr product, you are also buying an advert for a particular film; its as if the notion of the film becomes internalised. Additionally, merchandising has a prevalent importance in advertisement. Manafacturers have approved licensing to use logos, images, characters and sounds, usually in return for a royalty fee. This merchandise can vary widely and is an example of true synergy; covering many media formats. Figures, toys, screensavers, ringtones, games, books, soundtracks, calendars and even food embrace a wide variety of media based formats to create both advertisement and income revenue.