Outernet London’s Post

The path to meaningful content distribution is especially tricky, and producers are rethinking traditional models. Kudos to Dances with Films for presenting a first rate film sales and distribution panel with industry leaders Sejin Croninger (Paramount), Brian O'Shea (The Exchange), and Bill Vergos (Freestyle Digital), hosted by Jon Fitzgerald (Cause Cinema). Participating with my industry colleagues, we discussed customized, alternate approaches to sales and distribution in the emerging marketplace. While change takes time, we recognized reasons to be optimistic. Lewis Brisbois #independentfilm #filmfestivals #filmproduction #entertainmentlaw #filmlaw

The impact of every production matters

Counting down to The Film Collaborative Distribution Days on 02-03 May! This FREE virtual event is presented in collaboration with Sundance Institute and Film Independent  and offers eight great sessions to help filmmakers demystify distribution. Topics include: 🎞️What are “all rights” buyers looking for? 🎞️Is a hybrid/bifurcated distribution strategy that includes the EU possible, and for which films? 🎞️Which Educational distributors are out there, for what types of films, and how do you find the one that is the best fit? 🎞️How should you incorporate an Educational window into your overall distribution strategy? 🎞️What steps can you take to make exhibitions of your film more accessible and inclusive? 🎞️What does it mean when festival “hits” are not receiving correspondingly “meaningful” distribution sales offers? 🎞️Can clinging to the potentially unrealistic dream of a big streaming or all rights deal risk your film’s ability to secure other meaningful distribution? 🎞️What should you look out for when signing a distribution agreement? PLUS Case Studies on Event Theatrical and Grassroots/Impact Distribution. Head to The Film Collaborative for free registration - looking forward to seeing many of our favorite storytellers there! Event sponsored by the Golden Globe Foundation

This is the power of a superior customer experience in building brand value

🎬 Festival Success Blueprint (Part 1 of 3)🎬 Film festivals remain a crucial avenue for emerging filmmakers to gain validation and recognition. Did you know that in 2024, Sundance received over 17,000 submissions, with over 12,000 of those being short films? The competition is fierce, but with the right strategy, you can stand out. Here are a few keys to crafting a successful festival strategy: ✅ Festivals offer invaluable exposure and validation for filmmakers ✅ Don't put all your eggs in one basket—submit to multiple festivals to maximize your chances ✅ Your premiere is your ace—choose wisely to make the most impact Stay tuned for Part 2, where I'll share insights about how to get your film into top festivals! #Filmmaking #FilmFestivals #IndieFilm #FestivalStrategy #Sundance #Tribeca #SXSW #FilmmakerTips

I hope tax incentives follow

Whether you're in the heart of the city or miles away, our livestream film festival brings the big screen to screens everywhere, uniting cinephiles from every corner of the world. It's a celebration of storytelling that transcends boundaries and connects us all through the power of film. Grab your popcorn, settle in, and let the movies transport you to new worlds. Click here to know more :- https://lnkd.in/dprq55MD #technology #technologysolutions #technologyinnovation #dreamsreality #global #onlineproducts #videocreation #contentcreation #multitv #digital #videomarketing #virtual #virtualproduction #virtualevents #virtualevent #virtualeventplanning #webinar #webinars #webinaronline #livestream #livestreaming #livestreams #livestreamingvideo #hybridevent #hybridevents #softwarecompany

Interesting read 👇

It's only been 3 years since we as Artinii.Pro were selected among the 10 international Startups that were presented at the European Film Market at Berlin International Film Festival (Berlinale). We are of course at the Berlinale again. We have many meetings with clients and partners from all over the world. A lot has happened in these three years and the most important thing for us is that we are no longer a startup, we have grown (+80 countries) and our meetings are mainly about establishing regional partnerships with our priorot markets. The surprise for a lot of people/friends/clients on Berlinale is that Europe is not Artinii.Pro biggest market(s) and its appetite to integrate new technologies and thus start a change in the film industry is very bad in Europe. Even though basically everybody already knows that the status quo is unsustainable and change is necessary. Almost everybody still pretends that somehow it can be done. So maybe the appetite for change in the film industry will be greater this year and filmmakers will go closer to the audience and their preferences. Sales agent catalogues will open up more to individual public screenings, opening up the possibility of easy choices for exhibitors. Ideally these catalogues open up online ordering options for these adhoc screenings, which can be long after the film has left the cinema. The technology is ready so just take a small step closer to audience. We look forward to seeing you again at the Berlinale and may this year move us into the 21st century..

There’s a film coming out later this month called Slotherhouse. It is about a murderous sloth. I’ve linked the trailer, but it doesn’t need to be seen to understand the film. He’s a sloth! He’s adorable and slow! Murder! I can confidently tell you two things about the movie, without knowing much about it: 1. It will be terrible 2. It will make money. I know this because this is the latest in a long line of self-aware, not-very-good “can you believe this animal is murdering people?” movies, that can be traced all the way back to Roger Corman’s Piranha, and the more recent genre gold-standard Snakes on a Plane. In just the last year, we’ve suffered through the much hyped Cocaine Bear ($35 million budget, $90 million gross, mixed-to-indifferent reviews) and Winnie the Pooh: Blood and Honey (<$1 budget, $5 million gross, an impressively bad 2% Rotten Tomatoes score). They’re all bad. They all make money. No one expects these movies to be great. They don’t even expect them to be good. Rather, these are “lol” movies made for a modern-day Beavis & Butthead audience. The quality of the movies is besides the point. They’re worth seeing simply because they exist. The filmmakers and the audience are in on the same “can you believe they let us make this shit?” joke. Also coming soon - “Saw Patrol,” the new Barbenheimer, in which audiences can inhale the eclectic double feature of the Saw X and Paw Patrol. Here again we have movies that people are not seeing because they’re “good” or even “watchable,” but because the combination of a kids movie and a horror movie is amusing. Is it any wonder the studios aren’t settling with the writers guild? What would be the point? Audiences aren’t going to the movies for the movies. They’re going for the lulz. https://lnkd.in/eVr__pvd