Film distributor
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A film distributor is responsible for the marketing of a film. The distribution company may be the same with, or different from, the production company. Distribution deals are an important part of financing a film.
The distributor may set the
Distribution types
Theatrical distribution
If a distributor is working with a theatrical exhibitor, the distributor secures a written contract stipulating the amount of the gross ticket sales the exhibitor will be allowed to retain (usually a percentage of the gross). The distributor collects the amount due, audits the exhibitor's ticket sales as necessary to ensure the gross reported by the exhibitor is accurate, secures the distributor's share of these proceeds, surrenders the exhibitor's portion to it, and transmits the remainder to the production company (or to any other [intermediary], such as a film release agent).
The distributor must also ensure that enough film
The distributor is also responsible for ensuring a full line of advertising material is available for each film which it believes will help the exhibitor attract the largest possible audience, create such advertising if it is not provided by the production company, and arrange for the physical delivery of the advertising items selected by the exhibitor at intervals prior to the opening day. Film distributors spend between $3.5 billion and $4.0 billion a year in the United States alone on direct buys of advertising such as TV commercials, billboards, online banner ads, radio commercials and the like.[1] That distributor-spending figure doesn't include additional costs for publicity, film trailers and promotions, which aren't classified as advertising but also market films to audiences.
Distributors typically enter into one of the two types of film booking contracts. The most common is the aggregate deal where total box office revenue that a given film generates is split by a pre-determined mutually-agreed percentage between distributor and movie theater. The other method is the sliding scale deal, where the percentage of box office revenue taken by theaters declines each week of a given film's run.[2] The sliding scale actually has two pieces that starts with a minimum amount of money that theater is to keep—often called "the house nut"—after which the sliding scale kicks in for revenue generated above the house nut. However, this sliding scale method is falling out of use. Whatever the method, box office revenue is usually shared roughly 50/50 between film distributors and theaters.
International distribution
If the distributor is handling an imported or
Non-theatrical distribution
This term, used mainly in the
Non-theatrical distribution includes the
Motion Picture Licensing Company Film bank media
Representing the major Hollywood studios and independent producers. Home video media is sold with a licence that permits viewing in the home only. Until these technologies were widespread, most non-theatrical screenings were on
Home video distribution
Some distributors only handle home video distribution or some sub-set of home video distribution such as DVD or Blu-ray distribution. The remaining home video rights may be licensed by the producer to other distributors or the distributor may sub-license them to other distributors.
If a distributor is going to distribute a movie on a physical format such as DVD, they must arrange for the creation of the artwork for the case and the face of the DVD and arrange with a DVD replicator to create a glass master to press quantities of the DVD.
Some movie producers use a process called "DVD-on-demand." In DVD-on-demand, a company will burn a DVD-R (a process called "duplication") when a copy of the DVD is ordered, and then ship it to the customer.
A distributor may also maintain contact with wholesalers who sell and ship DVDs to retail outlets as well as online stores, and arrange for them to carry the DVD. The distributor may also place ads in magazines and online and send copies of the DVD to reviewers.
Early distribution windows
Although there are now numerous distribution techniques, in the past the studios and networks were slow to change and did not experiment with different distribution processes. Studios believed that new distribution methods would cause their old methods of revenue to be destroyed. With time, the development of new distribution did prove to be beneficial. The studios revenue was gained from myriad distribution windows. These windows created many opportunities in the industry and allowed networks to make a profit and eliminate failure. These new distribution methods benefited audiences that were normally too small to reach and expanded the content of television. With the new age of technology, networks accepted the fact that it was a consumer demand industry and accepted the new models of distribution.[4]
Distribution credits
The primary distribution companies will usually receive some billing for the film. For example,
See also
References
- ^ Article on Kantar Media movie advertising estimates
- ^ Marich, Robert. Marketing To Moviegoers: Third Edition (2013), SIU Press, p.277-78
- ^ Levison, Louise. (2007) "FILMMAKERS AND FINANCING". Burlington, MA: Focal Press. p. 119-120
- ^ Lotz, Amanda. The Television Will Be Revolutionized