Introduction- what is distribution?

1. How would you define the exhibition of film?

The exhibition of film is a commonplace, shared cultural activity highly visible in every city and town in Britain, constantly feeding the popular memory.

2. What number part of the film supply chain is distribution?

Third

3. How is it sometimes referred to?

It is often referred to as 'the invisible art', a process known only to those within the industry, barely written about and almost imperceptible to everyone else.

4. Why is it argued that it is the most important part of the film industry?

Distribution is the most important part of the film industry, where completed films are brought to life and connected with an audience.

5. What are the three stages of film process?

In the practice of Hollywood and other forms of industrial cinema, the phases of production, distribution and exhibition

6. In what way are they most effective?

When 'vertically integrated', where the three stages are seen as part of the same larger process, under the control of one company. In the UK, distribution is very much focused on marketing and sustaining a global product in local markets.

7. Why is this more difficult for the independent film sector?

In the independent film sector, vertical integration does not operate so commonly. Producers tend not to have long-term economic links with distributors, who likewise have no formal connections with exhibitors. Here, as the pig-in-the-middle, distribution is necessarily a collaborative process, requiring the materials and rights of the producer and the cooperation of the exhibitor to promote and show the film in the best way possible.

8. What are the three stage of distribution?

Licensing, marketing and logistics.

Licensing

1. Define the licensing process.

The process by which a distributor acquires the legal right to exploit a film.

2. How many levels are there?

Two

3. How many ‘market territories are there around the world?

International distribution ensures that films find their way to the 90+ market 'territories' around the world.

4. Why are smaller independent film companies unable to handle the licensing for their own films?

Independent production companies are usually small concerns, sometimes set up for one film and often lacking the necessary knowledge or contacts of each of the territories around the world.

5. So what do they do?

Instead of doing this themselves, they might choose to hire a specialist sales agent, whose function is to understand the value of a film in many different markets. The sales agent will then set up stall at the film markets that take place throughout the year.

6. What is ‘local’ distribution?

Involves the distributor acquiring the license to release and exploit the film in a particular country.

7. They purchase the theatrical rights, what does this consist of?

For showing the film in cinemas; video rights, for video and DVD exploitation; and TV rights, if the distributor is able to sell the film to a broadcaster.

8. Who do they have to share royalties with?

A local distributor will conventionally share profits equally with the producer for the theatrical leg, pay back higher royalties for broadcast rights, and lower for video/DVD.

9. What is the most effective way to create interest in a new film in the UK?

A theatrical opening is seen as the most effective way to create interest in a new film. The big screen is still the optimum setting for a film for both audiences and the filmmakers.

10. What options are available after the theatrical (cinema) release?

Some months following the theatrical release, a film will be packaged and released on DVD and VHS video, then on various forms of pay television and eventually, two years after opening in cinemas, on free-to-air television.

11. What must a successful distributor do?

Must have an in-depth knowledge of the marketplace - which cinemas, video outlets and broadcasters can best draw an audience for its films - and of the variable marketing costs involved in releasing a film in that territory.

12. Who was the distributor for your case study?

Johnny English Reborn distributer was Universal Pictures.

13. What techniques did they employ?

Blanketed.

Marketing

1. What are the two questions around the marketing of a film release?

‘When?’ and ‘How?’

2. What day of the week are new films released in the UK?

Fridays

3. Who schedules and coordinates forthcoming releases?

The schedule for forthcoming releases is coordinated and published by the Film Distributors Association.

4. What is a ‘light’ week?

Only a few films are scheduled to be released.

5. What three aspects have to be taken into account for a film to have the greatest potential to reach audiences?

Screen space, adequate review column and the seasonality of the film.

6. Why is this becoming increasingly difficult?

The release schedule has regularly featured over 10 new releases in a week.

7. What are P&A?

Prints and Advertising, they meet the costs of the theatrical distribution.

8. What are the costs of P&A?

£1,000 to over £1 million.

9. Who marketed your film?

Universal Pictures

Marketing: Printing and Advertising

1. What are the 7 elements of P&A?

The quantity and production of release prints and trailers

Press materials, clips reels, images, press previews, screener tapes

The design and printing of posters and other promotional artwork

Advertising campaign - locations, ad size and frequency

Press campaign / contracting a PR agency

Arranging visit by talent from the film

Other preview screenings

2. About how many prints might a specialised film have and how long will the tour be?

10 prints

3. How many prints might a commercial mainstream have?

200 prints

4. How many did your case study film have?

5. Why is a favorable press response a key factor?

For developing the profile and desirability of a film.

6. What is the standard format for a cinema poster?

In the UK the standard 30" x 40" 'quad' format is used to create a cinema poster.

7. Why is a poster important?

 The poster design is highly effective in 'packaging' the key attributes of a film for potential audiences. 

8. Please insert a copy of your case study film poster and analyse how it features to key attributes.

It shows the main character (Rowan Atkinson) who is a famous actor who many people will recognize. Shows that it is a spy film by using the gun but shows that it is comedy also by having the flag with the title of the film coming out the gun.

9. What is the word to express coverage working at the same time?

‘To work in tandem’

10. What is the key aspect for mainstream film?

Scale and high visibility

11. Why is distribution in the UK seen as riskier than in other countries?

The cost of print advertising in the UK is comparatively high, and is seen as making distribution in the UK a riskier business than in most other countries. 

12. How are distributors trying to get around this problem?

In order to extend the reach of advertising and develop more effective communication with audiences at low cost, distributors are looking increasingly to 'viral marketing' - different forms of electronic word-of-mouth via the internet, email and mobile phones.

13. Who was the press agency for your case study?

SunChaser

14. What is another name for the actors or director?

Talent

15. What sort of coverage did the key players in your case study have? Did they appear on Jonathon Ross?

No they did not. 

16. What is the ultimate aim of marketing?

To promote the film, and to make people aware.

Logistics Of Distribution

1. Who decides on the 'play date'?

The distributor and cinema. 

2. What is the distributor’s responsibility?

To arrange transportation of the film to the cinema.

3. Why is it imperative that films are delivered on time?

The showing of films in cinemas is a time-pressured activity. Cinemas spend their money publicizing film play-dates and times in local papers or through published programs.

4) About how much does a 35mm print cost?
£1500-£2500

5) How are prints usually broken down?

Lasting around 18-20 minutes when run through a projector at 24 frames per second. So a feature print, in its physical form, will usually be 5 or 6 reels, stored and supplied in a single hard case, weighing in at 20-25kgs.

6) What are the disadvantages of using film prints?
They are very expensive

7. How was your case study film distributed? Digitally or 35 mm or a combination? Can you find out how many prints were developed?
It was digital.

Bullet Boy

1. Who is the director of Bullet Boy?

Saul Dibb

2. Where was the film first screened in 2004?

Hackney

3. Who handled the release?

Verve Pictures

4. What is their most recent release?

Breathing

5. What percentage of their releases are from first time feature directors?

Over 75%

6. Who handled the release of your case study, provide the link to their website, consider how effective their webpage is?

http://johnnyenglishreborn.com/home/entry

7. How did Verve manage to broaden the theatrical release?

We have a proven track record of working with first time filmmakers who have previously excelled in other visual fields

8. How many prints did it have in the UK?

75

9. What did the advertising campaign consist of?

Advertising in all of the national daily newspapers that allocate significant space to film reviews, plus two tabloids, newspapers with a black perspective, a selective London Underground campaign and extensive use of radio stations with a concentration on R 'n' B and Garage, the musical forms with which Walters is associated.

10. How does this compare to the ad campaign for your case study film?
They had a lower budget.

Digital Distribution: A revolution in progress

1. When did the UK distributors and exhibitors start to move towards digital distribution?

End of 2005

2. What are the advantages of digital distribution compared to film?

Can now replicate - if not surpass - the image quality of conventional 35mm cinema presentation.

3. In which countries has it been particularly successful?

China and Brazil

4.  In the UK, which institutions have particularly got to grips with it?

Digital technology has been embraced by the non-theatrical sector, in film societies and schools, where the use of DVD and mid-range digital projection has replaced 16mm.

5. What is the national body charged with encouraging digital film in the UK?

Has led the UK Film Council to establish a digital distribution and exhibition programme for the theatrical sector at the end of 2005.

6. How many cinema screens are there in the UK?

3,300

7.    How many of these are digital?

211

8.    In how many cinemas was your case study shown?

9.    Describe briefly the process of digital transfer

The compressed and encrypted files will be sent directly to cinemas to be downloaded, de-encrypted (unlocked) and opened as files for screening with digital projection equipment.

10.  Which key film institution was disbanded in 2011 and who took over their work?

11.  What are the implications for the future of digital distribution?

 more titles, both mainstream and specialised, will receive wide theatrical openings, and that this broadening of access at the point of release will dramatically reduce the overall theatrical period from 3-6 months to perhaps 1-3 months.

12.  How might the share of profit change in the light of digital distribution?

13.  Was your case study distributed digitally?

Yes