Guide to film Distribution

Every film has its own tailor-made distribution plan, which the distributor develop in consultation with the produced and/or studio as appropriate. The most important strategic decisions a distributor makes are when and how to release a film in order to optimist it's chances.

"Who can be convinced to buy a cinema ticket to see it and why should they do so? Can the film be positioned within a popular recognizable genre? what sort of audiences have similar films attracted recently? When were they released?" These are all questions that flow through the head of a distributor.
As with every business plan, the goal is to recoup the costs and turn a profit. When planning a new release, Relying solely on conventional wisdom is never an option. Early information can be gleaned by reading the script and from discussions with the filmmakers, but every release is a one off and individually planned given current circumstances. sometimes, Final distribution plans may be confirmed only when the finished film is available to view.

Nobody can be absolutely sure what makes a hit, or when and where it might happen. Market research may be conducted to proe audience reaction at pre-release test screenings or to evaluate alternative marketing campaigns - fundamental considerations for every release. Test screenings, after which the viewers complete questionnaires, can help the distributor to be more confident of the expected audience or box-office prospects.

A detailed understanding of the target audience-age group and gender, but also lifestyles, social networks, media consumption patters are needed, since they always inform distributors on what decisions they should take on a particular film the are promoting.Though generally, in the UK, Cinemagoers are more up market, Esspecially for the more "Specialized fare", and is often a shared experience with an average of 3 people per party, Altering the thoughts slightly.

Though, Just aiming to attract a larger scale of people is not what should only be done, Since there is always a core target audience for the film, and if it's lost, It won't do to well in the box office.

Cinemagoers are often split into 4 Key demographics. These are 15-25 males 15-25 Females, 35-65, And family and the most frequent cinemagoers are a combination of 15-25 year olds, Since for teenagers, students, and young adults, The cinema is, Arguably, a favorite out-of-home leisure activity. Although a large quantity of people in those to demographics visit the cinema at least once a month, overall its only a quater of the population that goes often.

This causes the average number of cinema visits per person in the UK to be only 2.7 a year, which though it does seem pretty bad, is still a major improvement from mid-1980's which Barely was an average of one per year. Though, this is affected by how well a film preforms in the box-office. the better it is, The more likely it will attract more attention from infrequent cinemagoers and it may even get repeat visits to watch the film. Though, Infrequent cinemagoers tend not to come out for the opening weekend, only going after the film has extended, This gives distributors a challenge to sustain the run in cinemas.

There are often key questions asked when making a film, and promoting it. These often are:

• "Besides the target audience, What do we (The distributors) have to take into account hen developing the release plans and assessing their risk?"
• "Is it an event film, a prospective mass market blockbuster, or a specialized film for a more discrete audience?"
• "Is there any star power among the cast such as actors, And what were their previous work? Same question goes for Directors or producers."
• "Are any cast members avaiable for UK/international publicity or to attend a premiere?"
• "Will the film lead the media reviews of that week's new releases?"

Though there is much i really can say to answer these questions, all i really can say is In all circumstances, Competition is always a primary consideration. It affects how the film will be Publicized, compared with, and when it should be released.
These questions how ever are not the only questions asked. they often also include what certificate the film has, If it's a sequel or a franchise entry, and several other aspects.

Different releases are managed in different ways. for example, A saturation release "At cinemas everywhere" May open simultaneously on 1000 screens UK-wide, playing at two or more screens per multiplex. By contrast, Specialized films offer a different cinematic experience.

London, with an increasingly diverse population of 7.5m people, accounts for about a quarter of UK cinema admissions, although only 15% of screens are situated in the capital.

Complimenting the distribution plan, Every film has a detailed marketing plan. The most common marketing objective is to create visibility, Raise awareness, and engage interest, cutting through the blizzard of competing messages. Distributors must compete for a significant share of voice not only against other distributors, but also against other leisure activities.

Social recommendation is key - A personal recommendation from a friend, colleague, relative or trusted online community can be the most powerful stimulus for a cinema visit. But, Distributors' campaigns are generally effective aswell, as most cinemagoers known in advance which film(s) they want to see before setting off for the cinema.

When constricting a campaign, distributors aim to reach as much of their target audience as possible, as frequently but cost-effectively as possible.

The main image or artwork distilling the appeal and positioning of the film - its stars, genre, credits and often a tagline to whet audiences appetites. With often a dozen or more different posters on display in a cinema at any one time, distributors and their designers must work hard to make each one stand out. Film posters may be created by the studio or sales agent (As applicable) and rolled out internationally or adapted for use locally.

A poster is produced for every release, in quad formation (I.E the usual poster size in the UK of 30" x 40" landscape orientation) or one-sheet format (The us equivalent with similar dimensions, portrait orientation) Many months before release, an initial teaser poster may be created to announce that a film is coming to whet the audience's appetite. Distributors are also provide other display materials for cinema foyers - prime space for advertising current and future releases- Such as cardboard standees, banners, Window clings and mini-posters.

Probably the single most cost-effective marketing technique is trailers, since they play in both the big screen to a captive audience of active cinemagoers and also for any interested viewers. There are often specialist agencies or production companies are briefed by local distributors to create a trailer from the available material.

Distributors fund the duplication, and often the production, of trailers: a wide release will often have 2,000 copies circulated to cinemas.

Most films have an official website - sometimes hosted by a partner companies or social network site - offering trailers, stills galleries, Production information, and behind-the-scenes footage.
Even before principal photography begins, They may post updates online containing news snippets or teaser images, seeding interest among fans.

Ever more user-generated material, often including film or soundtrack grabs, draws comments on video sharing sites. Film distributor websites direct traffic to exhibitor sites where tickets may be purchased online.

As readers tend to accept independently-written items more than paid-for advertising, since an editorial coverage of a film can be highly persuasive. It's very important to have a selection of fine images from the film approved for publicity use, taken during production by a specially hired unit photographer.

Creative talent and film makers tend to have very tight schedules and they may only be in the UK for a few hours. Screenings for national critics are normally held on the Friday, Monday, and Tuesday before a film opens to the public; those for journalists with longer lead-times are scheduled further in advance.

The internet being a two-way street, the moment a film is screened, comments are shared instantly and constantly around the world, as online communities swap opinions and feedback in a galaxy of chat rooms. Distributors are eager for their films to be part of the conversation in online networks, but word of mouth - or word of click! - trends ebb and flow very rapidly.

The season of mounting speculation lasts up to five months before the Oscars and costly trade campaigns unfold to secure voter's attention to particular titles, performances and craft contributions.
Film sets are normally strictly enclosed to the public. But distributors may have valuable opportunities to visit the set, especially of UK-based productions, along with key journalists, exhibitors or marketing partners.

Media proliferation and fragmentation have given all advertisers a multitude of options. advertising placed on broadcast channels, outdoor panels and in the press is usually the largest expenditure item on a P&A budget. Terrestrial television is traditionally the most visual means of reaching a mass audience.

Event films/blockbusters with top stars need heavy advertising spends to support their wide releases. older audiences may respond best having seen the film advertised on television or in the press, while for younger audiences it's more appropriate to promote it online and on radio stations or bus panels.

Depending on the film's theme and target audience, the distributor will endeavor to arrange promotional partnerships. Importantly, too, tie-in advertising under license by a promotional partner or a brand with product placement in a film can add substantial weight to the distributor's own campaign.

Many releases, particularly family films, have merchandising programmes co-ordinated by the film company or an external consultancy agency. Films regularly have official soundtracks, games and books, which can generate significant revenues in their own right.

Such exposure helps to stretch the film campaign and create additional talking points. It may develope into a popular cultural phenomenon and become an international news item.

Premiers are often perceived as glamorous and exclusive, but in reality are painstaking and expensive to organize. Star-studded premieres and after-show parties are covered by celebrity publications and news media, and often transmitted worldwide.

A gala screening in aid of charity can raise a substantial sum via ticket sales and donations, while from the distributor's professional perspective the main goal of a premiere is to give the film a high-profile, entertaining launch, booting the all-important buzz factor. Most premieres in the UK - around 50 a year - take place in London's Leicester square, which has recently had a substantial make-over.

In addition to premieres, distributors may consider other 'experimental events' where fans and visitors can interact with the film characters or situations, for example via touring displays in shopping centers or themed presentations at movie conventions.