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Page 3 of 3 What you include is affected by your type of release. For example, a wide release will require a large television advertising budget, while a limited release may well concentrate on newspapers and wild posting. PromotionThe distributor will look for a print, radio, internet and often a television partner for the film’s promotion – and will select partners with the target audience in mind. Ticket giveaways are very common and an effective way to start word-of-mouth. In exchange for air time and ad space, premières can be organized with newspapers and radio or TV partners. When there is no première, there are other ways to work a promotion. You can give away run-of-engagement passes, for example, or soundtracks, books (if the film is based on one), and promotional items such as T-shirts.Think about other types of promotion partner as well, consistent with the film’s genre, subject matter and target audience – such as book and music stores, retailers, bars and restaurants. In today’s competitive market place, distributors need to think outside the box to attract audiences, especially for an independent film. This is where “grass roots marketing’’ comes into play, a category that includes such things as screenings for special interest groups, or tie-ins with more specialized partners. Press and publicityTip:
Timing depends in part on the medium being targetted: weekly and daily press need material four to six weeks ahead of the release date, while magazines have a lead time of some three to four months. (Check to make sure.) Another way to attract publicity is to hold word-of-mouth or “opinion maker” screenings. When the film works very well with an audience, it can only benefit from advance w.o.m.. The first weekend is the key to a film’s success, so the more people aware of the film when it opens, the better your chances that it will perform. The exhibitorsIt’s fairly easy to secure the required number of screens for a film with a wide U.S. release – but somewhat harder when a smaller picture is involved.The ability of the distributor to secure screens is critical, which means the quality of the distributor’s relationship with exhibitors is also critical. The distributor has to convince the exhibitors that they are supporting this film, and thinks it will perform. They do this, in part, by keeping the bookers well-informed and giving them strong promotional tools to market the film (trailers, one sheets, standees etc..). For more discussion about the Distributor's role in securing promotion see Print and Advertising Commitments.  |
