Distribution

Pat Alexander This honestly feels like one of those moments where the industry quietly shifts direction before most people fully realize the long-term implications.

On one hand, I understand why distributors are interested. Libraries are expensive assets sitting on massive amounts of underutilized content, and vertical platforms have proven there’s a huge mobile-first audience consuming stories in short bursts. From a business perspective, “library verticalization” probably feels inevitable.

But creatively, it raises some uncomfortable questions.

A lot of films and series were composed, edited, framed, paced, and emotionally structured specifically for horizontal cinematic viewing. Cropping and restructuring them into vertical micro-content fundamentally changes the language of the work. Sometimes that adaptation might work surprisingly well especially for reality, docs, or highly dialogue-driven material but other times it risks turning carefully crafted storytelling into fragmented content consumption.

What’s especially interesting is the role AI is playing here. We’re moving from AI assisting production to AI actively reshaping and reformatting existing art for new consumption habits. That’s a very different conversation.

I don’t think vertical storytelling itself is the problem. Some creators are doing genuinely innovative things with the format. The bigger concern is whether the industry starts optimizing stories primarily around attention retention instead of cinematic intention.

The “Godfather in 3-minute increments” joke is funny partly because it doesn’t feel impossible anymore.

So well put Abhijeet Aade. If this is the tip of the iceberg, there are MANY more uncomfortable questions to be raised. And your point about consumption habit -maxxing is key. The business side seems okay to give into the lowest common denominators and feed humanities worst impulses, instead of you know - fighting, or even trying at this point, to be better and work harder to capture audience attention spans, while audiences repeatedly exhibit one very clear behavior - if you make something truly great, they will show up for it. But of course that's too hard when compared to clicking one button and letting AI work it's tragic magic

Cheryl Chase That makes a lot of sense having that existing relationship and trust must have played a big role in moving things forward.

It’s interesting how often projects come together through familiarity with someone’s work rather than just the script alone.

Did that change the way you approached developing or pitching the idea, knowing he already understood your voice?

You are in the zone. Go for it. They trust your four pages because of your background. The groundbreaking UK TV series 'The Young Ones' - i think it was - was pitched on crumpled notes written on cafe napkins.

HUGE CONGRATULATIONS Cheryl! :)

How incredible!!! Way to go Cheryl Chase

Cheryl Chase I would love to speak with you about this because I would like to understand their business model. What attracted you to them? I do see on Tongal that Hasbro is offering $4250 for someone to do a "Monopoly Racing Live Action And Motion Graphics Video" for them, which is more than disturbing from an A-list industry leader (who worked with $100m+ budget Baldur's Gate 3, for example and still owns much of the toy and gaming market).

What Damon Zwicker said! x5

Ashley Renée Smith That’s an interesting way of mitigating the risk of coming up against another blockbuster’s release with the use of presales.

The 'event' aspect definitely helps drive attendance. It does all make it even harder for smaller films to thrive and succeed on the big screen

Ashley Renée Smith I think you’re right, it’s less about theaters dying and more about audiences becoming selective. When a film feels like a true “event,” people still show up.

Dune: Part Three is a perfect example some stories are just meant for the big screen experience.

Personally, I’m really excited for both Dune: Part Three and The Odyssey those are definitely the kind of films I’d want to watch in theaters, not at home.

I love going to the theater and here in Brooklyn the movies always have people in the seats. I love it.

Where a film is seen often defines how it is perceived.

A curated OTT slot says: “this is worth watching.”

A strong distribution deal says: “this is worth buying, licensing, and talking about.”

That distinction directly impacts a filmmaker’s trajectory.

2. Control vs. Amplification

Your model gives filmmakers something incredibly valuable: control and immediacy.

But distribution (when done right) brings amplification:

– press strategy

– territory sales

– platform negotiation

– lifecycle planning (TV, AVOD, SVOD, educational, etc.)

Without that layer, many projects get seen — but don’t necessarily grow.

3. Curation as a Hidden Superpower

What you mentioned about festival winners is actually the strongest part of your model.

In a saturated ecosystem, curation is the new currency.

If positioned correctly, your channel isn’t just an alternative to distribution — it becomes a pre-distribution validation layer.

A place where projects prove audience engagement, retention, and demand before scaling outward.

That’s extremely attractive to both distributors and buyers.

4. The Strategic Sweet Spot (Where this gets exciting)

The real opportunity isn’t OTT or distribution.

It’s designing a pipeline like:

festival → curated OTT (your platform) → data & audience proof → broader distribution deal

At that point, the filmmaker doesn’t just ask

“Can I stream my film?”

They ask

“Can I increase my film’s market value before I take it to market?”

That shift changes everything.

From a development perspective, this also feeds back into how projects are built —

because when creators understand the eventual pathway, they make sharper decisions on pacing, audience targeting, and even runtime.

What you’re doing is more than providing access — you’re sitting at a very strategic intersection between discovery and market readiness.

If you ever decide to formalize that positioning, it could become a very strong ecosystem rather than just a platform.

Would be genuinely interested to hear how you’re currently selecting and programming titles — there’s a lot of potential in that layer alone.

Volkan Durakcay - thanks for your feedback, was it from AI? Related to the last question, how I select programming titles is they win in the film festivals that I sponsor. I partner with film festivals, offering them as a prize the ability for their contestants if they win to stream on my channel. So I get only quality films. And I agree, I'm building an ecosystem.

Thank you so much. This is highly valuable

Michael Howard I think a lot of filmmakers still assume the only “real” path is landing a traditional distribution deal, so many probably don’t realize there are now meaningful middle spaces between YouTube and major studio-backed streaming platforms.

What you’re describing sounds valuable because curation matters. One of the biggest challenges with open platforms is discoverability great independent films can disappear instantly in the algorithm. A curated OTT space tied to festivals and quality standards gives filmmakers legitimacy, visibility, and an actual audience ecosystem.

I also think there’s a misconception that distribution automatically guarantees exposure or success. In reality, many filmmakers sign expensive or restrictive deals without fully understanding marketing expectations, rights, or revenue structures.

Platforms like Roku and Amazon FireTV can offer something different: accessibility, direct audience connection, and proof of concept. For emerging filmmakers especially, that can be incredibly important while building a portfolio and audience base.

And honestly, having city recognition and support from local festivals shows you’re building more than a platform you’re building a creative community.

Abhijeet Aade I sure hope so, that's the vision!

That’s a solid place to be. Getting through principal photography is no small thing.

At this stage, what usually decides how a project is received isn’t just the finished series, it’s how clearly it’s presented to buyers. A lot of good projects get overlooked simply because the story, tone, and market angle aren’t coming through strongly in the materials.

That’s where I come in.

Even with everything filmed, the story still needs to be shaped for the people you’re pitching to. Your pitch deck, logline, synopsis, and overall positioning need to carry the same weight as the series itself. When those are sharp, it changes how distributors read the project and how seriously they take it.

I don’t handle distribution directly, but I work on getting projects to the point where they’re clear, compelling, and ready to be taken seriously in those rooms. That usually comes down to refining how the story is framed and making sure nothing gets lost between what you created and how it’s presented.

If you already have materials in place, I can go in, tighten them, and make sure they’re doing their job properly. If not, I can help you build them in a way that actually supports the kind of deal you’re aiming for.

I handle this as a paid engagement depending on what you need, but once I see what you’re working with, I can point you in the right direction and map out the next step clearly.

Let me know what you currently have ready and we’ll take it from there.

Arlane

Good information Arlane.

This sounds very interesting and with the popularity of ASEAN media, you have some legs! I suggest reaching out to to success@stage32.com for suggestions of some of Stage 32's best distribution execs!

Thank you so much, Samantha! I really appreciate your encouraging feedback on the project. It’s exciting to see the growing interest in ASEAN media. I will definitely follow your advice and reach out to the Stage 32 team. Thanks again for the lead! Sam Rivera

Arisara Khampakit Congratulations on wrapping production! Thai BL has genuinely become one of the most interesting global success stories in recent entertainment because it proves how emotionally driven storytelling can cross cultural and language barriers when audiences truly connect with the characters.

What’s smart here is that you’re positioning the project not just as romance content, but as cinematic storytelling with international production ambitions. That distinction matters more and more as the genre evolves and audiences start looking for stories with stronger world-building, emotional depth, and unique identity beyond familiar tropes.

I also think the timing is very strong. Global audiences are increasingly open to international series, and Thai productions have already built incredibly passionate fan communities worldwide.

Wishing you success finding the right distribution partners especially ones that understand both the commercial potential and the cultural authenticity of the project.

Mubi comes to mind. all sorts of indie stuff, including docs.

Thanks Mike

curiosity stream

Hi Kevin Great question — and more importantly, a strategic one if you're thinking beyond just “where can I upload?” and into “where does my film actually belong?”

Not all documentary platforms function the same way. They sit in very different ecosystems — and understanding that difference is what usually separates visibility from obscurity.

From a distribution standpoint, I’d break this into a few key lanes:

1. Curated / Prestige Platforms (Discovery + Credibility)

These platforms tend to value editorial curation over volume. If your doc has a strong voice or festival pedigree, these can significantly elevate perceived value.

– Vimeo On Demand

– GuideDoc

– Docsville

These are less about mass reach, more about positioning your film as a “selected work”.

2. Broad Streaming Platforms (Reach + Algorithm Game)

If your goal is scale, you’re entering an algorithm-driven environment where packaging (poster, title, first 30 seconds) becomes as important as the film itself.

– Amazon Prime Video (via Prime Video Direct or aggregators)

– Tubi

– Plex

Here, discoverability is a design problem — not just a distribution decision.

3. Documentary-First Ecosystems (Audience Alignment)

These platforms attract viewers already primed for non-fiction storytelling.

– MagellanTV

– CuriosityStream

If your doc is knowledge-driven (history, science, investigative), this is often a stronger match than general platforms.

4. Hybrid / Emerging Channels (Niche + Community)

– YouTube (still one of the most underestimated doc platforms when used strategically)

– Filmhub (gateway to multiple AVOD/FAST channels)

These can be powerful if you’re building long-term audience ownership rather than one-off exposure.

A quick development-side note (often overlooked):

Where you plan to distribute should subtly influence how you cut the documentary.

A 20-minute doc for YouTube behaves very differently than a 90-minute piece for CuriosityStream.

Pacing, act breaks, even narrative hooks shift depending on platform expectations.

The strongest projects I’ve seen don’t treat distribution as the final step — they design for it early.

If you’re open to it, I’d be curious to hear what kind of documentary you’re working on (subject, length, audience). The optimal path can change quite a bit depending on those variables — and that’s usually where the real leverage is.

Either way, smart question. This is exactly the kind of thinking that saves months (sometimes years) down the line.

Hi Asa,

That’s a great question—and I think it becomes even more interesting when we move beyond identity (“faith-based”) into how the storytelling is actually constructed.

From a craft perspective, faith-based projects tend to succeed not simply because of their message, but because of how effectively they translate belief into dramatic experience.

In other words:

the audience doesn’t connect to doctrine—they connect to decisions under pressure.

What I’ve found working on or analyzing these types of stories is that the strongest ones usually have three things very clearly defined:

A protagonist whose belief is tested, not stated

Stakes that operate on both a human level (loss, relationships, survival) and a spiritual level (meaning, purpose, redemption)

And a narrative engine where faith is not the answer from the start—but something that must be earned through conflict

From a script development standpoint, the challenge is often calibration:

how to maintain authenticity of message while still delivering a story that feels dramatically compelling to a broad audience, not just a specific community.

Because when that balance is right, faith-based storytelling doesn’t feel niche—

it feels universal.

Curious how others here are approaching that balance between message and narrative drive.

Volkan Durakcay Hello. Thanks for your response. I mainly used the term "Faith-Based" since other artists know the types of stories and filmmakers I am trying to look for: artists who incorporate their beliefs into their work.

Smart move by the NFB. Meeting audiences on YouTube with short, issue-driven docs makes sense. The multi-format approach (four versions of each film) is interesting for engagement. Hope other public film bodies follow suit.

Sam Rivera The NFB is all about education, culture, and storytelling. This feels like a great opportunity.

This is so awesome. We just got done with a massive below the line training in Edmonton with our Stage 32 certification program that was featured in Deadline. We trained 60 assistant directors, production coordinators in production assistants.. It’s now expanding into Calgary. Canada is really gearing up for increased infrastructure for productions. A partnership with Korea is perfect because Korea is making such great content.

It’s great to read this, Debbie Elicksen South Korean filmmaking is some of the best in the world. It’s quite a coup to have this treaty.

Way cool Amanda Toney. While I live in Calgary, I'm born and raised in Edmonton. :) (sad face re Oilers) That's a pretty good number of signups.

Abhijeet Aade I get that, Abhijeet, but the event would have to be something very special. I don’t think that this kind of thing would be sustainable.

OP didn't mention it sold out in minutes.

I can see it as a special experience. Not a rabid Dune fan, so not interested in at that or any price. I think the direction it signals is correct. It'll be major films with a splashy and expensive opening nights,

It takes an Act of Congress to get my ass in a theater seat these days anyway. That's why the investment in home theater. The shared experience has lost its luster for me in lieu of comfort. That and kicking that same ass in the recent past for paying money to see what turns out to be a crappy, disappointing film.

I actually think it’s a smart direction for certain releases Shadow Dragu-Mihai. If theaters are going to lean into the premium experience, then pairing it with something tangible could make it feel even more worthwhile. Even something simple like exclusive merch for pre‑orders or a complimentary popcorn would go a long way. It can open ways to turn the night into an event, rather than just a screening, which might help justify the price for audiences.

I’d also love to see theaters eventually lean into replica environments of the films they’re promoting. Experiencing the world of the movie before you even sit down would be incredible and would make the premium experience feel truly immersive.

Dwayne Williams 2 Well consider a $50 ticket per person plus the upcharged popcorn (so, ~$120 night out not considering dinner), to fight traffic, parking, sit in a movie theater that probably hasn't been cleaned properly with people who don't care if their noise bothers you, all to watch something that you will see within your already-paid subscription price or even free with ads on streaming in a month. The prices are reaching to live-performance costs, where there are real people on stage. The up-charged cinema as prestige experience experiment was attempted by several niche chains in the early 2000s, and failed.

So while I see the MPA studios and theater chains positioning to do this, I don't see it as working for anything but something like Dune, and then only for the superfans who want to be there opening night. So far as theaters in merchandising, or creating replica environments, they are essentially forbidden from either of those due to the very complex IP licensing issues. The only ones to do that are theme park places where Disney, for example, has a side store on the theater it owns. The one exception is themed cups and popcorn containers which are underwritten by the marketing budgets of the movies. It's good to remember this is a studio decision, not a theater decision. Theater owners aren't even in the film industry in my books. They are short term landlords and make their money renting space out in hourly blocks, or daily/weekly blocks if required by their clean screen or block-booking contract.

Congrats on finishing. Try some genre festivals first and build a little buzz, good luck!

Congratulations! Look into similar titles on IMDb and find the companies page. There you can find the distributors and the sales agent (their territory is usually listed as worldwide). This can be a good way to find potential partners.

Sage advice Ewan, thanks for that.

Distribution is one of the most problematic and challenging aspects of indie filmmaking. For my short films, I follow a simple rule: I submit them to festivals for about a year (sometimes less) — you can often land good distribution deals that way. After that, I upload the film to Filmhub, which distributes it to channels worldwide. It's also worth noting that investing in marketing makes a huge difference in the distribution process.

Jaymz Bee That’s a great way to look at it focusing on the story and tone rather than trying to “manufacture” cult appeal.

Rocky Horror is a perfect example of that. It feels like those kinds of films land because they’re so specific in their identity that audiences discover them over time rather than being designed that way.

Interesting that you’re aiming at festivals like Austin while also thinking about distribution early do you see those two paths feeding into each other, or are you approaching them separately?