Distribution

@Philip David Lee Thanks for taking the time to review the 'trailer'. It is just a trailer of a "possible" movie adaptation, there is no movie yet and I'm not aiming for an AI movie either. I'm not experienced on these matters, and I just simply want to get the word out of the movie/TV series potential of my full novel 'Dormant Angels'. In my opinion, it is extremely relevant to today's geopolitical climate/events. I used my very limited abilities with 'Lightworks' and other apps to put this together. I could add more "threatening" scenes to the trailer and the 'actors' were all digital creations. I really can't blame the AI voice for mispronouncing "unleashed"; I know that I spelled it correctly in the text. The 'audience' generally speaking, are not experts in movie production as obviously I am not either. Did you ignored completely the beginning of the trailer about the 'evil presence that had awakened underneath the Vatican'? If it wasn't obvious enough in the trailer, do I need to emphasize that further in? Please remember, this is not a movie, just a teaser trailer. I deeply appreciate your thoughts about it and maybe, relooking at this as a teasr trailer, I would appreciate more ways of improving it. I am a novice but am willing to learn. Thanks Mr. Lee.

Fred Oliver Never be afraid to tell it exactly like it is, Fred. That way, people like me don't go off in the wrong direction. Having not read your book, I am at a disadvantage as to what it entails although the title does generate interest. Are the angels a source of good or evil? Are there two different factions of angels? Is this based on revelations? Faith Based films have a market and material about heavenly figures always draw interest. Unfortunately, if there is any of that paranormal or spiritual material in the book, it didn't come across in the trailer.. It seemed more of a Conclave type of movie which did over $100M worldwide on a $20M budget so there is a market.

So the confusion comes from your wording. This isn't really an "official trailer" but more of an attempt at a "proof of concept" video. If it's a proof of concept video, you can dispense with the characters talking each other or try another AI generator to see if they have a better effect.

Do you have a completed screenplay based off your novel? If yes, have you had anyone take a look at it. Reading a screenplay, a pair of trained eyes can pretty much tell you what genre it will fall into, what kind of budget you can aim for and possibly target acting talent that won't break the bank. The list of names in the credits is a bit confusing. If these are real people, you would need their permission to use their names and if not, it's not impressing anyone. The same with the quotes. You can use Quotes about the book but they have to be obvious that they came from book reviews.

Everything about this industry is a process. and you just seem a little ahead of yourself. The enthusiasm is there and what you've done so far is kind of good and kind of bad, but it's fixable and put in the correct context, you could probably build an intriguing financial campaign that might gather the attention of investors and/or studios, but you need to fix this POC video first. I would take it down for now and rework it. If you would like some help, let me know and maybe we can fix it together.

@Philip David Lee Thanks for your continued engagement with me. Here is what the story is about: The story is a sprawling, multi-layered thriller that interweaves supernatural and religious mysteries with global geopolitical and natural disasters. At its core, it focuses on a diverse cast—from archaeologists and religious leaders to intelligence operatives—racing against time to recover and safeguard ancient sacred artifacts (such as copper tablets and the Temple Menorah). These relics, steeped in myth and ritual, are key to an ancient ceremony that may counteract a rising darkness unleashed by both demonic forces (the Dormant Angels) and modern-day powers. Meanwhile, the modern world teeters on the brink of collapse with crumbling infrastructure, political machinations, and technological warfare, forcing the characters to confront inner doubts, betrayals, and the collision of rational science with mystical destiny. I have a blog site dedicated to this here: https://dormantangels.fred-oliver.com/It is not specifically from Revelation, but it is more like a twist of the end days Revelation. The evil is the Dormant Angels, which are the Giants of old, who fell from heaven and have awakened to reign chaos on humanity. So, I have lots of documents that reveal various aspects of the novel/storyline such as list of major events, list of characters, synopsis, and several others. The 'actors' listed is actually the names of the major characters in the novel. And, yes, I actually based my trailer on 'Conclave's trailer.

I figure that a proof of concept should look as much as possible as an actual movie trailer and honestly, I see nothing wrong with that because my true aim is to attract the public's interest to find out how many people would actually want to watch such a movie. I mistakenly provided the wrong link to the video. The following link takes you to the trailer that explains at the end what the trailer's intent is:

https://youtu.be/9ry2JYGy1wM

I don't have a completed screenplay as I'm not a screenplay writer and I cannot afford to pay for one; however, there is a sample screenplay of one chapter in my blog site (AI generated).

The quotes are all fictitious and the sources for the quotes do not exist. What better POC than a creative movie trailer? If you wished to provide more specific suggestions, I welcome them. I am income-limited, and I have already paid for some of the best AI apps to make this. This is a POC on a shoestring. But for the time being, I'm not taking it down until I develop e better one. I spent three months and countless hours every single day including weekends locked up in my home working on this POC.

Fred Oliver That's great, Fred. Now that you've explained everything, one can better understand your drive and dedication to your work and goals. Screen adaptations of novels can differ significantly from the source material and too be honest, your detailed description of the plot of your book does lend itself to a very feasible film project.with exciting possibilities. You want to make the screenplay as close to your work as possible while giving producers and studios very little room to question your project's financial needs while also demonstrating it's marketability to bring in a successful theater run or streaming life.

I'm in the middle of a move to a different state. Once I'm settled down probably around after July 10th, I will contact you again. If you still could use some help, we'll talk about how I can give you assistance and it won't cost you a dime. I've been in your boat and you are about to take an amazing journey. Hopefully what I have learned through the years will help you reach your goals a bit sooner.

@Philip David Lee Thank you. Have a safe move.

I saw this! How crazy that we've finally hit this point. I, personally, have been targeting streamer much more directly during the distribution process. It's a great way to get people to see your movie. That being said, these deals, while decently lucrative, aren't always the best. They can have a "you should be grateful to be on our platform" attitude. And, frankly, you SHOULD be! So it's a balance you kinda have to navigate.

Ashley Renee Smith I have to admit, because of my recent disabilities and that there are no more matinees at the theaters, I've 100% turned to streaming exclusively for my content, with the occasional PVR of cable TV shows. While I love the atmosphere of the theatre, grabbing a popcorn and pop, I only prefer crowds during concerts and protests.

Absolutely, Aaron Mirtes, such a great point. Streaming is an incredible avenue for visibility, and it opens doors to a global audience in a way that traditional platforms never could. But you’re right, the trade-off can be tricky. It’s such a competitive space that even with a strong project, filmmakers often find themselves navigating deals where leverage feels lopsided.

It’s definitely a moment to celebrate the shift in audience behavior, but also a reminder to go into those conversations informed and strategic. That’s why staying connected to communities like this, and continuing to learn about distribution models and deal structures, is so important. Thanks for sharing your insight!

It's been a fall-off-a-log to see where streaming is going for anyone who produces or watches media in the last decade. The streaming trend though means that the major studios are finished, IF (and only if) independent producers rediscover their entrepreneurial and professional spirit, and abandon the superfan wannabe club who just seeks validation from studios and asks to be part of them. Professional independent filmmaker ARE part of the inner circle already. As we launch FilmPods at filmpod.app - these are the stats we already relied upon to justify our likely success with a wholly independent platform. We haven't even launched for audience - won't do that until September - but already have our first series in production (Uncharted Freedom) and our first feature (The Rabbit Hole) premiere scheduled for both an exclusive streaming audience, and are negotiating directly with independent filmmakers to bring them on with their own FilmPod.

FilmPod sounds intriguing.

It’s exciting to see Edmonton’s film community working together so strategically to build sustainable opportunities for local crews. I love that Dept. 9 Studios is thinking long-term, series work really does bring that consistency and momentum that can anchor a regional industry.

If you’re in the Edmonton area (or any emerging production hub), this is a great reminder to stay connected and keep your portfolio current. You never know when a new project might start rolling and need fresh talent, both on and off screen. Be sure to check out resources like Stage 32 Certification courses to ensure that you’re trained, up to date, and ready to jump on local opportunities when they arise: certification.stage32.com

Warners seems to keep losing dance partners and Sony has deep relationships with Amazon on hardware sales. Only the shadow knows what really happened here but sounds like a big win for Sony.

Sam Sokolow do you think Sam, that this sounds like Warner Bros has a long-term terminal business problem?

Maurice Vaughan I must admit to feeling a side swipe when I heard that Denis Villneuve was attached to the new Bond movie. I think that the casting of Bond will be very important. They have to get that right, above all else.

Two MPA members consolidating their distribution strategies. Since the consent order restricting the studios from monopolistic practices was (without explanation) set aside by the DOJ a couple years ago, they have gone off the hook buying every viable streamer and coordinating efforts to stifle access to anything but studio content, now on a global basis. This might maybe something that should be looked at under RICO. Whatever it means for Amazon & MGM, at the end of the day it means nothing to consumers or independent filmmakers, except noting yet another incremental move to control market share.

Such a fascinating move, Geoff Hall, thanks for sharing this! I totally understand why many people are frustrated and concerned about how much the major studios have merged and consolidated over the past few years. It’s changed the landscape dramatically, especially for indie creators trying to break in or navigate distribution on their own terms.

That said, the new Amazon MGM and Sony Pictures deal is an interesting shift. Sony’s robust international infrastructure could give Amazon MGM more agility in global markets than their previous Warner Bros. partnership, potentially opening different opportunities, but it also reinforces just how centralized access to distribution is becoming.

Thank you for sharing, Randall Scott White! It’s going to be a fun July here on Stage 32!

I sent you a trailer to SETESH. To your listed email.

Yes - listing the mistakes would be great! Even as a Mod, I would like to know the list! My own film is stuck in that limbo.... $200K short of distribution with a plan, but all financing options exhausted. So how do you make $$$ for a film when you have no more equity to sell? Sponsorships seem like a normal, easy-to-understand path to ROI for sponsors if financing or Minimum Guarantees are out of the picture. I would post a link to my next play but don't ant to be self-promoting.

What are the 5 Hidden Mistakes? You didn't tell us. Please share was there's many that wish to know.

Here's a mistake. Between the filming of the first shot and having a release date, the average turnaround time is 18 months. 18 months! That's 540 Days! If you release a 2 minute video a day, that's 1080 minutes of promotional material to tell the world about your film. That is 18 hours of promotional material. If after 18 hours of promotional material, you can't get at least 5 million people interested in seeing your film, well you can draw your own conclusions. This is relatively free marketing. Is a distribution company going to offer you 18 hours of free promotion? They will try and soak you for every cent they can get and wind up costing you anywhere from $16-$20 per person to try and convince the general audience to buy a $10.78 ticket without any guarantees as to how many pairs of eyes they have reached or how many people they convinced to go and see your film.

You don't need 5 Hidden Mistakes. You just need to be aware of this 1 obvious mistake., but hey, don't believe me. If you, who knows your project inside and out, cannot get the public interested in seeing the hard work you, your actors and your crew put into your project of love sweat and tears, then don't expect a group of strangers, that only want you to overspend on advertising techniques that no longer work, to break their backs for you.

Philip has made commercially successful films, does his homework, and KNOWS what he is talking about! PLEASE LISTEN TO HIM!!!!!!!!!

“YahWeh – The Fallen God” : A Cinematic Journey -> Partnership Search

Greetings,

I am pleased to introduce the Motion Picture Initiative "YahWeh – Fallen God", a philosophical and mythological fiction that offers a groundbreaking perspective on creation, consciousness, and the boundaries of the divine.

YahWeh/Brahma created our dimension to scape his own, as he did, he falled, broken. Anger overtook him. This Initiative shows this trajetory. If you want to know more, we are looking for partnerships and investors. Pitch Deck and Screenplay bellow:

https://yahwehmovie.wixstudio.com/yahwehfallengod

Antonio Antunes Alexandre Hi Antonio, I am Geoff, a Stage32 Lounge Moderator and on the site we have a protocol about not highjacking someone else’s thread with what should be your own post.

Please post this in the Anything Goes lounge, as you will attract more interest there, than with this post about Idris Elba and the African Odeon. Cheers, Geoff

Hey Geoff Hall, just wanted to add one more angle to this conversation—trains. In many African countries, train rides and daily commutes are long, especially between rural hubs and city centers. That’s a huge opportunity for entertainment.

Imagine if African cinema—short films, animations, even docu-stories—were integrated into onboard entertainment. Either through screens or Wi-Fi-based streaming systems. It wouldn’t just pass the time, it would build national pride, grow cultural awareness, and turn idle hours into discovery moments.

Dwayne Williams 2 yeah, that’s a good idea Dwayne. In the UK you couldn’t have entertainment at your seat, like in the long haul flights, but yes, a streaming service would be a cool alternative.

I think the challenge in Africa is pretty clear — people want to go to the cinema. But the big issue is cost. If Idris Elba’s vision becomes something that’s for the creators, not just another business venture, it could really work.

Just like YouTube — when you give creatives the space, they’ll hustle to bring the audience. It becomes an experience. And when you serve the audience well, the business side will grow naturally.

But if it’s just built like a corporate machine, it might make money at first… then slowly fade into a “big project with no soul.”

That’s why I’m hopeful — Elba seems genuinely passionate and hungry to build something real in Africa. And that makes me want to believe this can work.

Sounds super. I have a road movie film with an unusual twist that would be perfect for Kickstarter. Any ideas how to get started?

I see people have bought the hype so far. But wait... a FOX/DISNEY sub is taking advantage of CROWDFUNDING to finance films for its platform. Consider what is behind that, because the MPA is not in the business of promoting independent film.

Shadow Dragu-Mihai, Esq., Ipg so, Shadow, what are your thoughts on what’s behind it?

This is great news for indie filmmakers. It’s a continual struggle, of course to find funding and get proper distribution. In a lot of scenarios, Filmmakers don’t realize that self distribution, and we shouldn’t even call it that nowadays, because it’s changed so much, it’s just distribution,, is a much better option than going to traditional sales agents. The model has been broken for quite some time. Things like this create more unique opportunities. We need to see more options like this for all of the Indies out there.

Tony Armer Hi Tony, yes, the model is broken and I agree, we kind of use ‘self-distribution’ to mean something inferior, but it doesn’t have to be that way. How have you been trying to distribute your work?

I'm looking forward to seeing The History Of Sound, Amanda Toney. I've been seeing Mubi in the trades a lot lately.

That's very cool that they're fast-tracking Amanda Toney .

Serhan Yorganci Hi Serhan, great questions! I am working on my first animation series.

Here are my guesses.

Animation as “family content”. Maybe that’s a US perception, because that wouldn't be the case for the animation market in Japan, where adult themed universal stories predominate.

Big platforms. Maybe this is another case of risk aversion. Or perhaps that production companies haven’t done their own publicity and haven’t found the audience for their film. It pays to go into any approach, loaded with things like who you know your audience is. Sorry, that’s a bit of a ramble!

Distribution. Which channels are you looking at for your feature? And which territories?

Hi Geoff Hall my main focus was actually the US and Europe, but since it’s a feature film, the competition and expectations are really intense.

Lately I’ve been thinking. Maybe I should’ve made it a series instead.

A lot of people keep telling me, “turn it into a series and drop the first few episodes on YouTube.”

But to be honest, thats a huge shift for me, and I am not sure i am ready to take that leap.

Is your project 2D or 3D btw?

This is a great discussion Serhan Yorganci. I echo Geoff Hall in that a lot of it is made from an American lens, which may be unrelatable to other cultures. One feature animation that I personally love and that seemed to make a splash was Coco. It animated a cultural reference and made it palatable for more than just the Mexican market because it was also educational and taught those of us outside the culture about the significance of The Day of the Dead. I think the ones that go beyond the typical American superhero, girl meets boy may have more meat on the bones. But that's just me. And a great soundtrack helps.

My gut feel on this boils down to two tribes. Live/Action is Glitz, Actors on the Red Carpet, Promotions, Big Deals, and the ongoing Tentpole Films successes for more money. Animation is still tech/techie and very little glamour so far...one day an indie might change all that.

Serhan Yorganci this is such an important question that gets to the heart of animation industry challenges! Your experience reflects what many independent animation creators face - a market that's simultaneously hungry for content yet incredibly difficult to penetrate.

The Distribution Bottleneck:

The core issue isn't quality or demand - it's the massive gatekeeping infrastructure that controls global distribution:

Platform Economics: Streaming services often prioritize content with existing audience guarantees over unknown properties, regardless of artistic merit. They're risk-averse about animation without major studio backing or celebrity voice talent.

Marketing Requirements: Independent animated features need 2-3x their production budget just for marketing to reach global audiences. Most indie studios can't compete with Disney/Pixar marketing spends.

Perception Barriers: The "family content" limitation you mentioned is huge. Adult-oriented animation like "Loving Vincent" or "Waltz with Bashir" proves there's appetite for sophisticated animated storytelling, but platforms remain cautious.

What Distributors Actually Look For:

- Celebrity voice talent (unfortunately often more important than story quality)

- Franchise potential or IP with existing recognition

- Clear demographic targeting beyond just "family-friendly"

- Technical production values that compete with major studio output

- International co-production elements that provide built-in market access

Your festival selections are valuable validation - sometimes leveraging critical acclaim can open doors that traditional pitching can't.

What's been your experience with international film markets and sales agents?