Distribution

Hello you can sign up here, we're currently on early bird sale! https://www.stage32.com/education/products/domestic-distribution-in-2025...

Looking forward to this webinar!

Ashley Renee Smith The best advice I’ve received that’s helped me keep going is all it takes is one yes. One yes can lead to a script request, one yes can lead to a job, etc.

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

Ken Walden, congratulations on completing your music documentary, that’s a major accomplishment!

I’d recommend reaching out to our Success Team at Success@Stage32.com. Let them know more about your project and goals, and they can suggest executives here on Stage 32 who have direct experience in both music-driven content and documentary distribution.

Serhan Yorganci What motivates people to choose FilmHub? Dementia. Or complete lack of research.

Far from promoting those who go to Filmhub, Filmhub charges platforms up to $10k just for the privilege of viewing the catalog, and they do not share any of this with the filmmakers. You might think this actually prevents your title from being seen, instead of promoting it. You would, IMO, be right. Of course, they don't charge Tubi for that - or Amazon - who don't play that game. I ran Facet TV and am one of the founders of FilmPod.app which is being built to give professional independent filmmakers complete control over their distribution and monetization, so have had to deal with Filmhub and it's founders directly several times. As well, we deal with many other independent streamers and the experience is the same. further, since ~November 2024, word is that they are late and less responsive on payments. IMO, just don't.

Shadow Dragu-Mihai, Esq., Ipg Thank you so much for your detailed response. Filmhub really does come across as a kind of monopoly. The alternatives aren’t much better either. Many ask for upfront fees of $5,000 or more just to get started.

What’s even more frustrating is that filmmakers who go through Filmhub rarely speak up about poor performance. No one wants to publicly admit that their film didn’t get views or traction. It’s like a collective silence, which only makes it harder for others to make informed decisions.

Honestly, it’s hard to make sense of how this system still works.

I haven’t used Filmhub myself, but I’ve seen a lot of conversations about it across the community, especially in the Filmmaking and Distribution Lounges. Some of the most common motivations I’ve noticed are filmmakers hoping for broader visibility and long-term presence across platforms like Tubi, Plex, and Freevee. It’s often seen as a way to build momentum and prove audience interest.

That said, I’ve also seen filmmakers express mixed experiences when it comes to revenue. It seems like the financial returns can be unpredictable and usually depend on the genre, platform placement, and how much promotional work the filmmaker puts in outside of the Filmhub upload. But for those who don’t have direct access to traditional distribution channels, it’s often considered a stepping stone to get eyes on the work and potentially attract larger opportunities down the road.

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,

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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 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?