Documentary filmmakers should view distributors as strategic partners rather than an afterthought, international executives told an industry panel. This week’s DOK Leipzig.
We’ve discussed how filmmakers can most effectively work with distributors.
During a panel discussion at DOK Leipzig, Shoshi Korman, co-managing director of Israeli sales company Cinefil, advised filmmakers to start talking to distributors as soon as possible.
“Oftentimes, we have people contact us right after the festival premiere, and that’s too late for us. We can’t work that way,” he said.
Freja Johanne Nørgaard Sørensen, senior sales and acquisitions executive at Danish company DR Sales, added: “We’ve seen a new trend where people start contacting us right before the festival. They don’t send out the link in advance. They want you to come see the premiere. I mean, do you want to break your knee and then go for a run? That’s what you’re asking.”
She warned that such delays could result in an inability to “get PR on board and buyers on board.”
Corman also warned that producers are too focused on releasing the film. “A lot of people think the world premiere is the finish line, but it’s not even the halfway point yet. It’s important to have a distributor on board[before then]because they can follow that journey and guide you through the second part.”
“Don’t think that getting in early will hurt your creativity,” Sorensen told a room filled with mostly young film professionals. “You might point out who your audience is. If you make a movie for everyone, you’re not going to reach anyone. There’s no shame in saying, ‘We’re aiming for a certain type of audience,’ because then you can tailor your market strategy to that audience.”
Sorensen also reiterated that selling featured documents takes time. “Even if your film is released at a film festival, it may take a year or two to find a broadcaster or distributor.”
Benjamin Kore, managing director of German distributor Pluto, emphasized the important role that distributors can play in “communicating” a filmmaker’s vision to an audience.
“What works for us is to talk early. That doesn’t necessarily mean getting into the film early, but what we do here in Leipzig is to talk to you and give you feedback,” Kole explained.
Colle added that if a sales agent doesn’t take a project, the filmmaker probably won’t be able to change his mind about it. “When we sit down and watch[this movie]don’t try to convince us that this movie is really, really good and works really well. It’s like a relationship. You can’t convince someone to be in a relationship. You have to feel it.”
Sorensen urged filmmakers to be more direct about what they’re actually looking for from distributors.
“Be very honest. What do you want? Do you want someone to pre-sell your movie? Do you want to finance it? Do you want to produce the movie? Or do you want to spend five years trying to get soft money? If you want to do that, that’s completely your prerogative. There’s no right or wrong. But if you don’t want to pre-sell, don’t try to hire a sales agent to develop it.”
All panelists called on filmmakers to take a reality check and warned against setting unrealistic expectations for their documentaries.
“That’s the biggest conflict that tends to arise with filmmakers when expectations are mismatched,” Sorensen warned.
Speakers revealed that there are many ways documentaries can reach audiences, including television, festivals, educational channels and streaming platforms. Theatrical distribution may not be appropriate or even possible.
Corman cautioned that success, if achieved at all, does not come easily, citing the example of animated cinephile documentaries. run away. “The film received three Academy Award nominations and was distributed everywhere… But what people don’t know is that it took nine years to get this film financed because no one believed in us. Nobody! We kept going to everyone and begging, and they were saying, ‘Animated documentary, that’s not it,’ and ‘A refugee story, that’s not that.’ In the end, it was a huge success. But it took a lot of work and time.”
DOK Leipzig will be held from October 27th to November 2nd.
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