SCREEN TRAINING IRELAND: DISTRIBUTION SEMINAR
As part of BSE/IFB’s continuing focus on sales and distribution for Irish content, BSE/IFB head of marketing Moira Horgan spoke at a Screen Training Ireland (STI) distribution seminar with Eclipse Picture’s Niamh McCaul, Network Ireland’s Derry O’Brien and Momentum Pictures’ Sam Nichols.
Horgan outlined BSE/IFB’s recoupable Prints & Advertising (P&A) Support Fund, which supports the distribution of BSE/IFB-backed content where marketplace distributors have indicated a level of cash support. Aiming to encourage Irish distributors to take risks of releasing and marketing Irish content, the Fund presently offers up to 50% support, but, as part of the ongoing focus of the Agency in this area, consideration was being given to offering bonus support to distributors who commit to projects from script stage.
Horgan noted the Minister’s and CEO’s special focus on the exploitation of Irish films and said that BSE/IFB would continue to encourage producers to seek the earliest possible involvement of distributors and sales agents in their films. It wasn’t just about a hunt for extra production funding (which is always welcomed!), but also about the expertise end-users can bring to the production itself, including a focus on what works for buyers, delivery materials, stills photography and so on. A new test screenings program has also been launched to assist distributors with marketing, as well as filmmakers with key creative decisions.
“We need to trust the distributors,” said Horgan, adding that international sales agents regarded the local release as very important as it can assist with selling the films overseas if results are good. “Getting the films out there is their job.”
McCaul agreed that theatrical distribution is a risky business and the more money a distributor had to spend correcting issues from production (such as incomplete delivery items) meant less money for marketing your film. She urged producers to build relationships and she noted she especially liked getting scripts from those whose films she had distributed before. She referred to her alliance with UK distributor Verve, which was good for her buying power given that UK/Ireland is regarded as one territory by sales agents.
McCaul noted that Ireland/UK had the “worst” exhibition terms. She noted that distributor recoupment generally went in the order of guarantee, costs and commissions which all had to come out of the 25% share of box office the distributor saw back from the exhibitor and this was before investors got to recoup.
It was noted that the Irish office of Columbia (which has a video arm) is also now reading scripts, which is a welcome development joining Buena Vista’s already active presence. It was agreed that Irish distributors needed to create even stronger links with other European distributors to more fully benefit from MEDIA distribution funds, given that the major share of the MEDIA program concerns distribution
Network Ireland’s Derry O’Brien noted that a lot of overseas sales are now DVD driven. His standard commission is typically 30%. He also noted the rise of specialty TV channels meant “there are now small markets for quality documentaries that you couldn’t give away a few years ago.” Despite the ongoing shake out of sales agents, O’Brien noted there was competition for quality content and therefore Network Ireland shall consider putting up advances in some cases and will also work closely with producers on applications for MEDIA support.
Momentum Pictures’ Sam Nichols said the UK-based distributor “can get involved at script stage on content from any territory” as they did with “a hefty guarantee” ETERNAL SUNSHINE OF THE SPOTLESS MIND.
Nichols then gave a fascinating case study of the distributor’s evaluation process for projects which entailed comparing the projects against similar types of films under the headings of cast, box office, marketing spend and audience demographics. She then outlined the process of the creation of the marketing campaign for the films
Nichols noted it was not always necessary to attach a stellar cast, highlighting that THE MAGDALENE SISTERS worked well without one. The trick was a universal story with a local postcode and a strong voice, she added. Encouragingly, she said the “interesting” films potentially offered the most upside. She also noted the theatrical documentary market has opened up nicely.