Many of us have been beating this drum that "self-distribution” is often a component of a larger Distribution strategy because most films can start with some type of traditional theatrical release -- even a single awards qualifying playdate -- and eventually find their way to global streamers and other traditional ancillary channels. "Self-distribution" and "DIY" therefore penalize a film's gravitas, and the monikers fail to evoke the reverence of the risk-taking entrepreneur and the savvy of storytellers who choose to retain control of their IP. The terms must be retired, and in his compelling missive, Jon Reiss is saying as much. We are doing a disservice to our industry by using these terms.
The symbolic prestige of an acquisition often obfuscates a powerful truth: Tech and Data are the best allies of IP owners. Establishing a direct relationship with one's audience and using technology to monetize that relationship (and/or to drive measurable impact) is a compelling alternative to standard film sales and acquisitions.
I view this strategy as its own distinct window, which we (at Gathr) call the Direct To Audience ℠ (DTA) window. In this window, IP owners can field direct audience demand for theatrical and non-theatrical screenings, Virtual Event Cinema, TVOD, and Partner TVOD, where we have combined film booking/exhibition with ticketing and consumer check out. Leveraging technology platforms like Gathr, Kinema, Show And Tell Productions Ltd, Artinii.Pro, Seed&Spark, and others drive better economics, rapid cashflow, and critical data insights.
Capitalizing on Traditional Theatrical validation (and in the best of circumstances, momentum), the subsequent direct, real-time audience engagement that the DTA window facilitates provides empirical consumer data for ongoing ancillary distribution marketing. Once DTA opportunities plateau, a film can and should pursue global streaming platforms for TVOD, SVOD, and other ancillary rights deals. However, the data will be sparse and delivered far too late to inform marketing efforts. By incorporating the DTA window IP owners will have cash on hand as well as a warchest of consumer data with which to run empirical look alike campaigns for digital ads.
The DTA window not only generates valuable data and drives better economics but also empowers filmmakers by placing them in direct control of their IP and audience relationships. In this evolving landscape, the ability to leverage technology and data is often more impactful and more financially rewarding than traditional distribution channels. Let’s fully embrace distribution in all its evolving forms and normalize the Direct To Audience window as an essential part of every Storyteller's strategy because DTA offers them a clear pathway to success in a way that distribution without it simply cannot match today.
