Distributing Your Film Online

Lesson 14 of 16

Sit Down with Robert Milazzo

 

Distributing Your Film Online

Lesson 14 of 16

Sit Down with Robert Milazzo

 

Lesson Info

Sit Down with Robert Milazzo

Welcome to mohr of distributing your film online with chill andrine my name is robert malala's on the head of the film channel here creative live and so excited to continue this conversation and this incredible, vast flow of information that shell has been authoring for us all day high. Yeah, this is exciting and we have a great students here with us. We're excited that you guys air still here, you mark twain said not to me, but um by land, they're not making it any more on guy was thinking about that because there's a lot of films now, and I kind of want to start there before we get into distribution to play devil's advocate do you think there are too many films? Yes, there's sixty thousand films made roughly around the world every year it's mean, it would take multiple lifetimes to consume a fraction of them because we have to live our lives as well, but at the same time, so if you figure the eighty twenty rule to be generous little less than twenty percent might be worth actually mi...

ning through and some films air just made so personal they're just for a very small audience, so I guess if we were to really put that question into context, if for just the general movie going audience yeah, there are too many movies made um but as faras like I'm all for getting out there and creating your content because some it's made for someone there is an audience for every film, even if it's an audience of one, because sometimes we have to make something for just our own reason for just for us to make it that's a lot of that sentiment about one person a student once asked me, how do you what does it take to get a film made? And I thought about it was in disarming question because it's sort of the question, andi, I said it takes one person to believe in you, and that was the whole answer in the sense of maybe it's a writer, maybe it's a producer, maybe it's a distributor, but in a way, what you've set up is that one person because of this kind of democracy of distribution, is there a way, though, to turn it off for him to modulate it? Where you're sort of saying, how did the best films get made, or is that not even of circumstance anymore? Is it mohr volume over precision on the's air? These air the questions? Your work is kind of answering, but what is that balance between volume over precision or quality for lack of a better word? Is that something you think about with indie flicks or your distribution? Absolutely absolutely, I think about all the things that frustrated me with regard to getting my own films out there and what I learned from meeting a ton of other people around the world film festivals who had amazing movies and they weren't getting picked up or seen by anyone and just the bottlenecks and the, you know, the constipation in the industry, and I just thought, you know, the gatekeepers aren't paying attention and there's just there's got to be in a better way, and I do believe that, um, that whole thing about one person believing in you is you and that's the place to start and said the model our model is created for exactly that reason, and it is you who believes in it and can get anything done with it but also could start the conversation. And I have to say that you know, to your question about making the best movies, I think you have to define the word you have to define what best is I actually think that the best movies are the movies that sparked conversation because it is through that conversation we learn about each other. I am I think, every day a couple times a day if if I get the great privilege of being able to talk about a movie or a piece of art or a book or a business model or anything where we get to connect especially movies which air so more universal we get that water cooler moment you get to talk about let's see where wolf of wall street perfect example I went I loved it I thought it was arrived. I love the directing I thought it was just a great just great storytelling well executed I had no idea that people who I know really well walked out if they had asked me do you think they walked out of a love that I would have said, well it sure they loved it they didn't they walked out they hated it people got there, you know, it got them going and talking about how women were treated in the film it's like it was the seventies it was wall street when we can't change that history it was so I learned so much about people in my community based on the conversation around that movie I thought it was a great movie for that reason american hustle another one was it like the deepest story? No do even kind of know what it was about that really did I love the music and the fashion yes, what? I watch it again just to put it on to hear the music playing in the background yeah, so to me was it a great movie for that reason? Yes. Best past and good I think should be in a certain has to have relevance. Yeah, and it brings up a distinction and intelligent distinction between craft and taste and yeah, you know, those are the two spindles of film in a sense, and I I looked at my students and and they'll often say, well, you haven't seen citizen kane, you don't know anything, I I find what you're doing in your work and just your view is so exciting because you've decentralized taste and craft, you've done two things you made it ok to not live in new york and los angeles to make a movie that was really scary. Tell me about that. What? What? What was it in your life and work? Yeah, you know, you're in the northwest. Well, that debate comes up for everyone who ever picked up, you know, final draft software. When was the new york moment for you to be or not to be? Well, so I lived in new york and l a you did it both for many years and cultivated a great community let there and a life there, but it was honestly, I think the universe pulled me out. I had a really hard time raising money in l a toe launch indie flicks because they said, nonexclusive, transparent, you're gonna pay the filmmakers. More it you're never going to build a company and I got laughed out of rooms so my dad died I got divorced and I started to start up within six months so I ended up moving back to seattle really in the beginning for two reasons to raise my children there because I wanted a different lifestyle for them and then in l a and two there was I was more well received there and my business partner carlo is there and we were we were able to raise money there for andy flicks we weren't as crazy um and we had just us believing in ourselves the hardest years were the beginning when people even filmmakers whose films had sat on a shelf for five years and had no actors in them and I'd say remember we met in venice at the film festival I love your movie I'm launching this site called indy flicks its dvd on demand my goal is to launch with one hundred movies by october we have a big new york times article coming out and they were like I don't know and I said it's not exclusive it costs you nothing you can take it back down we incur all the costs to encode and get it live and we even pay for the ability to do shift the dvds and like you know what? If somebody worded like pirate my movie and I would say ok, that would be a compliment someone pirates because right now it's been sitting on a shelf and road even knows it exists and that you won all these awards and you didn't get picked up for hollywood. Hollywood only has so much bandwidth and we have so much money and so many people in so many slots available to pick up films so that leaves fifty nine thousand films that are not getting just major distribution so you have all these wonderful up opportunities what would you say as we wrap this idea of new york and l a it's never simple is you know life has other plans you know what would you say to people watching home in here? What what is that thing how do you answer that question do I need to move to one of those media centers? You know, we I'm sure we have some refugees here in the studio with us and I get asked a lot should I move to ella is there is there kind of philosophy that you would say follow this trusting yourself is it listening to yourself or is it I took a risk? I mean would you come down that wherever you live you should have an online presence so that you can connect with people all over the world? I think that be really engaged offline as well I know that in seattle in san francisco in any way you go you can find that film community the on ly part that's challenging is when you're in l a and you're walking, but you will just bump into people in the industry. So the likelihood of if you want to get a job, say, in the film industry, there's a better chance there, because it's all industry, if you're in seattle and you want to or in san francisco and you want to get into the film industry, you know it's just a smaller opportunity, but you can live anywhere and do this business. I sort of feel like for acting that's, the one area I think that's just growing. Spend a little time, yeah, there's, a baptismal advantage, whether it's, new york or even chicago, you got to get to know the casting directors, because at the end of the day, it's all who you know and you want to, you know, you just you need those relationships. The film industry is built on relationships and that's. Why you I won't go into that, but, yeah, it's build relationships.

Class Description

Your film doesn’t have to appear in theaters to find its audience. Distributing an indie film online is an effective way to increase the visibility of your movie, get compensated for your efforts, and validate your work.

Maverick independent film entrepreneur Scilla Andreen was done with the one-sided deals brokered by the big guys. She wanted independent filmmakers and producers to have more options, so she built one: IndieFlix.com – a platform for DIY film distribution that Variety magazine calls, "The Netflix for Indie Films." In Distributing Your Film Online, Scilla will detail the distribution landscape and teach you how to find your audience online. You’ll learn:

  • How to distribute your film online
  • The benefits of online distribution
  • How to monetize filmmaking

Scilla will discuss the no-nonsense architecture of online film distribution and help you reduce and navigate the layers of distraction between making a film and having people actually see it. You’ll learn how the IndieFlix model works and how it, and other online distribution platforms like it, make money for independent filmmakers.

If you are ready to find an audience for your indie film, Scilla Andreen can show you how it’s done online.


Reviews

a Creativelive Student
 

This course is only an introduction to online distribution for films. It doesn't go deeper in any aspect nor gives you concrete steps depending on your film project. So if you've never heard or thought about distribution is a good place to start in a few hours, but if you are looking for a deeper analysis or information to reinforce the online distribution of your film, it isn't there in my opinion.

user-5e0444
 

Was this an instructional video, or a plug for a commercial enterprise. Light in detail, this series does offer a few gems for those searching for answers. It did put into perspective the odds of finding distribution in a marketplace crowded by competition where everyone is looking for ways to maximize a return on investment and offers alternatives to those wishing to tackle the job of online distribution themselves. Because "once a film is completed, the real work begins." it is important to know what these alternatives are. David W. King, Michigan Movie Media 2.0