Guide to Distribution

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C o n T E N T S FDA Guide to UK film distribution 2009/2010

Foreword by Lord Puttnam CBE 2

Film distributors deliver the audience 4Acquisition 6

Planning the release 10

Film marketing and publicity 16

Licensing films to exhibitors 24

The wider picture 28

Working in film distribution 30

About Film Distributors Association 34


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F D A / P I C

2

Lord Puttnam CBE

President, Film Distributors Association

FOREWORD by Lord Puttnam CBE

Audience-focused distributionis, and will remain, vital to the

prospects of individual films,and to the industry as a whole.


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Movies are capable of enriching prettywell every aspect of our lives. They retain

an extraordinary power to amaze as muchas amuse us. Beyond that, they influencethe games we enjoy and the music weplay, as well as inspiring the fashions andadvertising images that spring up allaround us.

But films can have an impact, bothcommercial and social,only to the

extent that they truly connect with theiraudience. Like any other product, filmsonly come to life when they invade theconsciousness of the citizens consumers for whom they were intended.

It is the task ofdistributors to identifyand deliver the largest possible audiencefor every film. This is no small task,

particularly when so many otherentertainment options are available bothinside and outside the home; and thats in

addition to the 500 or more titles releasedin UK cinemas every year. But research

confirms that most cinemagoers know inadvance which film they want to see and thats principally a result ofcompeting distributors efforts to promoteinterest in the title(s) they are handling.

Tailor-made, audience-focused distributionis, and will remain, vital to the prospectsof individual films, and to the industry as

a whole, whatever the medium or formatin question. Every aspect of thecommunications and entertainmentindustry is undergoing rapid change.Inevitably, as digital technologies open upnew opportunities for audiences, and thebusinesses that serve them, traditionalapproaches melt away.

But through it all a few fundamentalsremain rock-solid. Sharing great storieshas always been part of human nature,

and stories told on film look and soundtheir very best in modern cinemas. During

this decade of almost continual changesand challenges UK cinema-going hasbeen remarkably resilient, in fact whencompared to many other sectors,positively buoyant, thanks in no smallmeasure to the inability of any othermedium to match the immersiveexperience cinema offers.

With this guide, you can look through theeyes (or lens!) of a distributor andconsider howyou might launch a film.What sort of business considerationswould you take into account, and whatare the key decisions you must weigh up?Its my sincerest hope that you enjoyexploring the essential life of a film

beyond its production phase, and that thisoverview will make you want to discovereven more.

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But did you know that, right at the heart of thefilm industry, there is a dynamic sector working toconnect every new film with the largest possibleaudience?

This is thedistribution sector. Distribution isthe highly competitive business of launching and

sustaining films in the market place. Its vital to thehealth of the film industry as a whole. Films dontbecome well known, or find their place in theworld, by accident. The distributors challenge is tobring each one to market, starting from scratch(except for a sequel) and realising its potential.

Like other forms of entertainment, the filmbusiness isproduct-driven : the filmsthemselves are the main reason why we buytickets. Theres an insatiable, deep-rooted desireforgreat stories on the screen as well as inprint. But today more than ever, consumers call

With so much information available in so many different forms, theres never been a bettertime to be a film fan. You may have read or heard a great deal about actors and filmmakers.You may be familiar with local cinemas, media software stores and movie websites. Youmay appreciate that some films influence our culture, shaping the way we see the world.

4 F i lm d is t r ibu tors de l i ver the audience


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Team effort

Creative, commercial and professional skillsare needed in all branches of the film industry,distribution included. The chart (right) broadlysummarises the overall lifecycle of a film.

The cinema is the place where filmmakers

aspire to have their stories showcased. Theycome across to their best effect as audiencesenjoy a uniquely immersive, uninterruptedexperience. The profile built up on a theatricallaunch can endure and reap dividendsthroughout the release cycle, influencing thecommercial value a film subsequentlycommands.

Theatrical distributors share and discuss theirrelease plans with:

Filmmakers and producers, who are likely tohave nurtured their projects for years throughthe development and production stages

Exhibitors (cinema operators), who presentthe finished films on screen

A host of external partners and supplierssuch as publicists, advertising agenciesand designers

Colleagues handling the release insubsequent formats

In an age when were all bombarded withmedia choices, the cinema presents films witha vital shop window. This generic guide to UKdistribution focuses on how films are launchedin cinemas.

the shots, deciding for themselves whatinformation to receive or reject, access or delete.So how do people get to know about the rangeof films on offer and come to feel they reallywant to see some in particular?

The film value chain

Usually feature films open firsttheatrically in cinemas. A cinema release has long been,and remains, the most effective way to bestow

stature on a film and create demand to see it.But the cinema is just one link in the valuechain. After the big screen run, films arereleased in flexible timescales on a growingrange of other formats so consumers maychoose how, when and where to watch. Theseare the main ancillary markets:

Home entertainment films are packagedfor release on digital media such as DVD

and Blu-Ray, and made available online fordownload

Then, various forms of pay/subscriptiontelevision

Finally, free-to-air television. Films may bescheduled repeatedly on TV channels yearafter year

Screenplay is developedby one or more writers

Production finance and castand crew are confirmed

Principal photography takes place,in studios and/or on agreed locations,

followed by some months of post-production, editing and scoring

Film prints/disks including theBritish Board of Film Classificationcertificate are delivered to cinemas

a few days before opening

Following its run in cinemas, the filmis released in subsequent windows(home entertainment, television)

and quickly becomes a catalogue title

Distributor develops release strategy,considers release date, and takes delivery

of a master print of the finished film

Distributor presents the film toexhibitors and negotiates bilateral

agreements to have it shown in cinemas

Distributors marketing campaign aimsto create a want to see buzz among thetarget audience and launches the film

Films run extends any number ofweeks subject to demand, which maybe augmented by additional marketing

Producer/company acquiresrights to film a story or treatment

As a filmmaker, I know only toowell that films do not exist for their own sakes they only exist when they are experienced by an audience.

Sir Alan Parker CBE


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As films are creative works intellectual property rather than physical goods their copyright isowned by the people or organisations that produce or finance them. Copyright systems enablecreators to receive a fair return for their innovation and investment. In bringing films to market,distributors act under license on their behalf.

6 Acqu i s i t i on


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Where and how do UK distributors obtain thefilms they release? From one or more ofvarious sources:

A third-party sales agent, acting on behalfof a producer

A continuous flow of new content from aparent studio

A studio or production company withwhom the distributor has negotiated anoutput deal covering a slate of titles

A single title acquired at any stage before,during or after production

As in other countries, the UK has half a dozenmajor distributors (directly affiliated to theHollywood studios) and manyindependent (unaffiliated) distributorswho tend to handle films made outside themajor studios. Any local distributor ofwhatever ownership may compete to pick upa film with available rights,so competition tosign a hot property can be fierce.

When considering acquiring a new film,distributors will look for something fresh,original or outstanding. Is there animaginative idea or hook that could be aspringboard for a marketing and publicitycampaign?

Distributors recognise the importance oflocal product. British audiences naturallywarm to good quality British films, Irishaudiences to Irish stories,and so on.

A filmsmarketability (how it can bepromoted to its particular audience) andplayability (how it actually performs in themarket place) are not necessarily the samething. Who is the audience who does thefilm speak to? Do the story, characters andsituation grip the intended audience? Doesthe film deliver and justify the cost and riskof a theatrical release?

A distributors opinion on a films

marketability may, and ideally should, besought before it goes into production.Generally its preferable for a distribution dealto be in place before principal photographybegins. This may be viable on the basis of ahot script and anticipated cast. In practice,producers tend to seek finance from multiplesources, including:

pre-sales to various territories via aspecialist sales agent

bank loans (subject to prevailingeconomic conditions)

institutional investors

private individuals

beneficial tax schemes

public subsidies (in the UK, most of theavailable grants and funds are co-ordinated by the UK Film Council, thegovernments strategic agency for film).

The distribution contractDistributors sign a formal agreement withthe producer, sales agent or studio, specifyingthe rights they hold in respect of the title.These normally include the right to release itin UK cinemas and promote it in all mediabefore and during its release. There may alsobe provision for the film to be edited locally(or not) in order to secure a particular

classification. The contract will set out howthe income from the release is to beapportioned and accounted for, and set adate on which the distribution licenseexpires.

Importantly, in addition to the theatricalwindow, the agreement usually extends tothe ancillary markets including the furtherright to license the film to UK broadcasters.Distributors normally seek to acquireall available rights in their particular territory,spreading the risk and opportunity acrossmultiple platforms. Some theatricaldistributors do not handle distribution inother formats, but they will have sistercompanies or business partners that do so.


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8 A c q u i s i t i o n con t inued

No fixed formulae apply to film financingor advances. Each case is affected byvariables such as the film property itself,the script, cast and market conditions.Today, the greater use of digitaltechnologies is bringing change to

traditional models throughout the filmand cinema industry.

The larger the production budget, themore likely a film is to have a distributorattached before all its financing isconfirmed. No distributor pre-sales maymake it harder to finance a newproduction from other sources.

Often a distributor becomes a partner in aproject, contributing to its development/production costs and later bringing it tomarket. In some cases, the distributor maypay an advance/minimum guaranteeagainst future earnings to the producer orsales agent. The advance commitment is forthe distribution license rights plus the costsof theatrical prints and advertising (P&A).

If a broadcaster has contributed to thefinancing of a feature film, it is likely tohave pre-secured TV rights as part of thedeal. In such a case, the rights available toan incoming distributor would extend onlyto theatrical, DVD/Blu-Ray and downloads.

The UK has a thriving home entertainment sector. Increasing numbers of homes have large plasma screens delivering HD-TV and digital TV switchover continues around the regions. We buy or rent 350 million films a year from high street and online retailers.Worth close to 3 billion treble the value of cinema ticket sales the home entertainment market is extremely important to the film industry. In addition, the UK computer games industry clocks up annual software sales of around 2 billion.

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h C e n t u r y F o x

Night life: Three years after his firstNight at the Museum , Ben Stiller returnedin the summer sequel for all the family, directed again by Shawn Levy. The strong

cast included Ricky Gervais and Steve Coogan. During this decade Stiller hasbecome firmly established as one of the worlds most popular comedy stars.

His next movie, a different brand of comedy, isThe Marc Pease Experience withJason Schwartzman. On 23 May 2009, the Saturday of the spring bank holiday

weekend, Londons Oxford Street was transformed into a traffic-free kids playground,inhabited by larger-than-life costume characters fromNight at the Museum 2 and

four giant screens relaying clips from the film to celebrate its half-term release.


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Distributors prepare reports for the produceror rights owner, detailing the marketingspend, together with forecast and actualtheatrical revenues. As laid down in thedistribution contract, such reports aresubmitted at least quarterly in the first year

following launch and usually twice yearlythereafter.

Market characteristics

Individual distributors may release anynumber of films, sometimes just one or two,or as many as 2530 a year.

A typical week sees around ten new filmsopening in UK cinemas. Inevitably, with morethan 500 releases a year all competing forscreen time, media space and audienceinterest, the market place is highlycompetitive, churning, chopping andchanging all too quickly.

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Although the entertainment value a film imparts is not linked to its production budget, todays event movies, often containing many computer-generated effects, can cost $150m - $200m to produce. A further $100m or more is often spent on releasing and marketing such films worldwide, so the stakes are extremely high.

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Fresh blood: Heavyweight outdoor advertising helped to launch theTwilight saga in towns and cities throughout the UK. More than a millioncopies of Stephenie Meyers young adult vampire romance novels weresold in the UK in 2008, 60% in December alone, when the first film in thenew franchise was unleashed. It grossed over 11 million in UK cinemasand $380m worldwide. The second film,New Moon , directed by ChrisWeitz and again starring Londoner, Robert Pattinson as Edward andKristen Stewart as Bella, opens in 2009. A third installment,Eclipse, hasbeen announced for 2010.


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Every film has its own tailor-made distribution plan , which the distributor develops inconsultation with the producers and/or studio. The most important strategic decisions adistributor makes are when and how to release a film in order to optimise its chances.

Through a combination of marketknowledge, commercial experience,statistical research and professional judgement, distributors gauge theaudience for each film.

Who is the film for? Who can beconvinced to buy a cinema ticket tosee it and why should they do so?What sort of audiences havesimilar films attracted recently?

Only when distributors have considered whata film may earn (with low/medium/highestimates) can they prepare a budget torelease it, bearing in mind all the relatedcosts. As with every business plan, the goal is

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to recoup all the costs and turn a profit. Butlaunching films is expensive and risky audiences have so many other leisure choices inand out of the home. In reality, most films do notmake a profit from their theatrical runs alone.

When planning a new release, relying solely

on conventional wisdom is never an option.Early information can be gleaned fromdiscussions with the filmmakers and byreading the script, but every project is a one-off. Each release is individually planned givencurrent circumstances. Distribution plans areoften confirmed only when the finishedproduct is available to view.

Focus on the audience

A detailed understanding of the target audience age group and gender, of course, but alsolifestyles, social networks, media consumptionpatterns always informs the subsequentdecisions on how and where a particular film ispromoted in order to reach them.

Naturally the audience can vary considerablyfilm by film, for example from families withyoung children to teenage males and/or

females to older adults, or sometimes acombination. Particular films may appeal topeople with particular interests say in history,cars, animals, certain countries, whatever.Generally, UK cinemagoers are upmarket,especially for more specialised fare, whilecinemagoing is a shared experience with anaverage of three people per party.

Its important never to lose sight of a filmscore target audience. But the distributorschallenge is always to attract as wide a spreadas possible identifying niche interest groups aswell as the broad mainstream, and ideallyhelping a film to break out and cross over.

The most frequent cinemagoers tend to be teenagers, students, young adults. They arethe most voracious media consumers of anyage group, and although television remainspopular, the internet plays a central role intheir lives.

More than half of 1524 year-olds in the UKvisit the cinema at least once a month its afavourite out-of-home leisure activity for youngpeople but overall, just a quarter of thepopulation goes that often. The cinemaaudience is broadening as the population agesand diversifies, and adults aged 35 and aboveaccount for a growing proportion of ticket sales.

The average number of visits per person worksout at 2.7 a year, up from barely one a year atthe low point of the mid-1980s. Yet this is still a

lower frequency than in other countries such asIreland, Australia, the US and Canada, and theindustry is working to encourage more visits.

If you look at how a film performs, the greaterits box-office takings, the more likely it is to beattracting infrequent cinemagoers and repeatvisits. Its a function of the market that the more

a film is aimed at an audience beyond 1524year-olds or family groups perhaps an older,more discerning segment who may notfrequent cinemas as much the moreoutstanding it has to be to sustain atheatrical life.

Rolling the distribution diceAudience tastes are notoriously unpredictableand traditional preferences may not count fora lot in practice. Nobody can be absolutelycertain what makes a hit, or when and whereit might happen. Notwithstanding the bestmade plans, cinemagoers discover particularfilms they like or dislike when they open.

Market research may be conducted to probeaudience reactions at pre-releasetestscreenings or to evaluate alternativemarketing campaigns fundamentalconsiderations for every release. Testscreenings, after which the viewers completequestionnaires, can help the distributor to bemore confident of the expected audience orbox-office prospects.

It is clear to me that films only achieve their extraordinary potential when they are able to reach global audiences, week in, week out.

Lord Richard Attenborough CBE


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A few films every year become sleeper hits,playing for longer and generating greaterreturns than expected. But just because oneromantic comedy or action adventure playssuccessfully to a particular audience is noguarantee that the next such release will dolikewise: it depends on the individual film andmarket conditions. Its well nigh impossible toentice people to a film in which they have nointerest.

Inevitably, as its such an unpredictable,product-driven business, each distributorsearnings, market share and profitabilityfluctuate year by year, reflecting the successor otherwise of individual titles.

The competitive jungleAs well as the target audience and commercialrisk, what factors do distributors take intoaccount when developing their release plans?

Competition is always a primaryconsideration. Which films are otherdistributors likely to release at the sametime and during the following weeks especially those targeted at a similaraudience? Is there space in the market forsomething different some counter-programming? Are the most appropriatescreens for this film available and likely tobe offered? Projected release dates oftenchange as competing distributors jockeyfor position week by week.

Is it an event film, a prospective massmarket blockbuster, or aspecialisedfilm for a more discrete audience?

Is there anystar power among thecast? What were the lead stars lastcouple of films and how were theyreceived commercially and critically?Is the film made by a name directoror producer?

Are any cast members available forUK/international publicity or to attenda premiere?

Is it a film for a holiday period? If so,which season? School holiday dates mayvary around the UK, and with those in

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You aint seen the best of me yet: Theyoung director of the 2009 version of Fame ,

updated almost 30 years after the originalmusical film, wrote a blog on myspace during

production and post-production in Los Angeles.Kevin Tancharoen's cast featured a group of up-and-coming talents alongside teachers

including Kelsey Grammer and Debbie Allen.

E n t e r t a i n m e n t / m y s p a c e

. c o m


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other countries. What kinds of films havebeen released successfully in particularslots in previous years?

Is it a film with hopes for awardnominations? The Academy Award,Golden Globe and Orange British

Academy Film Award contenders oftenopen in the UK between DecemberFebruary, when the annual awardspublicity reaches its peak, although thiscan cause a bottleneck in an alreadycongested release schedule.

Will the film lead the media reviews ofthat weeks new releases?

Is there already a buzz about the film,

due to its stars or makers, a book onwhich it is based, or perhaps somecontroversial subject matter? What isposted about the film online?

If it is a sequel or franchise entry, whatelements distinguish it or givecontemporary resonance over and aboveits predecessor(s)?

Has the film already opened in the US orelsewhere? Substantial success in theUS, reported via websites and othermedia, can contribute to positive word ofmouth in the UK although this canwork both ways, as a disappointingperformance overseas may adverselyaffect perceptions here.

What certificate will the film have? Thecertificate awarded by the British Board ofFilm Classification (BBFC) is important as itcan affect the potential audience.Distributors submit a copy of each film tothe BBFC for classification as soon aspossible, paying a fee according to the films

length. Youll find consumer advice aboutthe content included in a panel on the filmsadvertising.

Satisfying anticipated demandDifferent releases are managed in differentways. For example, a saturation release atcinemas everywhere may open simultaneouslyon 1,000 screens UK-wide, playing at two ormore screens per multiplex. This strategy, usuallydeployed for tentpole titles such as large-scalesequels or star-led holiday releases, helps to

accommodate mass audiences eager to see afilm at the earliest opportunity. Sometimes, oneprint can service more than one screen if it isinterlocked between adjacent projectors.

By contrast, the specialised release of, say, aforeign language film or revived classic maycomprise 25 prints or fewer. Initially, the film

may play in selected screens in London andsome university towns, where local audiencesare known to favour such titles, beforetouring more widely over the followingweeks. Very occasionally, a film might beplatformed in just one location before rollingout. London, with an increasingly diverse

population of 7.5m people, accounts forabout a quarter of UK cinema admissions.

Digital regenerationToday, many films are releaseddigitally aswell as on 35mm celluloid prints. A digitalrelease takes the form of specially encodedmedia disks which are despatched tocinemas, where the content is ingested into apowerful server and played out through astate-of-the-art digital projector. The disks aresignificantly less expensive to duplicate than35mm copies (around 10% of the cost), whiledigital encryption can also render the diskshighly secure.

Digital cinema presents new releasing andprogramming opportunities for film distributorsand cinema operators respectively.

The UK has approximately 650 cinemas with 3,400 screens. A majority of films released go out on fewer than 200 prints,whether 35mm or digital. Every year, across all films, UK distributors procure and supply more than 100,000 new prints.


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The digital images appear on screen inpristine quality and do notdeteriorate over time there is no wearand tear, as is inevitable with 35mmprojection machinery. Digitalremastering though time-consumingand costly enables classic films to returnto the big screen looking as good as new.

Digital projectors may also be adaptedeasily to present films indigital 3D .As you probably know, more and morefilms live-action and animation (twoexamples right) are being releasedin 3D, which enhances certain storiesdramatically while giving audiencesa comfortable, stable, laser-sharpviewing experience.

Budgeting the releaseAs early as possible, the distributor views thefinished film and confirms the release plan. Inthe UK, where distributors pay all the releasecosts including marketing and the duplication ofprints (35mm or digital), the distributor drawsup and works to a comprehensive budget. This

covers both thelaunch and sustaining ofthe film post-release. The investment andprojected returns can be reassessed subject tocommercial performance week by week.

A distribution budget may be itemised asshown opposite. It details all the print costsassociated with the physical release and all theadvertising/publicity (ad pub) costs associatedwith media and marketing activities:

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Total UK distributionexpenditure can varyfrom some thousands ofpounds up to 4m5mper film.

In co-ordinating all theseelements, often for severaldifferent releases at a time,distributors exerciseformidable projectmanagement skills. Itspossible for a fine film toget lost in the mlewithout careful handlingand distinct promotion. Buteven inspired marketingcant save a film for whichthe public has no appetite.

Cost category 35mm prints (for conventional projection)

No. 35mm printsCost of 35mm printsCost of IMAX prints (if any)Trailer print costs

Print transport to cinemas, including cans/labelsOther print related costs

Digital copies (for digital projection)Digital Master costEncoding/encryption applicationsNo. digital copiesDisk duplication costDespatch to cinemas

Other related costs (e.g. 3D glasses if needed)

Film certification charge (BBFC)

Media (pre-launch, launch and sustain)Press/print advertising national/regionalTV advertisingRadio advertisingOutdoor advertising

Online advertisingAdvertising in exhibitor brochuresOther media costs

PromotionsOn-air media promotion(s)Contribution to any retail partner/other promotion(s)

Cost category continued Publicity

Press screenings, incl. cinema hiresTalker screenings, incl. cinema hiresPremiere (if any), incl. invitations/ticketsVisiting talent hospitality/travel

Festival screenings/travelJournalists travel/cuttingsPR agency fees & expensesPress kits (online/electronic/printed matter)Other publicity costs

Campaign productionFilm poster designs teaser/mainPoster printing

Print advertising productionTV spots productionRadio ad productionFilm trailer productionSubtitles/audio description tracksOfficial UK film website contentFoyer POS display items origination & printPromotional leaflets/flyers, if anyOther production costs

OtherResearch screening/exit polling, if anyAdditional materials (specify)Couriers, copying, other incidental expenses

Total ()

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The marketing objective is to create visibility,raise awareness and engage interest, cuttingthrough the blizzard of competing messages.

Distributors must compete for a significant

share of voice not only against otherdistributors but also other leisure activities inand out of the home. They all aim to entice thesame public, who have never had as muchchoice as there is today. However large or

small the marketing budget, audiences mustbe reached in compelling ways and persuadedthat this is an especially entertaining,mustsee film. Their interest should peak as it opensin cinemas.

F i l m m a r k e t i n g A N D P U B L I C I T Y

Who? What? Where? When? How? Strategies to motivate audiencesawareness/interest film by filmCreative Media Publicity

Promotions Online Partnerships

Complementing the distribution plan, every film has a detailed marketing plan.


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Today, theatrical runs seldom exceed six weeks,even for big hits, and can last much less. Butdistributors campaigns are generally effectiveas most cinemagoers know which film(s) theywant to see before setting off for the cinema.

When constructing a campaign, distributorsaim to reach as much of their target audienceas possible, as frequently but cost-effectively aspossible. They must bear in mind that differentaudiences react to advertising, and reach adecision to see a new film, in different ways.

Older audiences may respond best having seena film advertised on television or in the press,while for younger audiences it is moreappropriate to promote the film online, on radiostations or bus shelter panels.

In each case, a variety of complementary mediaand promotional options is considered:

Poster

The main image distilling the appeal of thefilm its stars, theme/genre, credits and oftena tagline to whet audiences appetites. Withsometimes a dozen or more different posterson display in a cinema foyer at any one time,distributors and their designers must workhard to make each one stand out.

Film posters may be created by the studioor sales agent (as applicable) and rolled outinternationally or adapted for use locally.Alternatively, they may be devised in the UKfrom scratch, depending on what approvedmaterials are available and how the film isbest presented to local audiences.

A poster is produced for every release, inquad format (the traditional UK size of30x 40, landscape orientation) orone-sheet format (the US equivalent withsimilar dimensions, portrait orientation).

Many months before release, an initial teaserposter may be created to announce that afilm is coming and to whet the audiencesappetite.

Distributors also provide other displaymaterials for cinema foyers prime space foradvertising current and future releases suchas cardboard standees, banners, windowclings and mini-posters.

Word of mouth

Social recommendation is key a personal recommendation from a friend, colleague or relative can be the most powerful trigger for a cinema visit. Pre-requisite for favourable word of mouth are

high levels of awareness and strong interest. Negative word of mouth is extremely difficult to overcome. Post-release, hopefully,a combination of good word of mouth and further advertising will combine to give the film legs.

Built-in audience appeal: Seven Pounds, whose posterfocused single-mindedly on its leading man, reunited WillSmith with director Gabriele Muccino followingThePursuit of Happyness (2006). Smith has found hugesuccess in TV shows, as a music artist and today as one of the worlds brightest film stars, whose presence alone canhelp to open a movie. 2009 also saw a brand new entry inthe Fast & Furiousaction franchise, reuniting the stars of the original film (2001). It was a smash-hit, attracting itsyoung male audience in mass numbers.

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Trailers

Distributors usually have a range of audio-visual content to work with as they preparecampaigns, including short and extended clips,approved by the producers; making-ofmaterial shot on set during production; andone or more trailers. Trailers are probably thesingle most cost-effective marketingtechnique, playing on the big screen to acaptive audience of active cinemagoers.

Full trailers, screened shortly before a filmopens, may be preceded by early teasers(3090 seconds). Specialist agencies orproduction companies are briefed by localdistributors to create a trailer from the

available material. Naturally, in aiming to sellthe film, they want to include a representativeglimpse of the best bits but, early in theproduction, many sequences will not befinished. Trailer making is a filmmaking art inits own right.

Exhibitors, who programme their own screens,select trailers appropriate to the feature filmbefore which theyre played. Distributors fundthe duplication, and often the production, oftrailers; a wide release will often have 3,000copies circulated to cinemas. Sometimestrailers for new theatrical releases are addedto the front of suitably targeted DVDs, and ofcourse play widely online.

Online and mobile

Fizzing with networks of film fans, theinternet plays a pivotal role in shaping manycinemagoers perceptions of new releases.Most films have an official website (examplesbelow) or perhaps a UK site hosted by apartner company, offering trailers, productioninformation, galleries of stills and behind-the-scenes footage, and more.

The internet helps distributors to start buildingawareness of a new film at a very early stage.Even before principal photography begins, theymay release news snippets or teaser imagesonline, seeding interest among fans. Duringshooting, they may gradually accelerate the drip-feed with video diaries and blogs posted from theset, aiming to engage the core audience more fully.

Warner Bros. Sony Paramount Disney Paramount


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UK film distributors invest around 170m a year in media advertising alone to launch and sustain their releases. Television and outdoor, taken together,

typically account for 70% of expenditure. Entertainment companies as a whole spend more than half a billion pounds on advertising each year.

Folk heroes on both sides of the law have long beenspringboards for stories inprint and on film.Notoriousrecounted the astonishing lifeand death of rap music star,Notorious BIG, played byJamal Woolard. It openedstrongly in UK cinemas,grossing 1.1m in its firstweekend (February 2009).Released in July, MichaelManns thrillerPublicEnemies starred ChristianBale as a dashing agent in thefledgling FBI locking hornswith notorious 30s gangstersincluding John Dillinger(Johnny Depp, first left).Christian Bale starred in twotentpole films in summer2009, the other beingTerminator: Salvation.

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But of course the internet is a two-way street with individuals in control of their ownviewing. There is no hiding place: the momenta film is screened, reviews and feedback canbe shared instantly and constantly around theworld, as online communities swap opinions ina galaxy of chat rooms.

Film clips are among the webs most searched-for content, available across very many sites,while ever more user-generated material, oftenincluding film or soundtrack grabs, drawscomments from wider networks. Sometimesfilmmakers and distributors invite ideas andbloggers suggestions have been known tomake it into finished films.

Film distributor websites incorporate links toexhibitor websites where local tickets may bebought online.

Media advertisingThe cost of advertising placed on broadcastchannels, outdoor sites and in the press isusually the largest expenditure item in a P&Abudget.

Media costs rise and fall according to marketconditions during the year. Terrestrial television istraditionally the most effective visual means ofreaching a mass audience. But the cost of TVadvertising, running into many hundreds ofthousands of pounds or more for a package ofspots in all regions, is prohibitive for most filmreleases given their potential returns. Eventfilms/blockbusters with top stars need

heavyweight advertising to support their widereleases.

Media proliferation and fragmentation havegiven all advertisers a multitude of options. TheUK has approximately 250,000 poster sites atthe roadside or by railway platforms, thousandsof local media outlets and hundreds of digital TVchannels where advertising and promotions maybe placed.

With limited budgets, distributors always

consider inventive ways to reach particularaudiences film by film. They strive to create adialogue with the audience, to gain anactive not a passive response. People havegrown accustomed to using media how,when and where they wish. Every week, forexample, more than a billion text messages

are sent in the UK alone, not countingcommunication via email and websites. Soaudiences can easily opt out of advertisingthat doesnt quickly spark their interest.


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PublicityEditorial coverage of a film can be highlypersuasive. The public often acceptsindependently-written news stories andfeatures more readily than advertising. Thespace itself is not paid for, in the way thatdisplay advertising is paid for, but columninches and airtime are limited and the subjectof heavy competition in their own right.

A distributors publicity team, frequentlysupported by specialist agencies, arrangesmedia interviews with available members ofthe films cast, and chaperones artists visitingthe UK for junkets or premieres. In todaysmedia environment, many channels and

outlets are interested in entertainment newsand features. The more the films talent iswilling and able to support the worldwidepublicity effort, the better!

Publicists compile press kits for journalists,containing cast and crew lists, biographies,

notable facts about the production and asynopsis. Its very important to have aselection of fine images from the film, takenduring production by a specially hired unitphotographer and approved for publicity use.All these materials are disseminated viaonline pressrooms and distributors pro-actively devise hooks or angles for featurearticles and media promotions.

Screenings for national critics arenormally held on the Monday and Tuesdaybefore a film opens to the public; those fornational and regional writers with longerlead-times are scheduled further in advance.Although positive reviews are no guaranteeof commercial success, critics plaudits canstill be important in helping to distinguishand champion certain films, and extracts areoften included in advertising.

Set visits: As with any product development,the film production process is conductedconfidentially behind studio doors or onguarded locations. Film sets are normally strictlyclosed to the public. But distributors may have

Regal entertainment: Scripted by Julian Fellowes,The Young Victoriawas a deliciously intriguing romantic drama starring Emily Blunt and Rupert

Friend as Victoria and Albert in the years before she became Queen. Thedistributors advertising campaign was designed to look suitably sumptuousand seductive. Bluntssta tus as leading lady was reflected in her becoming

the cover star of various glossy magazines as the film was released. Shehad a string of films due for release in the following months, including

Sunshine Cleaning, The Wolf Man, Wild Target and Gullivers Travels.

M o m e n t u m

N a t

M a g


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valuable opportunities to visit the set, especiallyof UK-based productions, along with key journalists, exhibitors or marketing partners. Inmaking such visits, arrangements will be madewith the unit publicists and producers.

Awards buzz: The build up to the majorawards (see page 22) is an important time forpublicists promoting the films vying forconsideration. The season of mountingspeculation lasts around five months leading upto the annual Academy Awards (Oscars), andcostly trade campaigns unfold to secure votersattention to particular titles, performances andcontributions. Shortlists of nominations areannounced 34 weeks prior to the presentationceremonies, which deliver global profile and

prestige.Promotional partnershipsDepending on the films theme and targetaudience, the distributor will endeavour toarrange promotional partnerships. Such tie-insgenerate displays for the film in places whereconventional advertising cannot reach such asshops, restaurants or on packs. They also enablecustomers to interact with the film characters

by collecting premium items or entering acompetition.

Importantly, too, tie-in advertising under licenseby a promotional partner or a third-partycompany with product placement in a film canadd substantial weight to the distributors owncampaign.

MerchandisingMany releases, particularly family films, havemerchandising programmes co-ordinated bythe film company or an external consultancy.Manufacturers may be licensed to useapproved logo devices, images or characterlikenesses on specific products, normally in

exchange for an advance fee set againstsubsequent royalty payments.

Tie-in merchandise can embrace actionfigures, ringtones, clothing, screen savers,calendars,anything . Films regularly haveofficial soundtracks, games and books, whichcan generate significant revenues in theirown right.

Media promotions, placed on an appropriatechannel or publication, can make effective useof film merchandise or location holidays asprizes. Such exposure helps to stretch the filmcampaign and create additional talking points.

Occasionally, a film becomes a ubiquitousevent, saturating the media as well asappearing in advertising, partner campaignsand other outlets. It may develop into apopular cultural phenomenon and become aninternational news item. That audiencesaround the world can take a new set ofcharacters to their hearts, often within a veryshort period of time, indicates how powerfuland influential a storytelling medium thecinema can be.

PremieresPerceived as glamorous and exclusive, butpainstaking and expensive to organise!Distributors publicists organise premieres as anofficial launch for a film, giving or reflecting anevent stature and providing a platform forphoto opportunities and red carpet interviews.

Star-studded premieres and after-show partiesare covered by celebrity publications and newsmedia, and often transmitted worldwide.

Sometimes a gala screening in aid of charityraises a substantial sum via ticket sales anddonations, but from the distributorsprofessional perspective the main aim of apremiere is to give the film a high-profile,entertaining launch, boosting the all-importantbuzz factor. Some TV companies present half-hour specials devoted to a big premiere. Mostpremieres in the UK around 50 a year takeplace in Londons Leicester Square.

Preview screeningsA useful way to fuel pre-release word of mouthamong audience segments that the distributorwants to persuade to see the film. Previewscreenings are targeted carefully, with ticketsoffered to readers of a particular print/online

publication, or listeners of a radio programme,matching the films core audience.

Sometimes a film is previewed widely to thepublic a few days before its official release date.This is a way to satisfy demand to see it assoon as possible and to boost the opening box-office receipts.


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Forthcoming films can become news items just by virtue of being selected to screen at a major festival.

F D A

F D A

Festivals

There are dozens of busy film festivals intowns and cities worldwide, but the mainannual events attended by thousands ofinternational film buyers and sellers, andalmost as many journalists, are presently at

Sundance (Utah), Berlin, Cannes, Venice andToronto.

These festivals, each with their ownpersonality, serve various functions:

a market, where distributors seeking toacquire product may meet with sellers(agents, producers, studios);

a competition, where new titles may bescreened to juries of filmmakers andawarded prizes. Such accolades flashedon a films poster can add prestige butmay also characterise it as arty;

a high-profile platform where films can be

showcased prior to release.

Distributors sometimes choose to launch filmsat a suitable international festival, wherecritics and insiders may discover them and goon to champion them in early reviews. Theeyes of the film world and the mass mediaare focused on the leading festivals, such asCannes in May (right), which accommodates

many premieres and junkets. Trade papers publishdaily editions in print and online for industrymembers and journalists. Other important eventsin the industry calendar include the Edinburghand London film festivals, the American FilmMarket and theMercato International Filme Documentario (MIFED) in Milan.


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Tracking and refiningResearch companies working for thedistributors may track levels of awarenessamong audiences as a release dateapproaches. With 4 or 5 weeks to go theremay be low awareness: each campaign iseffectively a new product launch, generallyrunning in the media for a few intense weeks.

Every week, distributors hold marketing teammeetings, reflecting on the films they have incurrent release and progressing plans forforthcoming titles. Some aspects ofmarketing, such as a major promotionalpartnership, can require a years lead-time,while others, such as running extraadvertising to capitalise on good reviews orawards nominations/wins, may be turnedaround at very short notice.

Accessible releasingMany films are released each year with digitalsubtitles and audio description. New titles aremade available to cinemas every week as aservice to cinemagoers with less than perfectsight or hearing. Some film trailers arepresented online in accessible formats too.

Whenever you see these symbols on a filmadvertisement, youll know that subtitles andaudio description tracks have been producedfor its release:

F i l m

E d u c a t i o n / U n i v e r s a

l

F i l m

E d u c a t i o n / F D A

Film as a powerful educational tool: Engaging,curriculum-based materials supplied to UK teachers in 2009included an interactive guide to filmmaking for 1419 year-olds based onThe Boat That Rocked ; and Coming Soon? ,a generic resource exploring how copyright underpins creativeenterprise, designed for key stage 2 literacy, citizenship andinformation & communications technology classes.

Inspiring young audiencesThe film industry reaches out to the nextgeneration of filmmakers and audiences in variousways, for example by supporting in-schoolfilm clubs and filmmaking schemes for youngpeople. Distributors may also commission a charitynamed Film Education to create a study resource

themed by subject and key stage to a new release,which is then offered to appropriate segments ofits database of primary and secondary teachers.Film Education also promotes educational use oflocal cinemas by arranging screenings for schoolparties, special events such as the annual NationalSchools Film Week, and teacher training seminars.


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A key consideration in any distribution plan is where the film should play.

Which sorts of cinemas and screens are most appropriate? Given the intended audience,

how can the theatrical release achieve its greatest impact? How many screens, and therefore prints, are likely to be sustainable?

Every theatrical release is effectively a joint-venture: the distributor supplies the film, theexhibitors provide the screens, and thearrangements are reviewed week by week.Like all retailers, cinema operators must bepersuaded to stock the product. Distributors

screen their forthcoming titles for cinemabookers, and present release dates andadvertising plans.

Potential blockbusters may be booked into everyavailable multiplex simultaneously, while for

smaller releases, particular screens are likely tobe identified and the release nurtured carefullyfrom week to week. Many cinemas aim to showa broad spectrum of titles. Others, depending ontheir location and catchment area, mayspecialise in films for discerning tastes.

L i c e n s i n g f i l m s t o e x h i b i t o r s


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Almost two-thirds of cinema visits take place over the weekend (FridaySunday), with the other four weekdays accounting for 8

10% each. Monday is traditionally the least busy day. Courtesy of Nielsen EDI, you can keep track of the top films at the UK box-office every week via FDAs website,www.launchingfilms.com, and elsewhere.

P a t h

The distributors sales and marketingstrategies go hand in glove, with the filmstarget audience kept front of mind. For eachfilm, the sales team negotiates a confidentiallicense agreement bilaterally with eachexhibitor interested in playing the film. UnderEnglish law, the maximum booking period fora new release is two weeks, after which, bymutual agreement, the film may continue toplay if it is drawing a significant audience.

Print management digital and 35mmDistributors print managers arrange for aprint(s) to be despatched to each cinemaplaying the film. As films are locked(completed and signed off) ever closer totheir release dates, so the time available forprint duplication and transportation getstighter.

At the laboratories that duplicate the 35mmfilm prints, strict quality control proceduresare applied and the colour specifications arerigorously checked to match the filmmakersintentions. On arrival at the cinema, just afew days before first playdate, the canscontaining the reels that form the 35mm print

are unsealed. The reels are physically joinedtogether and laced on to the projector.

For digitally equipped screens, as we havepreviously noted, the data on the disks areingested on to a server or hard drive, which isconnected to a digital projector (completelydifferent from a 35mm projector). Security

protocols adopted across the industry ensurethat all prints are kept safe throughout thetheatrical run.

After their final playdate, the film prints arereturned or taken securely to another cinema.Ultimately, most 35mm prints are destroyedunder supervised conditions, with as muchmaterial as possible recycled, while digitaldisks can be reused. A print is usuallyarchived for future generations.

No second chancesA film can only be launched once. Its firstweekend in cinemas is crucial to furtherprogress. The distributors marketing effortbuilds up to the opening weekend, which

normally draws by far the largest audience ofany weekend in the theatrical run. Its notunusual for a film to generate 30% or moreof its entire box-office during the first threedays of release!

Distribution plans usually assume that therevenues and number of screens on which afilm plays will decline, often rapidly, ascompeting titles are launched in successiveweeks. But such plans are necessarily flexible:better than expected box-office may lead toquick investment in some extra prints or

advertising.

Distributors may flashUKs no.1 hit on thesecond week advertising (as withSlumdogMillionair e , above, early in 2009) or addUS no.1 smash to capitalise on a topopening in America. Although filmsconventionally start in UK cinemas on Fridays,distributors quite often open on other days or


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run previews the weekend before.Exceptionally, new releases may facecompetition from a major sports event suchas the World Cup or Olympics, as well asother films. The weather can also be a factor:for example, unseasonably hot temperatures,which entice people outdoors, can affect any

titles commercial destiny from day to day.

Box-office returns

Since every film is its creators intellectualproperty, the prints or disks are rented to, orhired under license by, the exhibitors, ratherthan being sold outright as with mostpackaged or manufactured goods. Exhibitorscomplete a weekly return for each title,

indicating to its distributor how many ticketswere sold (on the day or pre-booked) and atwhat price. Cinema ticket prices are alwaysset by the individual exhibitor.

Box-office takings the gross receipts areoften reported in the press. But the sums that

distributors earn are substantially less thanthese figures. Revenue from ticket sales isnormallyshared between the distributor andexhibitor after theVAT has been deductedand paid by the exhibitor. The percentageeach party takes varies film by film and weekby week. Generally, UK distributors receive2540% of the gross, a share traditionallyknown as the distributors rentals.

Out of the net share, the distributor aims torecoup any minimum guarantee plus the P&Acosts incurred in releasing the film. Anyoutstanding balance is shared with theproducers according to a pre-agreed formula setout in the distribution contract. Alternatively, thedistributor may simply retain a distribution fee,with all net proceeds remitted to the producers.

Distributors do not participate in the exhibitor revenue from advance booking fees or the drinks, confectionery and popcorn sold in cinema bars and foyers, or in any proceeds from screen advertising.

Streets ahead: Outdoor advertising takes manyforms, including these illuminated bus shelter

panels well used by film distributors (in this casesimultaneously for fantasy/action sequel

Underworld: Rise of the Lycans and familyadventure,The Secret of Moonacre). Campaigns

may be booked nationally or regionally to reachlarge audiences in town centres, shopping malls

and by busy roadsides throughout the UK.

F D A

L i c e n s i n g f i l m s t o e x h i b i t o r s con t inued


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We filmmakers rely greatly on our professional distribution colleagues tonavigate the most advantageous path for our products into and through the brutally competitive market place. Having worked with many distribution teams, Ive long

admired the brilliant designers who cancondense a feature film into a single

poster image, distinguishing it memorably from the pack. Likewise the skilled mediaand publicity planners, who can deviseeffective campaigns that inspire peopleto see a particular new release.

Tim Bevan CBE

The hold-over challengeOn Monday mornings, after theweekend box-office takings arecollated, the distributors sales teamdiscusses with each exhibitor thehold-over of any current release fora further week from Friday (four

days later).A vital fixture in the working week,these flexible, bilateral negotiationstake into account:

the new releases coming intothe market (typically nine or teneach week)

any previews planned for the

coming weekend, intensifyingthe competition for theavailable screens

the screen average (the averagebox-office gross receipts perscreen) of every film on currentrelease, with only those rankedat or near the top likely toretain screens

Sustaining a release and keeping iton screens week by week is one ofthe key challenges in todays fast-churning market. Films can beyearsin the planning and productionphases and then sometimes barelya fewweeks on cinema screens.

O p t i m u m

M e t r o

d o m e

O p t i m u m

A trio of British films showcasing the UK as a diverse creative hub:Eran Creevys debut featureShifty ; Armando Iannuccis satirical comedyIn the Loop; and John Crowleys dramaIs Anybody There? in which SirMichael Caines leading performance was atour de force . The starattended the films West End premiere in April 2009 and gave manyinterviews to promote the release.


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The global filmed entertainment business has annual revenues of approximately $70billion, with compound annual growth forecast at up to 6%. Cinemagoing has proven tobe resilient during times of economic downturn. The UK is an important hub for bothproduction and consumption.

Most films nowadays secure theirproduction finance from more than onesource. Even the US studios may share thecosts of a big production or split thedistribution rights between say theUS/Canada (domestic) and the rest of the

world (international). Some films arelicensed piecemeal, territory by territory;other releases are handled by the samecompany via its network of officesworldwide. For local distributors, dubbing orsubtitling may be an additional release cost.

Evolving distribution patternsTraditionally, films would open first in UScinemas, then roll out gradually in othercountries. Today, in an effort to combatintellectual property theft and to capitalise onglobal publicity, the gap between the US and

T h e w i d e r p i c t u r e

Worldwide web: The story of apowerful financial institution embroiled in

global arms dealing,The International was an energetic thriller starring Clive

Owen and Naomi Watts. Shot on locationsincluding New York, Istanbul, Milan and

Berlin, the film was launched with apacked press conference at the 2009 Berlin

International Film Festival, attended by apanel of cast and crew members.

S o n y

i t ti l l i h i ki I d d Bl kb t t t ti ll li t N th l l th t f ll i


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international releases is shrinking. Indeed, moreand more films open practically day and date(simultaneously) in many parts of the world.With master prints arriving in each countryever closer to launch date, such releasesrepresent huge logistical and technicalexercises for the distributors involved.

Blockbuster status conventionally applies tothe minority of films that gross more than$100m in US cinemas, although todaysbiggest openers can pass that figure in theirfirst week. Its now common for films to earnmore internationally than domestically, atrend that will endure as many European,

Asian and African markets continue todevelop.

Economic multiplier effectWith box-office ticket sales currently wortharound 850m a year, the UK is the no.1cinema market in Europe and the third mostvaluable in the world after the US/Canadaand Japan. When you factor in the extra

amounts consumers spend during a cinemavisit on food, drink, travel and other items,the theatrical market alone pumps around2.5 billion a year into the UK economy. FDAtracks the wider impact of theatricaldistribution year by year.

The performance of British films here in theirlocal market can have a significant influenceon the attention they receive and theircommercial prospects overseas.

Nevertheless, releases that perform well inone countrys cinemas will not necessarily dowell in all countries, and may need to bepositioned and marketed differently. Onedistributor may succeed with a film that losesmoney for another distributor in anotherterritory. Distributors expert knowledge of

local tastes, cultural sensitivities and marketconditions guides a film through its openingsaround the world.

Cinema release boostssubsequent prospectsAlthough most films do not recover theirproduction and launch costs from the theatricalrelease alone, cinema revenues constitute aminority of the total a film can earn.

With a titles profile and stature established,substantial income may be derived from thesubsequent licenses DVD/Blu-Ray, download,video on demand, pay-per-view, terrestrialtelevision. Indeed, when overall DVD/Blu-Rayrevenue is also taken into account, the UK risesto become the worlds no. 2 market for film.Some titles, especially in the action or horrorgenres, may perform better relatively in the

home entertainment sector than in cinemas.Notwithstanding the haemorrhage from filmtheft, cinemagoing has been positively affectedby new media formats coming on stream. Mostfilms that succeed theatrically go on to do wellthroughout their release cycle the relationshipis symbiotic, the audiences complementary.

In addition to the UK, cinemas in the Republic of Ireland yield

annual box-office takings equivalent to about 90m.

Intellectual property theft, of great concern to the entertainment industry, feeds organised crime networks to the tune of hundreds of millions of pounds a year,cheats consumers of the full viewing experience, and can reduce local jobs and future investment.Distributors take steps to protect the security and integrity of the properties they are releasing. But films are especially vulnerable to illegal copying during the early or pre-release stages of their existence, and pirated copies may be disseminated very quickly online and on DVD. FDA has partnered with Crimestoppers, the independent charity that helps to solve crime. You can report local

film piracy activity - anonymously - either by calling Crimestoppers on 0800 555 111 or via the website www.crimestoppers-uk.org. Thank you.


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A challenging career releasing films in a fast-moving market place how does that grab you?

Wo r k i n g i n f i l m d i s t r i b u t i o n

r o s

Diversity good for businessThe film distribution sector is small


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E r

Bollywood disarms Hollywood: Kambakkht Ishq(Incredible Love) tells of an Indian stuntman who makes itbig in the States but still cant find true love. Sabir Khansfilm stars Akshay Kumar and Kareena Kapoor, and featuresUS stars including Sylvester Stallone and Denise Richards.

Diversity good for businessThe UK today is made up of manycommunities. Film distributors strive torecruit from as wide a talent pool aspractical so that their companies remaincompetitive in the future. Its not justdesirable for distributors to stay in tune withaudiences tastes and wider culture andsociety, and to appreciate peoplesdifferences as well as their similarities itsessential . This isnt merely paying lipservice to diversity; its fundamentally goodfor business. As opportunities arise,considering suitable candidates with variousperspectives and backgrounds helpsdistributors to remain lively hubs of freshideas.

Sharpen your skillsDistributors offices often have stacks of filmscripts. Each one is read carefully, eitherbecause the project is being considered foracquisition or because the film is already inproduction and a release campaign is beingprepared. Being able to appreciate andevaluate a script is an important skill read widely among different writers and

genres to get into practice.Good experience for a film industrymarketing position may be gained at anadvertising or media planning agency,especially by working with a film orentertainment client, or by project-managingin another area of intellectual property. As a

The film distribution sector is small,considering the scale, profile and influenceof its output. Only about 300 people work inUK theatrical distribution less than 1% ofthe film /cinema industrys total workforce although people working in advertising /media buying, PR and design agencies often

collaborate on the planning and execution offilm campaigns.

A film distributors managing directornormally supervises a small staff withspecialist roles:

Marketing

Publicity

Sales

Technical

Acquisitions & legal

Finance & accounting

Administration

In some ways, these departments undertakeactivities similar to their demand-sidecounterparts in any industry. But for filmdistributors, the products they handle areamong the most thrillingly creative,emotionally charged, technologicallyadvanced and hotly anticipated anywhere!

marketing team member youd be expected Forpublicity experience as a journalist or ability to get on with a range of customers


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marketing team member, you d be expectedto be alert to opportunities and to justify yourideas to colleagues and those involved in thefilms production. Lots of ideas and sound judgement are called for when developingboth the creative and media elements of afilm campaign, and decisions are carefullyevaluated.

If youre intodesign , why not considermovie posters, an art form in themselves. Butyoure unlikely ever to have a completely freehand depending on the film stars, theremay be tight guidelines as to what can andcant be done, and there is sure to be a list ofelements, such as credits, that must beincluded in a particular order or style.

Forpublicity , experience as a journalist orpress officer is useful. No two days are everthe same, but you should be able to writesuccinctly yet imaginatively, and to remaincool under pressure. Awareness of todaysevolving media landscape is crucial.Sometimes distributors need specialist publicrelations or event management expertise tohelp arrange a premiere or a junket, andexternal agencies may be appointed tohandle a particular project.

Sales staff, who deal with the licensing offilms to exhibitors, use various strategiesdepending on the film and the agreed scaleof its release. Clear commercial instincts, coolnegotiation skills, absolute discretion and the

ability to get on with a range of customersare vital attributes.

Keyadministrative roles include invoicingexhibitors or paying suppliers;ordering andchecking film prints, trailers and posters; andarranging for materials to be delivered to theright place at the right time. You must be wellorganised with lots of drive and stamina. Ifyoure working on thetechnical oroperational aspects of a release, youll needcurrent knowledge of digital formats, 3D andIMAX presentation, servers and their storagecapacities, and laboratory processes. Its veryimportant that films are supplied for publicexhibition in superlative quality.

Wo r k i ng i n f i l m d i s t r i b u t i o n c o n t i n u e d

Making our day: World renowned as an icon of the cinema,Clint Eastwood has enjoyed a surge of popularity and acclaim

with recent films such asMystic River, Million Dollar Baby andChangeling . He starred in, co-produced and directed the

grippingGran Torino , named after the prized Ford car that hischaracter, a war veteran, maintained. Its release clocked up

another big hit, grossing around $250m in cinemas worldwide.Looking forward, his next movie behind the cameras is

The Human Factor starring Matt Damon and Morgan Freeman.

W a r n e r B r o s .

Getting started


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Getting startedAs you would expect, competition to breakinto the film industry is fierce. Beingpassionate about films is a great start. But itis only a start and not enough on its own.

The distribution business offers relentless yetrewarding work and sheer tenacity is an

important quality in itself. If youre reallydetermined,keep at it! Note how andwhere different genres of films areadvertised,and on which local screens theytend to play. Try to keep informed aboutmedia trends and developments as well asthe films themselves.

Some distributors employrunners andholiday relief to help out, while from time to

time others offerwork placements.Inevitably, vacancies in a small sector likedistribution are relatively few and farbetween. A digest of placementopportunities is posted at FDAs website,www.launchingfilms.com. It may also help tokeep an eye on publications where media jobs and placements are advertised. A littlerelevant experience can count for a lot.

Once youre in and have shown youraptitude, you may find that training coursesare offered to help refine your knowledgeand skills. In due course, opportunities mayarise to work in head offices or overseasaffiliates.

Best of luck.

33

Top form: Two of the many award-winning films that played in UK cinemas in 2009 were Laurent CantetsThe Class, set inmodern-day Paris, and Tomas Alfredsons dark fantasyLet the Right One In . As the huge success of Slumdog Millionaireshowed, UK cinema audiences are receptive to compelling, well-told stories from anywhere in the world. Both these films(above) were promoted principally as great drama, their foreign nationality incidental, and both scored rave reviews.

M o m e n t u m

A r t i f i c i a l E y e

Skillsets aim is to ensure the UK film industry has the right people with the right skills at the right time. They make training and development accessible and af fordable for people in the industry by providing bursaries, subsidies and guidance, and funding the Screen Academy Network and new entrants schemes. Discover more at www.skillset.org/film. You can access its careers advice service at www.skillset.org/careers.

FDA supports distributors by commissioning short courses in the business of film and, as the vital blueprint for a movie is its screenplay, training in script reading/analysis too. Visit www.scriptfactory.co.uk.

FDAs mission Actively engaged in the fight against filmWe maintain frequent contact with our


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FDA is the long-standing trade body for UK theatrical distributors. Films released by our member companies account for 96% of UK cinema admissions. As a trade association not an operating distributor, FDA itself is a small company in the member service business.

A b o u t F i l m D i s t r i b u t o r s ' A s s o c i a t i o n

To provide generic services that enhancethe capacity of our member companiesand other contacts to manage theirindividual working lives better

To be a credit to UK film distributors and

a valuable resource to the media, and toplay a facilitating, energising role inindustry development

What we do

Under FDAs auspices, senior representativesof our member companies meet to discussmatters of generic (non-commercial) interestto the sector and the industry as a whole.

y g g g gtheft, we are represented on the boards ofthe Federation Against Copyright Theft(FACT), the Alliance Against IP Theft andthe Industry Trust for IP Awareness.

Were also a member of other bodies suchas AIM (All Industry Marketing forCinema), the British Screen AdvisoryCouncil (BSAC), the InternationalFederation of Film DistributorsAssociations (FIAD) and the EuropeanDigital Cinema Forum (EDCF). We areproud to be a sponsor of the UKs NationalFilm & Television School, whose graduates

join the next generation of filmmakers.

qmembership via e-bulletins. On their behalf, wefulfil a busy work programme including audienceresearch, sector training and one voicerepresentations where appropriate. We producea yearbook, some best practice guidelines andcompilation trailers promoting the new seasons

line-up in cinemas. We also publish a quarterlypreview magazine calledFocus , availableonline (www.focusonmovies.co.uk) and in print.

FDA also prepares editorialplanning tools for media, inthe form of central schedulesof preview screenings forcritics and others.

F D A m e m b e r s


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Accessible cinema:www.yourlocalcinema.comAlliance Against IP Theft:www.allianceagainstiptheft.co.uk

British Board of Film Classification:www.bbfc.co.ukBritish Federation of Film Societies:www.bffs.org.ukBritish Film Institute:www.bfi.org.uk

British Screen Advisory Council:www.bsac.uk.comBritish Video Association:www.bva.org.uk

FDA Cinema Days:www.cinemadays.comCinema Exhibitors Association:www.cinemauk.org.uk

Federation Against Copyright Theft:www.fact-uk.org.ukFilm Educationwww.filmeducation.orgIndustry Trust for IP Awareness:www.copyrightaware.co.ukSkillset:www.skillset.orgUK Film Council:www.ukfilmcouncil.org.uk

Many more links are available from FDAs website, www.launchingfilms.com

Here are a fewother UK filmindustry websitesyou may like toexplore, dependingon your particulararea of interest:

www.adlabsfilms.com

F D A m e m b e r s

www.artificial-eye.com

www.dogwoof.com

www.erosentertainment.com

www.iconmovies.co.uk

www.metrodomegroup.com

www.momentumpictures.co.uk

www.optimumreleasing.com

www.paramountpictures.co.uk

www.parkcircus.com

www.pathe.co.uk

www.revolvergroup.com

www.sodapictures.com

www.sonypictures.co.uk

www.fox.co.uk

www.universalpictures.co.uk

www.vervepics.com

www.thefilmfactory.co.uk

www.warnerbros.co.uk

www.theworksmediagroup.com

www.entertainmentfilms.co.uk

www.e1entertainmentuk.com


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In the course of our work, FDA liaises with many different people and organisations. We

welcome any approach where UK film distributors generic interests are concerned. Withgeneral enquiries or comments on this guide, please email [email protected] or write to us:

Film Distributors Association Ltd., 22 Golden Square, London W1F 9JW

We aim to respond appropriately within three working days of receiving your enquiry.

To keep in touch with the fast-evolving world of UK film distribution, visit FDAs website,www.launchingfilms.com .Youll find a weekly film release schedule, a bank of industry data, a gateway of links and much more.

Get the insiders views of the film business

You can explore UK film distribution further, andwatch some people who work in the businesstalk about their roles, at our dedicated microsite:

www.launchingfilms.tv

Con ta c t FDA F D A


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2009 Film Distributors Association Ltd.

No unauthorised copying: No part of this publication may be reproduced in any form without the express prior permission of FDA.FDA thanks all contributors to this revised and updated edition of the Guide, which supersedes all previous editions.Information correct at time of going to press but subject to change.

Designed and printed in Englandfor Film Distributors Association

by Wham Media Ltdwww.whammedia.co.uk

Guide to Distribution

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