September 12, 2024
“They’re eating the dogs…” And I thought the film business was wack?! That’s all I can say on that madness.
Let’s get back to Joy! And by that, I’m not just talkin’ politics, but “Joy and Positivity” which were the two words used by Emily Rothschild (distribution consultant) and Jessica Edwards (producer) when discussing their distribution strategy for ENO by Gary Hustwit. That caught my attention, because usually when I speak with a doc filmmaker or any doc industry folks about distribution right now, I am more likely to hear doom and gloom. But nope, Jessica and Emily were super happy and excited to report that filmmakers can take control of their destiny and release a film today, and have it be a success, if they “take back their agency” and get creative with how they release their films.
In case you don’t know much about the ENO doc (who are you?), check out their website, or this review, or my article where I interviewed Hustwit about his editorial/creative process and his SubStack hub for the newsletter. In short, Gary worked with Brendan Dawes to create an AI which he uses to do a new edit of the film every time it’s shown. That’s right, no two screenings are ever the same. Which presents some challenges when doing a theatrical release, festival screening, or even streaming – because a new file must be created and delivered every time, as a DCP or other file. Even Netflix isn’t exactly set up to deliver a different file to every viewer, every time. But this style is also fitting with the subject and subject matter, because Brian Eno is an iterative/generative musician, so it’s not just a fancy gimmick, but a smart artistic choice.
It also happens to be a weirdly smart choice for event-based distribution, because many people want to see it more than once, or feel they must see it in a theater with others. Heck, some fans have seen it over 12 times, according to the team. It’s playing in its 10th week right now at the Film Forum, and you can find other screenings here. Hustwit has done an event-based launch – after Sundance and some other key film fests, versions have played on tour in multiple cities, where Gary performed the film live in front of the audience (like a video DJ), before it went into theatrical mode. The film team is booking all of these events themselves, and while that is work, they also keep more of the money, and that’s working out pretty well for them. And as they reported to me this week, film exhibitors (theaters) are more willing than ever to collaborate and get creative- because it’s mutually beneficial. They get an event which brings people to the theater and generates buzz, and both parties make more money than a traditional release for a doc.
Now, they’re collaborating with the Arthouse Convergence to bring unique versions of the film to hundreds of arthouses across the country. Knowing some of my readers work in this space – here’s some info from the filmmakers on how that works:
Film First is launching a premium screening event with arthouse theaters to exhibit ENO, Gary Hustwit’s groundbreaking and acclaimed generative documentary about the visionary musician and artist Brian Eno. We’re offering two screening opportunities of the documentary exclusively to art house cinemas on October 8th and/or October 10th, 2024.
Eno, a film that’s different every time it’s shown, creates a unique challenge and opportunity for exhibition. Film First is offering two unique DCP screening files of ENO exclusively for art house cinemas on October 8th and/or October 10th, 2024 for “Eno-Art House Day.” The files will be screened in conjunction with art houses on the same day(s) around the country. These two versions of the film are created only for participating theaters and will never be seen again.
To participate, please have your theater complete the booking form via this link: and make the minimum payment here. For more info email the team here or check out the Eno Arthouse Days Website here.
Note that last bit – they are requiring a minimum guarantee vs a split with the theaters, meaning they have guaranteed income for every booking, but it also means the theaters are taking a risk and will work hard to help promote the films, which the Film First team also guarantees – they are helping to ensure audiences for their own film via their own marketing and mailing lists – and by making this a unique two day event.
Now, I know what you’re thinking and what some certain friends will text me right after this article publishes – “but, this isn’t replicable for most films!” This is Gary Hustwit, who did Helvetica and has a huge fan base already, and it’s about Brian F-N Eno, who has a bigger fan base, and so on and so forth. That’s my first thought as well, and I put that to the team. They pushed back – yes, they are unique, but this was an artistic choice and a deliberate decision about their film and their careers. They pushed that filmmakers need to think about distribution much earlier (as I always preach to my clients as well), and you “can’t wait on the fairy godmother with the streaming wand” to come down and rescue you at Sundance anymore.” (Great quote, right?!)
They also contend that every film has some element that can be eventized, and you just have to scale it to your particular film. They point out that right now, people are craving the chance to be together, and there’s a willingness to collaborate more – among audiences and theaters (and to a lesser extent, festivals (side note, fests, get off your high horse and break traditions)), and it’s time to take advantage of that. “Eventized is the new theatrical” they told me, which is something I feel like I’ve said here, or heard many places, but let’s attribute it to them from now on, because they are doing it so well.
Their bottom-line message – “filmmakers need to get their agency back and become more savvy” to find success. Amen to that. And amen to the fact that if you find that agency, get creative and savvy, you too might find joy and positivity instead of doom and gloom.
Now one last aside for my brand and tech readers – a smart tech company and/or brand should want to get involved in helping them figure out the streaming puzzle, or sponsor it, as that is bound to bring everyone involved even more joy and positivity. Hit me up if you want to help them, and I’ll connect you.
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Film
Apply Now: Gotham Week Project Market: This year’s The Gotham Week Project Market, taking place September 30th - October 4th both online and in Brooklyn, NYC, will gather 112 projects/creators for five days of meetings with various industry professionals. If you wish to participate as industry, apply to register as soon as possible. For more info on Industry Participation in The Gotham Week, click here, and any questions can be directed here. (GSH) We've been helping them a little bit with a Branded story sidebar, and will be announcing a special event with one of our clients soon. I worked at the Gotham Week, back when it was still called IFP's Market, and it's always been a great place to discover talent, network, and learn more about the biz. Hope to see you there. (BN)
Recommend Reading: Jon Reiss’ New Substack: Filmmaker & media strategist Jon Reiss who helps filmmakers with their distribution and marketing just launched his new substack. This week he rails against the use of “self”, “DIY”, “direct”, and “independent” qualifiers on filmmaker-led distribution. Check out an excerpt from his latest entry: “Self-distribution or “DIY” or “direct” distribution is not only a misnomer in nearly all cases, but is used to denigrate these types of releases. As a community we must own all distribution - no matter who does the work - by simply calling it distribution.” In the coming weeks Reiss will be adding case studies, distribution and marketing tips, and a monthly “Ask Me Anything” where he’ll strive to answer your most complex questions about the quagmire we find ourselves in. We highly recommend you check out Reiss’ substack, and note that our own Brian Newman connected Reiss with his friend Signe Baumane to release her film “My Love Affair with Marriage.” (GSH)
IRL Movie Club To Foster Community and Strengthen Democracy Through Subsidized Documentary Film Screenings: Check out Addie Morfoot’s piece for Variety to learn about the In Real Life (IRL) Movie Club, a non-profit film series aimed at supporting U.S. filmmakers, bolstering community theaters, and fostering real-world connections across political divides. Launching on September 15 with 50 nationwide screenings of Rebecca and Peter Davis’ documentary “Join or Die,” IRL Movie Club will feature public interest documentaries, pay participating theaters and filmmakers, and offer subsidized $5 tickets for audiences. Lex Sloan, executive director of the San Francisco Roxie Theater and Art House Convergence board member says “the IRL Movie Club offers an exciting new opportunity for independent art house theaters…. By curating timely and relevant independent films and providing resources to engage audiences, IRL Movie Club empowers venues like the Roxie… to thrive as vibrant cultural centers.” (GSH) Run by our faves, RoCo Films, this is a great distribution and impact idea, and I bet we'll see more like it from them soon. (BN)
 Peace is Loud Shares 5 Documentary Participant Care Resources: Peace is Loud is a non profit that harnesses the power of storytelling by women, trans, and nonbinary change makers to mobilize strategic collective action grounded in equity and care. They’ve just come out with five new participant care resources to help filmmakers and others in the documentary field prioritize the health and well-being of film participants. These free resources include: (1) A field scan surveying current state of—and future vision for—participant care; (2) A detailed model of practicing informed consent, co-created with director Jennifer Tiexiera; (3) A question list to support healthy dialogues between filmmakers and participants, co-created with Documentary Participants Empowerment Alliance founder Margie Ratliff; (4) A “Fire Through Dry Grass” collaborative filmmaking case study; (5) A participant focus group report with eight key filmmaker strategies for implementation, co-created with DocuMentality. Filmmakers, participants, and others in the field can reach out to Peace is Loud with questions and feedback about how these resources can be improved upon at care@peaceisloud.org. (GSH)
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Branded Content
A New York Hospital System Launches a Studio: While this news announced in July, it was just before my social media vacation and worth noting now. Northwell Health (a New York Hospital system) has been on the leading edge of hospitals allowing filmmakers access to their hospitals, with shows on Netflix and HBO. But those were initiated by the producers, and Northwell was just giving access and help with legalities/privacy/etc. Recently, Northwell established a new studio called Northwell Studios, which will work with production companies to put out films, TV shows and documentaries, based on the stories within their systems, but taking more control over the direction and IP. It’s a risky move — they could face backlash from patients if it appears to be capitalizing on illness or deviating too far from its role as a healthcare charity — though it’s a calculated one, as Northwell needs to stay competitive with prestigious, wealthy NYC health systems. Read on at Melanie Evans’ piece for The Wall Street Journal (BN did an extensive interview for her on background, but alas no mention :) (BN and GSH)
Sub-Genre Media-distributed Film “Odd Hours, No Pay, Cool Hat” Takes Audiences Behind the Lines of America’s Volunteer Fire Service with Public Broadcasting Release Timed to 9/11: “Odd Hours, No Pay, Cool Hat,” from filmmaking co-directing team Gary Matoso & Cameron Zohoori, and executive producer Peter Yoakum, distributed by Sub-Genre Media is airing nationally throughout September and October on more than 137 PBS stations with over 500 air dates and will reach an audience of over 36 million. The film is presented by John Deere in association with the National Volunteer Fire Council, Hold Fast Features, andVignette.
Since “Odd Hours” first made its North American wide release in 2023, the film directly influenced Maryland’s state governor to change legislation that allows for non-social security holding EMTs to become fully licensed. This allows those persons to advance their careers as full-time professionals and increases the lives they will save. The film made a significant impact nationwide with 50% of the nearly 300 fire departments who screened the film during recruitment events enlisting new volunteer firefighters or receiving strong inquiries. The National Volunteer Fire Council experienced a 41% increase in volunteer inquiry submissions during the film’s wide release.
A big congratulations to everyone who’s been a part of the “Odd Hours, No Pay, Cool Hat” effort! And special thanks to Keith Ochwat of Show & Tell who helped us figure out public media a bit, and Kristin Fellows, our stations relations consultant who is getting us a ton of screenings across the country. Watch the film on digital platforms and check out PBS airdates near you! (GSH)
GSH = Articles written by Sub-Genre's Gabriel Schillinger-Hyman, not Brian Newman (BN)
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