Theatrical release, a dream for most independent producers, is a tough market to crack without a traditional “connected” distributor. The main benefit for many indie filmmakers in having a limited theatrical release is not to initially make a profit in the theaters, but to build a buzz that will help them get further distribution opportunities. One major advantage to doing a limited theatrical DVD release is that you may get press coverage for larger publications than if the film hadn’t screened in a theater; most critics won’t review a film unless their readers can see it! And here’s where your DVD comes in: many, if not most, critics review the DVD screener before the movie opens, because they need to talk about the film in advance and because they may not want or be able to come to see it opening night. In this way, the DVD can help you promote the event itself.

OPPORTUNITIES FOR PUBLIC SCREENINGS
Film festivals. If you feel your movie has the chance to be a high-level independent movie, you also should consider trying to get a producer’s rep interested in your movie. These reps will attempt to get you into one of the top festivals such as Sundance, Toronto, Berlin, or Venice – the festivals with the greatest presence of scouts, subdistributors, and people who can help your career. We didn’t consider our movie The Ghosts of Edendale to be a “Sundance” movie, but we felt that screening it at the Silver Lake Film Festival would be a great way to do an L.A. screening in the actual area where the film was shot. This was perfect for us because it enabled us to advertise a screening in LA and to create a buzz with newspaper articles. A review (a good one) from that screening appeared in Film Threat – from which we were able to pull quotes. Additionally, winning the “Silver Lake” award at the festival made for a press release as well as a legitimate reason to put those laurels on all future materials and packaging.

Limited theatrical. You could “four-wall” a theater (where you rent the theater and keep the door receipts), or, if the theater owner is amenable, do something like a 50-50 split of the door (and they’d keep the concession sales). If you hope to do a split, you will likely have to cover many marketing expenses like flyering and placing ads in the local papers. You’ll need to work with a theater owner, probably from a smaller theater and not a large chain. To find the right theater, it’s worthwhile to look online for other filmmakers who have done this and see which theaters are outfitted for digital projection. Try to sell your movie by coming up with the thing that makes your film different: the “hook” to your movie which makes it the most important thing that audiences need to see now. With my film The Last Broadcast, we pushed the historical aspect of it, as the presentation was a theatrical digital release via satellite download. Try to get a screening in one of the big cities and invite the press as well as acquisitions people from the studios. (Be sure to pack the audience with supportive friends and family!) Even if the acquisitions people don’t show up, it will help you to put together a press release that you had a great screening in a good place – which you should then send to those distributors. But rather than just shooting for New York and Los Angeles screenings, consider other metro areas and their suburbs – outside Chicago, outside Philadelphia, etc. Since you often have to buy and promise ads to the theater owner to have them take the risk on showing your film, you need a place with affordable marketing costs (unlike in NY or LA) and with reviewers who are not so swamped with movies (unlike the beleaguered critics at the Village Voice).

Marketing and promotion are the most important aspects of your movie’s life. This is where most filmmakers fall short, and why so many indie projects ultimately fail to be financially viable. An ad in a paper may cost you a few hundred dollars, but remember that 95% of advertising can be free. A local
morning radio or television show may cover the story if interested in a local filmmaker doing something. An article in a local newspaper is free advertisement and can be many times more effective than a paid ad. Be creative with your marketing. For one project with which I was involved, we made a huge exhibit on a pickup truck and drove all around town with it. It can not be over-stressed: people have to know your movie exists in order to see it. Also be sure to work with the theater owner and ask them for suggestions: they know their audience, and it’s amazing how far theaters will go when they feel that it’s a real team effort. And let the theater owner know you’ll be in attendance for Q&A after the screening, which is something else for them to promote.

Microcinemas and other screening opportunities. Some independent theaters, local film societies, art galleries, schools, and even nightclubs have showings where they screen films on DVD. Check your local newspaper (or Google) for listings of venues that screen DVDs in your town and nationwide. Small microcinemas are a friendly way to show your film to a supportive audience of film buffs, and they are well worth contacting and sending DVD screeners. But it’s my experience that only a few – some in Austin and Baltimore come to mind – that can help you truly get a cult press presence of the kind which can be helpful in securing distribution. When doing a screening of this sort, think about a cross-purpose event. Is there a cool band that is somehow relevant to the movie? How about a poetry slam? Think outside the box.

Stefan Avalos actually makes his living as an indie filmmaker. His latest movie, "The Ghosts of Edendale", is available through Warner Home Video.
Go to www.stefanavalos.com or www.ghostsofedendale.com.