10 Tips for Arranging an Initial Theatrical Screening to Gain Press and Distributor Interest
One way to build interest as well as make sales is arranging for theatrical screenings, when doing your own distribution or seeking to interest a distributor in picking up your film. You can think of your first screening like a world premiere, and do everything you can to attract the public and press. You can also use this screening to invite potential distributors, if you would rather sign with a distributor than continue your own distribution. In either case, build on your opening to get more theatrical showings, as well as reviews, press clippings, and videos of the event you can use to build more buzz for your film. You can also set up a private screening in a theater for the press and distributors.
Here are 10 tips for setting up your first theatrical screening.
1) Besides promoting your showings to get an audience, also have a screener, trailer, and press release for the press and any distributors who attend. You can provide links if these materials are online and include them in a press packet for those who attend. Since the initial press release and trailer can lead the media and distributors to want to see more, create a good trailer, using scenes from the actual production, along with copy that highlights what the film is about and gets viewers eager to see the film. To accommodate any press or prospective distributors who can’t attend the showing, you can provide a screener after the event. You can additionally follow-up after the event with photos, a video, or book of photos about the event.
2) In general, think of a theatrical opening as a loss leader to help you get press coverage, as well as deals for distribution and sales, such as pitching DVDs to retailers or online streaming to buyers like Netflix. That’s because you can indicate the opening in your future press releases, on your poster, on your DVD box, and in assorted promotional materials. For the most part these openings lose money, because of the high costs of renting the theater (unless you arrange a split with the theater owner, where he or she makes back the first moneys to break even and then you split sales), buying advertising, and doing PR to get attendees. Commonly, you can expect to spend about $3,000–5,000 for each public opening.
3) Aside from public screenings, you can do private screenings for distributors, where you describe what you have been doing to self-distribute the film, so established distributors take you more seriously. In setting up screenings for distributors and sales agents, arrange them in one of the major film markets, either Los Angeles or New York, since most distributors are based there.
If the screening is for distributors and sales agents only, hold it in a small theater, even as small as 50 seats, to keep down costs and provide a more at personal, intimate touch. Get RSVPs, so you know how many distributors and agents are coming. If the expected turnout is too small, you may be able to cancel the event. Or if only a few distributors and sales agents are coming, consider inviting friends, family members, and business associates to help fill up the theater. For such a showing in a small theater, figure on a budget of about $2000–3000.
4) When distributors and sales agents arrive, give them a press kit and screener, as well as a link to these materials online, so they can learn more using their preferred way of getting information. Having a press kit and screener will help to show how professional you are and prime the distributors and sales agents to look favorably on your film when they see it. This professional material will also show you are not only a good filmmaker, but have a good sense of marketing and promotion, which are important for increasing sales and profits
5) To get the distributors and sales agents to attend, you can send personal invitations to those you know or to whom you are referred by personal contacts. Then, follow up with calls or emails to confirm if they are coming if they don’t RSVP. Alternatively, do a personalized bulk mailing to several hundred distributors and sales agents in which you address each person by name, whether you have met before or not, such as by using a company like Publishers, Agents, and Films (www.publishersagentsfilms.com). For example, one woman who used this approach to show her new film in a small New York theater, got over a dozen distributors to attend, along with some friends and family members. As a result, several distributors were interested in handling her film, though she continued to use self-distribution for the next six months, while she finalized the deal and the distributor got ready to take over the distribution
6) In setting up the screening, work out the arrangements with the selected theater, and ideally choose a mainstream or arthouse theater in a good location. If it’s a film for a general audience, a small theater in one of the chains might be a good choice to reinforce the film’s broad appeal. But if the film has more of a niche appeal, an arthouse theater is fine.
7) Check on the costs and availability, and if possible, arrange for a contract with a cancellation clause with no or very little penalty if you cancel with at least three to seven days’ notice. This way, if you find that the scheduled date is not convenient for distributors to attend, you can reschedule or cancel the showing. If you don’t arrange for another showing, you can send the media and distributors the press kit with the screener and trailer.
8) As for budgeting, figure on about $1000–3000 for the one day showing at the theater, plus additional costs for mailings to distributors, sales agents, and the press. The amount for the theater may be lower if you pick an off night or day during the week, when the theater is likely to have low attendance or even be empty. Try to negotiate for as little cost as you can, as well as the right to cancel before a certain time with no or a limited penalty.
9) After the screening, talk to the any press, distributors, and sales agents who have attended. Find out if they are still interested or what else they want from you, and plan to follow-up after the screening.
10) Should several distributors and sales agents be interested, you can assess the various deal offerings. Take into consideration not only the financials, such as the deductible marketing expenses and commission on sales, but the track record of the distributor or agent to help you make a decision. Having multiple deals to choose from is a nice position to be in, since it gives you more negotiating power.
GINI GRAHAM SCOTT, Ph.D., J.D., is a nationally known writer, consultant, speaker, and seminar leader, specializing in business and work relationships, professional and personal development, social trends, and popular culture. She has published 50 books with major publishers. She has worked with dozens of clients on memoirs, self-help, popular business books, and film scripts. Writing samples are at www.changemakerspublishingandwriting.com.
She is the founder of Changemakers Publishing, featuring books on work, business, psychology, social trends, and self-help. The company has published over 150 print, e-books, and audiobooks. She has licensed several dozen books for foreign sales, including the UK, Russia, Korea, Spain, and Japan.
She has received national media exposure for her books, including appearances on Good Morning America, Oprah, and CNN. She has been the producer and host of a talk show series, Changemakers, featuring interviews on social trends.
Scott is active in a number of community and business groups, including the Lafayette, Pleasant Hill, and Walnut Creek Chambers of Commerce. She is a graduate of the prestigious Leadership Contra Costa program. She does workshops and seminars on the topics of her books.
She is also the writer and executive producer of 10 films in distribution, release, or production. Her most recent films that have been released include Driver, The New Age of Aging, and Infidelity.
She received her Ph.D. from the University of California, Berkeley, and her J.D. from the University of San Francisco Law School. She has received five MAs at Cal State University, East Bay, most recently in Communication.