Alex Ferrari of Indie Film Hustle drops by to talk about his latest project, This Is Meg.
Indie Rights, Inc. is an American distributor of independent films, based in Los Angeles, California. Indie Rights is a subsidiary of Nelson Madison Films and was incorporated in 2007 to act as distributor for other independent filmmakers. The corporation began as a private MySpace group where the makers of independent films could get information about the changing face of film distribution; founders Linda Nelson and Michael Madison created Indie Rights so that distribution contracts could be signed by a legal entity. The corporation distributes films largely through video on demand services, though more recently it has overseen suchtheatrical releases as We Are Kings and Fray, both in 2014.
Linda Nelson is a former investment banker and computer systems analyst based in Los Angeles since 1980; Michael Madison moved there in 1999 from Duncanville, Texas, to work as an actor and film producer. They first partnered in 2000 to create and distribute the NSYNC concert film Bigger Than Live for IMAX theaters. In 2003, they formed their own company with the goal of making independent features using local talent. Madison acts and handles writing, producing and directing duties; Nelson writes and produces while developing distribution plans for other filmmakers.
Bigger Than Live broke even during its theatrical run, but Nelson and Madison "failed to tie up the necessary rights in our initial contract" and lost home video distribution in a lawsuit that shut down their production office. They moved into "more humble digs" and tried again with the crime thriller Shifted, learning the ins and outs of distribution while attending film festivals. Nelson soon discovered that the chances of getting a film seen at a major festival such as Sundance or Cannes without having connections in the industry "are slim to nothing." The company began a private group on MySpace called Indie Co-op, where filmmakers could get details on self-distribution, including attendance at smaller festivals where films are likely to benefit from local coverage and reviews.
Nelson believed that film distributors didn't have any systems for accountability in place and that they tended to buy the rights to entire catalogs rather than individual films, so she and Madison decided to do it themselves. Since they needed a legal entity to make distribution contracts valid, they incorporated Indie Rights in 2007. Nelson said doing both film production and distribution gives them a greater understanding of the challenges that filmmakers face than would a company that focuses only on distribution.
By 2013, Indie Rights had built up enough name recognition that video on demand providers began approaching the corporation for information on available independent films rather than waiting to be contacted. Those features are steered mostly to such platforms as Amazon Unbox, Google Play, Hulu and iTunes, where the filmmakers can earn up to 50 percent of the revenue. Innovations include searchable film rentals on YouTube and through video game consoles, allowing filmmakers new sources of income—in 2011, Indie Rights had "little films making five grand a month on PlayStation". In 2014, the company was the first independent studio included on M–GO, a subscription service supported by "all six of the major studios" that offers films for home viewing that are still playing in theaters.
Filmmaker and Baylor University professor Christopher Hansen turned to Indie Rights in 2015 when his film Where We Started failed to make the major festival circuit. After a short run at the Arena Cinema Hollywood led to favorable reviews, the film was released via digital platforms. Theatrical releases by Indie Rights also include 9 Full Moons (2013), featuring Amy Seimetz and Harry Dean Stanton; We Are Kings, the feature-film debut of America's Got Talent winner Bianca Ryan; and Druid Peak, starring Spencer Treat Clark and winner of Best Feature Film at the 2014 Omaha Film Festival.
Indie Rights became part of the Independent Online Distribution Alliance in 2008. Nelson and Madison also conduct seminars for independent filmmakers looking to build an audience through social networking. DocumentaryTelevision.com said Nelson "really gets what it takes to win with Facebook."
Starting in 2010, the budgetary constraints of independent film-making required that Nelson Madison Films go tapeless. Delivered, their second "crime thriller", was their first to utilize Red Digital Cinema cameras and Adobe CS5 production software. Madison directed, and played the lead role in an "uneven performance" where "at times he's spot-on".
Simon Cade is the founder or DSLRGuide, a popular blog and YouTube Channel. To learn more about Simon you can visit his webiste at http://dslrguide.tv/ or check out all of the great videos on his YouTube Page. At the time of writing this Simon has 221,946 subscribers.
On this episode we talk all about YouTube as well as how to start making short films.
In 2013, David F. Sandberg made a little horror short film "Lights Out" for an online Horror Short competition. The film not only won, but became a viral sensation. Not too long after that, Sandberg started getting calls from Los Angeles from agents and managers.
Fast forward to Sandberg sitting in an office with James Wan (The Conjuring, Saw) talking about making "Lights Out" into a feature.
On today's show we're talking with Pat Flynn of SmartPassiveIncome.com and the Ask Pat Podcast. I was extremely excited to introduce my audience to Pat because he has been so instrumental in the founding of the IFA as well as helping me to understand the world of online marketing. One of the key concepts we discuss is the way that filmmakers can start to build their audience and look at their films as passive income generators.
The concept of passive income is pretty straight forward. Instead of generating an income through hourly income, passive income is income generated from things like ebooks, videos, affiliate marketing, etc. over time. One of the most alluring aspects of passive income is the idea that at some point, you will create enough passive income that you will not need to work for an hourly wage. Although this sounds nice, I have found in my own experience that most people typically like to have something they do to earn a living as well. Pat himself hasn't let a monthly a 6 figure monthly income slow him down. But I do think it's important for filmmakers to learn Pat's techniques to be ahead of the game when it comes to sales and distribution.
A few years ago, I was blown away by the Indie Film "Spring". It was a nice break from the long line of horror films that were basically cookie cutters of other better horror films. This is the second film collaboration between Justin Benson and Aaron Moorhead. They started with the love budget surreal thriller "Resolution", which they paid for out of pocket.
Today we're discussing comedy in writing with Steve Kaplan. Steve is the author of the book "The Hidden Tools of Comedy" as well as the founder of the HBO Workspace and the HBO New Writer's Program.
He is a consultant and script doctor for Dreamworks, Disney, Paramount, Touchstone and many others. and is also a highly sought-after instructor at UCLA, NYU, Yale and other top universities.
There are few people who have had the opportunity to witness the Golden Age of filmmaking at close range like Fraser Heston. His earliest memories are going to the set of the film Ben Hur and dressing up like his father, legendary actor Charleton Heston.
In this episode we take a walk down memory lane and also get some great insight into the directing process.
More about Fraser from Agememnon Film's Website:
FRASER C. HESTON, the son of actor Charlton Heston and Lydia C. Heston, began his film career in Hollywood in 1955, on the back lot at Paramount Studios, playing the infant Moses in Cecil B. DeMille’s TEN COMMANDMENTS. His father, of course, portrayed the adult Moses, though Fraser has not forgiven him for taking first billing. Fraser had an extraordinary childhood, travelling the world with his parents, essentially growing up on film sets, giving him a love of adventure, travel, and a life-long fascination with filmmaking.
Fraser studied marine biology at UCSD and English and writing at UCLA. He became a licensed white-water river guide on Idaho’s Salmon River at age 19. He soon turned his focus on film, and wrote his first produced screenplay at 21, THE MOUNTAIN MEN for Columbia pictures. Since then he has written, produced and/or directed numerous feature films, television movies, and documentaries, including MOTHER LODE, starring Charlton Heston and Academy Award winner Kim Basinger, which brought about the founding of his production company, Agamemnon Films, in 1981. He co-produced THE PROUD MEN for ABC; wrote and produced A MAN FOR ALL SEASONS for Ted Turner’s fledgling network TNT, and wrote, produced and directed the critically acclaimed TREASURE ISLAND (a lifelong dream), starring his father and Academy Award winner Christian Bale. Fraser also wrote, produced and directed the Sherlock Holmes film CRUCIFER OF BLOOD for Turner.
Fraser directed the Stephen King thriller NEEDFUL THINGS and the family adventure film ALASKA, both for Castle Rock Entertainment/Columbia Pictures. He also produced the highly successful and critically-acclaimed documentary CHARLTON HESTON PRESENTS THE BIBLE, for A&E and Agamemnon, and the documentary CHARLTON HESTON & BEN-HUR, for Warner Brothers. Most recently, he wrote, produced and directed the award-winning documentary THE SEARCH FOR MICHAEL ROCKEFELLER, solving the mystery of the famous scion’s disappearance in New Guinea in 1961. Fraser has also written, with Heather J. McAdams, the screenplay for the feature version of that film, as well as the contemporary thriller DESOLATION SOUND, for Agamemnon.
Always an avid outdoorsman, sailor, mountaineer, photographer and fly fisherman, Fraser’s travels and adventures have included voyages and expeditions to Alaska, Canada, Africa, Scotland, Ireland & Europe, the Amazon, the Andes, Patagonia, the Caribbean, Australia, the Red Sea, the South Pacific, Hawaii, Norway, Sweden & the North Sea, The Mediterranean, the Aegean, British Columbia, the Yukon, the North Pacific and a remarkable sailing voyage circumnavigating Cape Horn. He continues to travel the world, in search of adventure and a good story.
Fraser is a member of The Academy of Motion Picture Arts and Sciences, The British Academy of Film and Television Arts, The Director’s Guild of America, the Writers Guild of America, and The Explorer’s Club.
Fraser lives in Los Angeles with his wife Marilyn and son Jack, only a few minutes from the back lot at Paramount.
James Cullen Bressack has directed more films before his 25th birthday than most filmmakers make their whole life. At 23 he had already directed 11 features and he shows no signs of slowing down. His latest film Bethany comes out in early 2016.
Whenever I list my favorite horror movies of the last 10 years, The Last Exorcism is always front and center. When it came out, the idea of a faux documentary wasn't new. Stamm himself had already made a fake documentary for his first film, A Necessary Death. Of course there are also the obvious landmark fake documentaries like Cannibal Holocaust, Man Bites Dog, The Blair Witch Project, Spinaltap and Paranormal Activity. But The Last Exorcism offered something unique. From the first second, the film engages the viewer with entertaining characters and an intriguing premise. I was extremely excited when Daniel agreed to come on the show and talk about his technique of improv with actors as well as his newest film 13 Sins.
I first came across Danny Draven's name as I was searching through Amazon's filmmaking section. I was specifically looking for books on horror filmmaking and one book in particular really stood out. The Filmmaker's Book of the Dead was not simply a memoir or how to book about filmmaking. It was a beautifully photographed and illustrated horror filmmaker's Bible. Filled with tons of practical information and interviews from top horror filmmakers, I really do consider this book to be one of the more valueable items in my filmmaking catalog. And, between you and me, I'm not much of a reader, so the pictures make me happy.
Wanting to know more, I got in touch with Danny and found him to be extraordinarily generous with his time. He was very happy to talk about filmmaking with me and I think it comes out in this episode. Anyone interested in becoming a horror filmmaker should really take the time to listen to this Episode as we cover a ton of information that will be helpful for all Indie Filmmakers.
We continue our October Shockathon with filmmaker Eric England, screenwriter and director of the film Contracted.
A few months ago, as I was scanning through Netflix, I cam across the poster for The Taking of Deborah Logan. The image had always stuck out to me, but for one reason or another I hadn't seen the film. I finally clicked the icon and started watching, and was really glad I did. Co-Writer and Director Adam Robitel's first feature film grabs you and pulls you in from the first scene. A documentary crew is starting production on a woman who they believe has alzheimers. As they study Mrs. Logan, they realize that the truth is much darker.
Here's more about Deborah Logan from wikipedia:
The Taking of Deborah Logan is a 2014 American horror film and the feature film directorial debut of Adam Robitel, written by Robitel and co-writer Gavin Heffernan. The film stars Jill Larson, Anne Ramsay, andMichelle Ang. Set in Virginia, it tells the story of a documentary crew making a film about Alzheimer's patients who uncover something sinister while documenting a woman who suffers from the disease. The film was produced by Jeff Rice and Bryan Singer and was released on October 21, 2014.
Mia, Gavin, and Luis are a documentary team set to create a documentary about Deborah, an elderly woman suffering from Alzheimer's disease. Deborah is reluctant to be filmed, but agrees to the project after her daughter Sarah reminds her that they need the money to keep the house from being repossessed. While filming, Sarah and Deborah talk about earlier years when Deborah worked as a switchboard operator for her own answering service business to make ends meet.
Deborah is shown to exhibit increasingly bizarre actions that her personal physician, Dr. Nazir, states are normal for someone with an aggressive form of Alzheimer's. However, cameraman Luis begins to notice that several of Deborah's actions defy normal explanations and expresses concern that something supernatural is occurring. Things grow more tense after Luis and Gavin record audio of Deborah speaking in French while sitting at her old switchboard, talking about sacrifices and snakes. They also notice that the line for 337 continually rings and discover that the line belonged to local physician Henry Desjardins, who disappeared after a series of cannibalistic ritualized murders of four young girls. This information is too much for Gavin and he quits. Deborah's behavior becomes so extreme that she is hospitalized for her own safety.
Mia and the others discover that Desjardins was supposedly trying to re-create an ancient demonic ritual that would make him immortal but required the deaths of five girls that recently had their first period. They question whether Deborah is possessed by Desjardins; a similar case in Africa where a mother was possessed by her dead son was only freed when a witch doctor burned the son's corpse. At the hospital, Harris visits Deborah, who begs Harris to kill her. He tries to comply with her wishes, but is unsuccessful due to the entity within Deborah preventing it. Sarah, Mia, and Luis discover that Deborah had unsuccessfully tried to abduct Cara, a young cancer patient in whom she had previously shown interest. Sarah learns that years ago, Deborah had learned that Desjardins planned to use Sarah for his fifth victim and had murdered the doctor before he could accomplish this, and buried his body in the yard. The group eventually finds the body and tries to burn it, but is unsuccessful.
Deborah succeeds in abducting Cara and taking her to the location where Desjardins had killed all of his previous victims. Sarah and Mia find Deborah just as she's trying to eat Cara's head in a snake-like manner. They manage to burn Desjardins' corpse. The film then cuts to news footage of reporters stating that Deborah was deemed unfit to stand trial for the crimes she committed during her abduction of Cara. An additional news story shows that Cara has overcome her cancer and is celebrating her birthday. As the reporter begins to wrap up the story, Cara turns to the camera and gives a creepy smile, hinting that Desjardins' ritual was completed and that he is now in control of her body.
One day, while working at a video production company, Ryan Bellgardt and his friend decided it was time. Time to make a feature film. The started putting together a story and put together the funding and shot "Army of Frankensteins."
Shooting the film prooved difficult. While most no budget features typically take about 15 to 30 days to shoot, the shooting of their film took around 8 months. But, as they were filming Ryan and Co. started promoting their film on facebook. Quickly they had around 10,000 fans. Popular horror blogs started contacting them and before they knew it they were being contacted by sales agents.
Fast forward to a few weeks ago. Army of Frankensteins has a blue-ray in stores across the country. The first time filmmakers are now looking forward to producing their second film. In this episode of the Indie Film Academy Podcast, we will focus on the process of making AOF and why the film had the right combination to strike a distribution deal.
There is no better way to learn how the studio system works than talking to someone who used to be in the center of it all. Stephanie Palmer worked in the studio system for years starting as an intern on Titanic and quickly working her way up through the ranks. She worked for Jerry Brukheimer and was privy to many of the inside dealings that went on there over the years and later worked as a development execultive for MGM.
Stephanie left the studios to focus on her coaching program, goodinaroom.com. She teaches professionals from all walks of life how to pitch ideas in high stress situations. Stephanie knows her stuff because she's been in the room during some of the biggest pitches of all time.
Here's more about Stephanie from her website:
I’m Stephanie Palmer, former MGM Pictures executive and best-selling author of Good in a Room, featured by NBC, ABC, CBS, Los Angeles Times, NPR, Variety, and many more.
Why do so many media outlets feature my work? Because I’ve helped thousands of people to get meetings, pitch effectively, find agents, and sell their work.
Joss Whedon, Howard Stern, Rob Cordrey and many other filmmakers swear by the method taught by David Allen. Published in 2001, his book Getting Things Done has not only changed the way we think about working towards goals, but also outlines a better way of living that involves living in the present rather than trying to hold everything in your head.
Getting Things Done® (GTD®) is the proven path for getting in control of your world, and maintaining perspective in your life. Much more than a set of tips for time management and organization, GTD is a total work-life management system that transforms overwhelm into an integrated system of stress-free productivity. David Allen, inventor of the GTD methodology, is widely recognized as the world’s leading expert on personal and organizational productivity.
Here's more about David from Wikipedia:
He grew up in Shreveport, Louisiana where he acted and won a state championship in debate. He went to college at New College, now New College of Florida, in Sarasota, Florida, and did graduate work in American history at University of California, Berkeley. After graduate school, he began using heroin and was briefly institutionalized. His career path has included jobs as a magician, waiter, karate teacher, landscaper, vitamin distributor, glass-blowing lathe operator, travel agent, gas station manager, U-Haul dealer, moped salesman, restaurant cook, personal growth trainer, manager of a lawn service company, and manager of a travel agency. He is an ordained minister with the Movement of Spiritual Inner Awareness. He claims to have had 35 professions before age 35. He began applying his perspective on productivity with businesses in the 1980s when he was awarded a contract to design a program for executives and managers at Lockheed.
He is the founder of the David Allen Company, which is focused on productivity, action management and executive coaching. His "Getting Things Done" method is part of his coaching efforts. He was also one of the founders of Actioneer, Inc., a company specializing in productivity tools for the Palm Pilot.
David Allen Company presenters, not Allen, regularly gives one-day public seminars on Allen's Getting Things Done methodology, which cost approximately $595. Allen himself gives public seminars only occasionally, which cost approximately $995. In 2007, such a seminar from Allen himself went for $595 per person or $20,000 per corporate training session.
Allen has written four books, Getting Things Done: The Art of Stress-Free Productivity, which describes his productivity program, Ready for Anything: 52 Productivity Principles for Work and Life, a collection of newsletter articles he has written, Making It All Work: Winning at the Game of Work and Business of Life, a follow-up to his first book and in 2015 a completely rewritten version of his first book Getting Things Done: the Art of Stress-Free Productivity was published. He lived in Ojai, California with his fourth wife, Kathryn, whom he describes as his "extraordinary partner in work and life" in the dedication of Getting Things Done. In May 2014 they moved to Amsterdam in the Netherlands, Europe.
Corey Mandell is an award-winning playwright and screenwriter who has written projects for Ridley Scott, Wolfgang Petersen, Harrison Ford, Meg Ryan, Julia Roberts, John Travolta, Warner Brothers, Universal, 20th Century Fox, Fox 2000, Fox Family, Working Title, Paramount, Live Planet, Beacon Films, Touchstone, Trilogy, Radiant, Kopelson Entertainment and Walt Disney Pictures.
His Professional Screenwriting and Television Writing Workshops offer an alternative to the same old tired rules and formulas found in most screenwriting classes, books and seminars. This innovative program is the only one to teach creative integration, script testing, compelling conflict, organic story design, strategic rewriting and story mapping. With these tools, writers are able to create the pitch-perfect authentic scripts required to break into, and thrive in, the current marketplace.
In the past three years, graduates have gone on to sell or option scripts to Warner Brothers, Paramount, Sony Pictures, Disney, Fox, MGM, Universal, Showtime, FX, USA Network, NBC, HBO, MTV and AMC. Others have been staffed on such shows as Community, The Fosters, Bones, Justified, Young and Hungry, Playing House, The Mentalist, Marvel’s Agents of Shield, Up All Night, State of Affairs, Rosewood and Treme.
The Workshops teach the essential skill-sets required to write at a professional level, both for feature films and television. The classes are offered live in Los Angeles as well as online using video conferencing to allow participants to see and hear each other in real time. These highly popular classes draw students from across the US, Europe and Australia.
With the recent explosion of television pilots being bought, and a healthy rebound in the feature spec script market, there’s never been a better time to jump into the writing game. One script absolutely can change your life. But it’s got to be the right script. If you’re serious about developing the skills required to launch a career, these workshops can help take years off your learning curve and significantly increase your chances of success.
Hot off the premier of their two films, both for Black Fawn Films, Chad Archibald and Cody Calahan join us to talk about their process for making films and how they are able to crank out 4 features in one year.
Today we're talking with Roger Jackson of Kinonation. Here is a little information about Roger and Kinonation from kinonation.com
A digital media executive and film producer. He started Lexis-Nexis/Hong Kong, was VP Content for iFilm.com (sold to MTV for $49m) and launched documentary platform Explore.org. He's produced films in Darfur and the Middle-East, a reality series for VH1, a feature for FoxTV and co-created the Copy-Kids media brand.
Roger's emphasis at Kinonation is business development and overseeing day-to-day operations.
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Our proven track record with Amazon, Hulu and many others gives you confidence that Kinonation’s hassle-free product deliveries can be seamlessly integrated with your digital video service. In receiving product through Kinonation, your ability to deal with suppliers can only get easier.
On this episode of the Indie Film Academy Podcast, I'm talking with Aviv Vana of Big League Film School and host of the extremely popular CineSummit. Aviv discusses how he first became interested in cinematography and some of the breakthroughs he has made that have really increased the quality of his work. We also discuss the founding of the Big Leagu Film School and he talks about the amazing lineup of guests at the 4th CineSummit.
Click HERE to Sign Up for the CineSummit. It's Free!
More About Aviv:
Aviv Vana is the founder of Big League Film School, a filmmaking website that focuses on connecting our community with some of the most
accomplished artists working in the industry.
Since 2013 he has brought on filmmakers who have worked on projects ranging from AMC's "Mad Men," and films like Melancholia, Terminator, and Margin Call,
to top commercial work for brands like Nike, Apple, and BMW. He is the host of the CineSummits and blogs regularly on techniques that propel filmmakers to the ultimate goal of mastering their craft.
Aviv also interviews many seasoned veterans on the Big League Film school blog, where everyday filmmakers can get a peek into the inner working of those that are leading in the field.
John J. Lee Jr. , author of the book The Producer's Business Handbook: The Roadmap for the Balanced Film Producer drops in to discuss the business side of filmmaking.
I also discuss my new Screenwriting Bootcamp that will be available soon. My goal is to create a program that allows screenwriters to get to their first draft in 30 days.
If you're interested, don't forget to go to www.indiefilmacademy.com/subscribe and sign up.
Brendan McCarthy is a legend in the world of comics and now the world of Mad Max. His series Freakwave was inpired by Mad Max 2, The Road Warrior and was later copied by the film Waterworld (without giving credit to McCarthy). In this episode we talk with McCarthy about his relationship with Mad Max and how he went from being a film of The Road Warrior to actually co writing the latest installment with writer/director George Miller.
Here is more about McCarthy from his website artbrendan.com
Want to raise money for your film? In his book Bankroll, Tom Malloy goes into detail about he has been able to fund his own projects. Today we're talking with Tom about how filmmakers can raise the money to make their films as well as the things to avoid.
Here's more about Tom from Wikipedia.
Malloy wrote, produced and acted in The Alphabet Killer , a psychological thriller directed by Rob Schmidt and starring Eliza Dushku, Cary Elwes, Timothy Hutton and Michael Ironside; and The Attic, a thriller directed by Mary Lambert and starring John Savage, Jason Lewis, and Elisabeth Moss.He has written, produced and starred in the 2009 film Love N' Dancing, a dance film/romantic comedy directed by Rob Iscove that stars Amy Smart, Billy Zane, Betty White and Rachel Dratch.
He wrote the book Bankroll: A New Approach To Financing Feature Films in 2009, which garnered an Amazon Average Customer Review of four-and-a-half stars. A 2nd Edition of the book came out in 2012.
In 2013, Malloy partnered with LA based independent film producer Jason Brubaker to create The Film Finance Guide.
Today I'm talking with producers Briand Udovich and Justin Duprie of Rough and Tumble Films. We discuss the ways independent filmmakers working in the sub 1 million dollar range can compete with other larger budget films. Starting with his film All the Boys Love Mandy Lane , Udovich has had a track record of delivering high productoin value and star power at a fraction of the cost of independent films in the same league. His latest filme, Bad Turn Worse, stars Mackenzie Davis, Jeremy Allen White, and Mark Pelligrino.
Brian Udovich has a Masters degree from the AFI (American Film Institute) and bachelors from Illinois Wesleyan University.
Awarded a grant from the Alfred P. Sloan Foundation for his AFI Thesis The Monster And The Peanut. Awarded the Robert M. Mongomery Outstanding Young Alumnus award by Illinois Wesleyan University.
A 4-year varsity letterman in football at Wesleyan as a defensive lineman. Attended famed high school football powerhouse Joliet Catholic Academy (Mike Alstott, Dan "Rudy" Ruettiger).
Former Senior Business Consultant for the French firm Cap Gemini.
Currently resides in Los Angeles.
My film is done, now what? Many filmmakers are so concerned with the making of their film they forget to come up with a distribution launch strategy. If you want to learn what it takes to have success in the world of distribution, this is the podcast for you my friend. Linda Nelson of Indie Rights walks us through her strategies for the successful launch of a film.
Linda's strategy follows a simple timeline. You start with Film Festivals to get the word out. Then a short theatrical release in order to get reviews from key critics. Launch on itunes where you can take advantage of being new and noteworthy. And distribution onto platforms that pay per movie. Later, after things slow down, you can look into platforms like Netflix.
Here is the coupon code I mentioned in the show.
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