Distributing a Documentary Through PBS: What I Learnt from the Unconventional Film Distribution Process

While contemplating how to distribute my documentary Cats of Malta, I had some big decisions to make regarding the most profitable way to approach the release. My partner and I figured we had two clear options — go at it alone, or hand the film over to film distributors. 

At the time we had discovered a platform called Show&Tell, run by documentarian and distribution strategist Keith Ochwat. Keith and the platform members believe that filmmakers, particularly documentary filmmakers, should be making money from their films without handing over a large sum of that profit to a distributor. 

I wholeheartedly agree because, even though not all distributors are dishonest, the work filmmakers put in to make these films is endless and filmmakers deserve to get paid, like all artists. A documentary can take many years to plan, produce, shoot, and edit. With most documentaries there can be large costs involved to obtain rights for images, music, extra footage, deliverables, marketing and so on, and Cats of Malta was no exception.  

Read More

The Long Shelf Life of a Feature Film

We just received a lump sum payment via Filmhub for a license deal on our feature film Friends, Foes & Fireworks. The buyer was ReelShort, a new streaming network, which opted to purchase the film upfront rather than paying a percentage of sales or ad revenue, as most platforms do.

This marks the second buyout of Friends, Foes & Fireworks this year. A Belgian streamer also purchased the film for their network earlier.

Friends, Foes & Fireworks was originally released in 2018, six years ago. Back then, it performed poorly in terms of revenue — and, to be honest, it continued to underperform, with only brief spikes in revenue here and there.

But this year, out of nowhere like the RKO, we received two licensing deals that nearly doubled the revenue Friends, Foes & Fireworks had generated in the previous five years. This just goes to show the value of owning the rights to your film — feature films have long shelf lives, even those that didn’t initially succeed.

Read More

The Battle Over Pennies: Trying to Get Paid by Platforms as an Indie filmmaker

Sometimes I wonder if indie filmmaking is worth the hassle. Every Monday I do accounting, updating spreadsheets, tracking the business expenses and sales. Almost every week there are columns marked in bold and red — money still owed. Sometimes these owed columns don’t change for months. Sometimes years.

As I write this, I have been emailing IndieFlix since October 2023, chasing payments owed since 2021. These payments are pennies, under $100, but since their policy is to payout every quarter if earnings are above a $1 threshold, I think it is fair to expect the license agreement we signed to be honoured.

IndieFlix is a funny one. We have two films with them, Friends, Foes & Fireworks and Daughter, going back to the start of 2019. In the beginning they reported and paid on time every quarter and our films would earn a small amount on their platform, barely over three figures. But then one year into the deal a funny pattern would begin to emerge: every quarter like clockwork they would still send the reports but always forget the follow-up part… actually paying the money owed.

Read More

Interview with Noam Kroll: Making a Feature Solo & Embracing Micro-Budget Filmmaking

Noam Kroll is an LA-based filmmaker and a well-known proponent of micro-budget filmmaking. Ivan Malekin was lucky enough to interview Noam about his new feature, “Disappearing Boy”, which he filmed with no crew. In this interview Noam reveals exactly how and why he made a film this way, but also talks about the benefits of micro-budget filmmaking and his creative and work philosophies in general.

IM
I'm amazed that you pulled this off as a one person crew, I think it's a little crazy, to tell you the truth. We shot a feature late last year, and for most of it was myself and my partner Sarah were the only crew. Some days we had an production assistant as an extra pair of hands, but we were absolutely exhausted at the end of each day. When it was done, we were pretty much burnt out. So the fact you would have done this all by yourself is just amazing to me. Would you do this again?

NK
I definitely would. And I think it's funny because I totally hear what you're saying and like I've had those experiences too, where I've had small crews or done things just with a friend and then felt exhausted. And I think I've done it enough times that by the time I made this film, one of the intentions I had for it was that it would feel sustainable.

Read More