The new age of cinema begins

Dana Harris-Bridson reports in IndieWire on Creator Camp and the Three-Picture Theatrical Deal: Attend Is Betting the Internet Can Fill Movie Screens.

She writes, “The Austin-based creator collective distribution arm, Camp Studios, signed a three-picture theatrical deal with Attend Theatrical Marketplace, the Fithian Group company that connects filmmakers directly with movie theaters, streamlining the process of booking and releasing films.”

“The real bet is if creators already know their audience, why can’t that audience show up to a cinema?”

The first test is indie rom-com Two Sleepy People.

My take: I’ve been waiting for this moment for twenty years, ever since video first started appearing on the Internet.

This is much more than a story about a distributor picking up a movie for distribution; it’s tentative proof of a new and emerging theatrical distribution model that will replace the crumbling one.

The big difference to me is the importance of Audience. In the Legacy Model, it was simply assumed that the audience would show up if enough money was spent on marketing. In the New Model, online creators have ongoing relationships with their audiences before making their movies and then rely on them to manifest local screenings on demand through critical mass.

In simple terms:

OLD = Legacy Creator -> Movie -> Distributor -> Cinemas -> Audience.

NEW = Online Creator -> Audience -> Movie -> Distributor -> Audience -> Cinemas.

Best wishes to Attend and Creator Camp!

When is a Film a Movie?

Stephen Follows asks the question, “Which types of features films are called ‘films’, and which are called ‘movies’?

His analysis reveals that audiences tend to call all films movies, with Action, Adventure and Sci-Fi genres the most likely to be “movies.”

Whereas, audiences only tend to call War, History and Biography genres “films,” with all others more likely to be “movies.”

His conclusion:

“We could say that the more fun a genre appears to be, the greater chance it has to be a movie.”

My take: no real surprise here; audiences want to be entertained. A good story, well told. Another consideration is that almost no-one actually films on film anymore.

Rio and friends step up to save Vancouver’s Park Theatre

Part of Vancouver’s film history has been saved by Corinne Lea of the Rio Theatre and a group of private investors, reports The Hollywood Reporter.

 

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A post shared by Corinne Lea (@corinne_riotheatre)

From her statement:

“The Rio Theatre is very excited by the opportunity to revive Vancouver’s historic, art-deco Park Theatre in the beloved Cambie Village neighbourhood. We are grateful for the support of this impressive group of film industry professionals, and could not do this without them! After almost two decades of rocking the Rio, we look forward to this expansion, and bringing the same fun, energy and passion to a new location.”

Among the investors are:

  1. Chris Ferguson
  2. Osgood Perkins
  3. Mike Flanagan
  4. Sean Baker
  5. Samantha Quan
  6. Zach Lipovsky
  7. Finn Wolfhard
  8. Graham Fortin
  9. Eugenio Battaglia
  10. Andy Levine
  11. Jill Orsten
  12. Christina Bulbrook

My take: I applaud this effort because local control of movie screens is critical for a truly independent national cinema.

Hollywood vs. Tilly Norwood

Lily Ford of The Hollywood Reporter reports that the Creator of AI Actress Tilly Norwood Responds to Backlash: “She Is Not a Replacement for a Human Being”.

A new AI-generated actress named Tilly Norwood has caused a stir in Hollywood, with her creator, Eline Van der Velden of the company Particle6, claiming talent agencies are interested in signing her.

The news has sparked a fiery backlash from human actors, who see the creation as a threat to their livelihoods and the integrity of their craft.

In a response on Instagram, Van der Velden defended Tilly as a work of art and a new creative tool, not a replacement for human performers.

“To those who have expressed anger over the creation of my AI character, Tilly Norwood, she is not a replacement for a human being, but a creative work—a piece of art.”

Van der Velden argued that AI characters should be judged as their own genre, much like animation, puppetry or CGI, and could coexist with traditional acting.

The Screen Actors Guild (SAG-AFTRA), however, disagrees, stating, “To be clear, ‘Tilly Norwood’ is not an actor, it’s a character generated by a computer program.

My take: Still less robotic than some of the Transformers cast.

 

Netflix confirms 14 day theatrical run for Knives Out 3

Jack Dunn in Variety reveals that ‘Wake Up Dead Man: A Knives Out Mystery’ Sets Two-Week Theatrical Release Before Netflix Rollout.

The third instalment in the ensemble mystery franchise featuring Daniel Craig’s Benoit Blanc will screen in selected theatres globally for 14 days starting November 26 before streaming on Netflix on December 12, 2025.

In 2022, “Glass Onion: A Knives Out Mystery” played in 600 cinemas for one week one month before streaming.

My take: kudos to Rian Johnson for putting this in his Netflix contract. Could this become their new norm, after Netflix’s success with its two-day KPop Demon Hunter theatrical release?

Advice for Indie Filmmakers from Stephen Follows

Stephen Follows offers Practical advice for indie directors who want to keep making films.

Here are the topics he discusses:

  1. Stay flexible and keep moving
  2. Start small but start now
  3. Think like a micro-budget filmmaker
  4. You need to create your own opportunities
  5. Learn by doing everything
  6. Understand where indie films truly live
  7. Consider if film school is for you
  8. You never know what an opportunity looks like
  9. Find your thing
  10. Learn what people want to watch
  11. Build the right team
  12. Stay ahead of the game
  13. Keep going, no matter what

I particularly like this:

“The filmmakers who get noticed are the ones who don’t wait for permission. They write, shoot, and edit their own work. Even a no-budget short is better than waiting for the perfect offer that may never come.”

My take: good advice! TL;DR? Just do it.

Funding + Screening, together now

Brian Welk reports on IndieWire that From Film Funding to Distribution, This Partnership Gives You Control: ‘Anyone Can Do This’.

The partnership in question is between Seed&Spark and Kinema.

Unlike other crowdfunding platforms Seed&Spark is purpose-built for film & TV projects. They have a phenomenal 82% success rate.

Kinema is a tech platform that enables non-theatrical exhibition — what you may call grassroots screening tours — of films in person and online. We make it easy and rewarding for anyone, anywhere to organize moving showings and share in the proceeds.”

Brian states:

“Those who fund programs on Seed&Spark get a dedicated Kinema account manager and custom distribution consultations. Fees are waived for filmmakers with over 500 followers or over 1,000 campaign backers.”

But hey, if you want to DIY, at least check out their free online resource The Distribution Playbook.

My take: well worth further investigation!

Indie TV: self-financing your own series

Elaine Low writes on The Ankler that Indie TV is a viable model to self-finance shows.

She writes:

“In Park City for the (Sundance) festival is Cooper Raiff, the writer and director of Cha Cha Real Smooth, which just three years ago was a festival competition title that got snapped up by Apple TV+ for $15 million. This year, he’s shopping Hal & Harper — not an indie film, which would be a tough enough sell in 2025, but rather an independently financed TV series, whose path is even less clear.”

Zack Sharf quotes Raiff on making Hal & Harper in Variety as saying:

“(Selling your second movie for $15 million to Apple) makes you too confident. Because of that deal, I thought, ‘Let’s just do it with television.’ That’s what I told everyone. We’re really braving the storm with the series. ‘Cha Cha’ was sold on the backs of so many indie movies. With this, we’re trying to sell this show… so it has to be this undeniable thing to these streamers and these networks. But it made me too confident.”

See the Collider review.

Wikipedia info.

My take: this seems extremely risky, unless your budget is practically zero, you have all the locations, and everyone is volunteering their time. Or, you’ve made so much, you need write-offs? I mean it’s a great way to keep total creative control — until Season Two, that is.

Why so many movies are shot in British Columbia, Canada

Edward Vega posts on VoxWhy your favourite movies fake their locations and why so many of them are shot in Vancouver.”

It all boils down to money.

Some of the reasons he points out:

  1. Locations: Vancouver has got it all: downtowns, suburbs, rural areas, mountains and forests, all within easy travel times
  2. Infrastructure: officials, crews and the general public are film-friendly and eager to make movies
  3. Tax incentives: provincial and federal dollars are readily available as tax rebates.

btw, the whole video is sponsored by Destination Vancouver.

See also:

My take: Another reason is that British Columbia and California share the same time zone. And a further reason is the exchange rate — the Loonie is worth 69 US cents, so every dollar Hollywood spends automatically goes over 40% further north of the border. (btw, you get even more tax incentive to film in Victoria or on Vancouver Island!)

Attend platform will allow filmmakers to connect directly to cinemas

Jeremy Kay reports on Screen Daily that Former top exhibition sector lobbyists unveil digital marketplace to boost theatrical supply.

“The Attend platform will champion mid-range films that have largely disappeared from cinemas, as well as international films seeking release in North America, and films that typically receive limited theatrical release and could reach broader audiences through data-driven theatre selection, scheduling and marketing.”

Some features:

  • Filmmakers will be able to upload details and materials of their films directly
  • Exhibitors will be able to search the database
  • The platform will recommend films to exhibitors based on the preferences of their theatres and audiences
  • The platform will facilitate the logistics of projecting films in cinemas.

The Attend platform is being developed by The Fithian Group of John Fithian, Jackie Brenneman and Patrick Corcoran.

Dozens of filmmakers support the concept, including Ted Hope and Steven Soderbergh.

Read an in-depth interview with The Fithian Group for more.

My take: this solves the “supply to theatres” issue, by cutting out distributors. I’d love to see some Canadian cinemas join — not that I have anything against Canadian distributors — it’s just that Canadian filmmakers have historically been shut out of Canadian cinemas by American distributors. How ironic that this American initiative might solve that for us.