Marketing Tips for Independent Films

Maggie Bera tells us on FilmFreewayHow to Build Your Film’s Buzz Before You Call It a Wrap.

This no-nonsense, list-heavy article suggests seven areas indie filmmakers must address if they hope to get any attention focussed on their projects. Maggie says:

  • “Set up your film’s online home before you roll camera.
  • Assign someone to capture behind-the-scenes content.
  • Turn your cast and crew into ambassadors.
  • Plan your content before production begins.
  • Think beyond the trailer.
  • Build an email list before you need one.
  • Celebrate every milestone.”

She then lists many steps you can take to accomplish this:

  1. “Reserve your film’s website domain.
  2. Create an Instagram account (or dedicate a Highlight on your existing account).
  3. Write a one-sentence logline and short synopsis.
  4. Set up a simple landing page with an email signup.
  5. Choose a consistent username and visual branding.
  6. Hire a still photographer and capture pictures of: The slate on Day 1, Hair and makeup, Camera and lighting setups, The director working with actors, Crew members collaborating, The monitor during playback, Production design details, A wrap photo after each shooting day.
  7. Create social media content such as: Meet the cast, Meet the crew, Five questions with our cinematographer, Why I joined this project, Favorite moment from set; utilizing a reusable template in Canva so every cast and crew spotlight has a consistent look.
  8. Build a social media content creation calendar and add it to your production schedule, including activities like: your first table read, costume fittings, camera tests, location scouts, rehearsals, the first day on set, wrap day, editing sessions, your composer’s recording session, etc.
  9. Create and post a trailer.
  10. Also share: production stills, filmmaker interviews, screenplay excerpts, behind-the-scenes photography, and conversations about your creative process. This might include: Storyboards, Prop-building videos, Costume sketches, Lighting diagrams, Editing comparisons, Notes from your director’s notebook, etc.
  11. Invite people to join your Email List through: Your website, Crowdfunding campaigns, QR codes on business cards, Networking events, Your social media bio, a “Stay Updated” form on your website, etc.
  12. Share every milestone as a story worth celebrating, such as: Finishing the script, Wrapping principal photography, Picture lock, Composer recording sessions, Color grading, Festival submissions, Festival acceptances, Your first public screening, etc.”

My take: Maggie’s task breakdown for the social media marketing of an indie film is great, both thorough and concise. I love that its unspoken goal is to capture attention online and attract future viewers into the world of your film, to ultimately convert them into super-fans so that they become your ambassadors. Remember, word of mouth is the best form of promotion.

First original film of the 2020s to pass $500M

Curry Barker‘s horror hit, ‘Obsession’ Becomes Hollywood’s First Original Film of 2020s to Gross $500 Million Worldwide, according to Jeremy Fuster of TheWrap.

According to The Numbers, it made $263,451,715 in the US and Canada and $238,212,000 in the rest of the world for a total of over $501,663,715.

Barker’s advice to young filmmakers, via Jake Coyle of The Associated Press:

“I went to a film school for a year out in L.A. and I watched people paralyze themselves with the pressure of: I’ve told people I’m a director so now I have to direct something that has to be good. If it’s not good, everyone’s going to judge me. The result of that thinking is two years on one short film. You can’t put too much pressure on an idea. You just got to make it.”

My take: so, not a good first date flick.

How to adapt the Direct-to-Fan Playbook for indie movies

musicben released “The direct-to-fan playbook in 2026” on STVDIO+ earlier this year.

Benjamin identifies four levels of musical artist by reach: New Independent, Mid-Size Independent, Large Independent and Megastar.

Let’s explore the first level, the one I think maps best to the indie filmmaker experience.

He says,

“It is extremely important to start collecting emails and offering basic digital products. This is your foundation for owning your audience from day one.”

Bandcamp, Substack and Printful are the three services he suggests to beginning musicians.

What might the equivalent services be for indie filmmakers?

MUSIC SERVICE FUNCTION INDIE FILM SERVICE
Bandcamp Rudimentary Distribution, Email Collection, Album and Merch Sales VimeoYouTubeGumroad?
Substack Newsletter, Email Collection Substack?
Printful Merch Fulfillment Sellfy?

Where is the Netflix for Short Films? Itch.io perhaps?

Filmmakers, what’s working for you?

My take: hey musicben, how is SIX doing? We need something like that for indie films, especially shorts that mostly have zero commercial potential. Does thinking about shorts as tracks and feature films as albums spark any ideas for you?

Indie Filmmakers must BYOA: Bring Your Own Audience

Hey indie filmmakers, now you get to do it all!

Not only do you need to devise and make your movie, now you have to BYOA: bring your own audience.

I have two sources to quote today: IndieWire and Future of Film.

Daren Smith writes on IndieWire that Indie Film Has an Audience Problem.

He starts with: “The model most of us use is some version of this: put out a handful of Instagram posts, cut a trailer, build a website, and then, a month before release, spray-and-pray ads at every target demographic we can afford…. Add up the time that model asks of a potential audience member. Ten minutes of scrolling + three minutes of trailer + two minutes on the website + maybe an ad or two they don’t skip. Fifteen to 20 minutes across maybe two mediums.”

He then invokes Daniel Priestley’s 7-11-4 formula:

“Before the average buyer says yes, they consume seven hours of content, across 11 touches, on four different mediums.”

That’s a lot of content, potentially 4-5 times more time than your whole movie!

How to accomplish this? I’m going to acrostically label his strategy as EAT-V.

Which stands for Events, Audio, Text and Video.

EVENTS: any in-person gathering related to your project. “It might be table reads, meetups, industry nights, test screenings, salons, a rehearsal open to investors. The format doesn’t matter. What matters is that you plan it, you’re strategic about who’s invited, and you do it more than once.”

AUDIO: podcasts! “And if you can get on a video podcast, you’ve got a “two-fer”. The video goes on YouTube and they post short clips on social. The audio gets distributed on Apple and Spotify and dozens of other platforms. Heck, if the host is awesome they’ll also send out an email blast to their list.”

TEXT: “Newsletters. Emails. Blogs. LinkedIn. This column, right here…. Start with a simple email list, get people on it any way you can, and keep delivering value over time.”

VIDEO: Post short-form video on Instagram, Facebook, TikTok, and YouTube. Your long-form video is your podcast appearances, behind-the-scenes videos, and interviews.

Eleven touches means you need hundreds of potential opportunities for your prospective audience to stumble across your project. (And don’t forget to remind people to show up to your live events!)

He truly believes:

Only half of my job now is bringing a movie to theaters. The other half is bringing the audience with it.”

On the Future of Film podcastAlex Stolz interviews Lego community strategist Carol Trang.

One key takeaway:

Show up where your audience already is.”

My take: for all its faults, one thing that legacy media did well was to make sure the audience reached a critical mass. By this I mean that the commercial decisions behind publishing a book, producing a movie or pressing an album were based in large part on whether the audience was large enough to recoup both production and marketing costs, while creating enough profit to be sustainable. In our digital, much flatter, less gate-kept world where cheaper costs mean much more competition for attention, building audiences is harder than ever. And it turns out, the task is much more involved than we imagined.

YouTube to save Indie Film?

Jonah Feingold recently posted An Open Letter to YouTube: Give Independent Filmmakers a Rent/Buy Button on Substack.

His core belief:

“YouTube should be the home base for independent film distribution.”

All he’s asking for is:

“A rent/buy button that creators can add directly to their own uploads, on their own channels.”

He outlines current distribution strategies and their limitations.

He then delves deeper into YouTube’s model and concludes with:

“YouTube, you’ve already changed how the world watches. Now change how independent filmmakers distribute. Give us the button. We’ll do the rest.”

Behold! It seems YouTube is listening….

My take: this is a great idea! The 30% Google / 70% Filmmaker split would be okay. The YouTube Partner Program eligibility thresholds would be challenging, if not impossible, for most filmmakers (who are not weekly content creators) that release one film a year. Ads interrupting films would be a non-starter too, as would pre- or post-ads, for films viewers have rented with the new Rent/Buy Button.

Social Media for film marketing in 2026

Emma Jamieson, on her Reeling and Dealing Substack, just published the insightful: You’re not running a film release campaign — You’re building an ecosystem.

You’re not running a film release campaign. You’re building an ecosystem. by Emma Jamieson

Today’s successful film marketing campaigns are fully-rounded ecosystems.

Read on Substack

She reminds us it’s no longer 2015 and a funnel strategy no longer works:

What she recommends for 2026 is “a looped ecosystem continuously feeding audiences”:

She says what’s needed to accomplish this is:

  • Audience Discovery
  • Cultural Positioning
  • A Conversation Hub
  • A Conversion Engine

“In 2026, we build strategic content ecosystems and native communities, and the platforms decide who to show it to and if it’s worth showing. For filmmakers, studios, streamers and distributors, this changes how campaigns are designed from the start.”

She’s very generous with Resources and offers a cheat sheet on How to plan a social media content strategy for your film.

My take: as I said, very insightful! lol, my mental image of the long tail is now a dog chasing its tail — in an echo chamber….

Database of Canadian Feature Films

Do you own the rights to a Canadian feature film? If so, you should add it to the new Canadian Movie Database.

Created by the Network of Independent Canadian Exhibitors (NICE), the database powers a new B2B platform that connects Canadian independent cinemas with film distributors or rights holders, offering curated films by genre or theme.

This new digital marketplace is vital for the expanding ecosystem of independent Canadian film exhibition, providing access to more topical content to the film-going community.

My take: finally a way for all those movies made in Canada to appeal directly to Canadian cinemas and hence to Canadian viewers. You’ve made a feature, did the festival circuit and came this close to a distribution deal. Now you can post your film on this database and reach out to appropriate screens directly. Of course, your chances of getting a booking increase if you give the theatre a great reason to book: the theme of your film is suddenly topical, one of your actors breaks big, your genre film matches the calendar (think Valentines, Halloween, Christmas, etc.) Or you band together with other local filmmakers and offer “The Victoria New Wave” package of movies, for instance. The Canadian Movie Database is a great way to get Canadian films in front of Canadian audiences.

Make features, not shorts, says distribution consultant

Film Courage asks Zac Reeder, an Emmy-nominated producer’s rep and distribution/financing consultant, “What is it that 99% of filmmakers don’t understand about distribution?

He says people spend too much and don’t cast recognizable actors.

And, “A lot of people would be shocked if they saw the real numbers.

But he also says:

“I encourage people not to just make short films, but to make features because if you can make a short, I think you can make a feature, because you’re almost there. It’s a little bit more money, but a feature is much better; it has some marketability.”

Zac’s company, Lucky 27, provides Financing & Distribution Strategy, Producer’s Representation, Negotiation and Deal-Making and Marketing and Promotion services.

My take: having made over 60 short films, I totally agree. There is no money to be made making shorts. Features, technically, have a market. Of course, what’s distinctly missing here is what the market is looking for, how to attract those known actors and how to raise the money. Guess that’s where the consulting services come in.

 

Over 70 Canadian Distributors!

Telefilm Canada has just released a report titled “Exploring the Futures of Distribution – Strategic Visions for the Canadian Audiovisual Industry“.

The PDF report by La Société des demains opines, somewhat existentially:

“To resolve distribution issues in a sustainable manner, it is essential to tackle the structural problems throughout the entire value chain, both upstream and downstream of distribution.

My take: this is a fascinating, if depressing, report on the state of film distribution in Canada. The best part, in my estimation, is the exhaustive list of (almost) every distributor in Canada, found in Appendix A on Page 25.

Canadian movies, by annual box office

In honour of our upcoming Canada Day, I thought it would be patriotic to take a look at the biggest all-time world box office numbers for Canadian movies produced in the last ten years.

See the excellent The Numbers website and their Top Canadian Movies of Each Year listings. The Top 10 by box office from 2016 to date:

Year Movie Budget Box Office
2020 Sonic The Hedgehog $90,000,000.00 $302,452,077.00
2023 PAW Patrol: The Mighty Movie $30,000,000.00 $201,739,292.00
2019 The LEGO Movie 2: The Second Part $99,000,000.00 $192,306,508.00
2024 Paddington in Peru $75,336,729.00 $192,148,490.00
2023 Insidious: The Red Door $16,000,000.00 $186,258,928.00
2021 PAW Patrol: The Movie $26,000,000.00 $151,403,419.00
2019 Midway $100,000,000.00 $126,787,360.00
2021 The Addams Family 2 Unknown $119,383,236.00
2019 Scary Stories to Tell in the Dark $28,000,000.00 $104,793,708.00
2016 Ballerina $30,000,000.00 $96,451,584.00

The Top Ten with Biggest Return on Budget:

Year Movie Budget Box Office Return %
2023 Skinamarink $15,000.00 $2,131,183.00 14208
2023 Insidious: The Red Door (US?) $16,000,000.00 $186,258,928.00 1164
2016 The Witch $3,500,000.00 $40,364,725.00 1153
2017 My Little Pony: The Movie $6,500,000.00 $61,294,644.00 943
2016 Embrace (Australia?) $225,000.00 $1,611,592.00 716
2023 PAW Patrol: The Mighty Movie $30,000,000.00 $201,739,292.00 672
2021 PAW Patrol: The Movie $26,000,000.00 $151,403,419.00 582
2016 Race $5,000,000.00 $23,745,772.00 475
2019 The Lighthouse $4,000,000.00 $18,237,527.00 456

Confused by these titles? Paddington in Peru? Movies are international productions now and get certain work done in tax credit-friendly jurisdictions for the money – and the excellent work skilled artists and technicians provide, of course.

CAVCO certifies Canadian movies. The CRA then refunds money to the Canadian producers of these movies, to the tune of millions of dollars. (Wouldn’t it be nice to know which movies Canadian taxpayers are helping fund and for how much? Other than checking the credits, I don’t know of a comprehensive list. But here’s a cost report from BC.)

Is Canadian investment in Canadian movies worth it? Check Cinema of Canada to see how small the Canadian production and box office numbers actually are. And direct employment in Canadian movies is less than 8,500 people. That’s a government subsidy of something like $25,000 per job. (Someone please tell me my math is wrong.)

My take: The Hollywood Reporter recently published a list of The 51 Best Canadian Movies of All Time – now where have I heard that particular number recently? Curiously, I don’t think any of these movies appear on their list.