Distribution

Thanks for this—the growth is staggering. The stat about Chinese microdrama revenues surpassing their domestic box office really puts it in perspective. For traditional writers, the hardest shift is letting go of IP protection as the primary asset and embracing speed and iteration instead. Are you seeing any microdrama trends that could cross back into longer-form?

Sam Rivera Can't think off hand any specific projects, but I have seen many other creative projects launched on TikTok that have morphed into something bigger.

Ashley Renée Smith I imagine it's quite pricey for filmmakers just starting out, but also worth the investment.

Since Igor money on my mind,I too think this is fabulous , great, or awesome, like you said Amanda

Michael Howard Many don't know they can this this, which has been available for a very long time, though you would think it is public knowledge at this point. The issue, though, is that in the last couple years Roku restructured its programs so that it is nearly impossible to actually make money through their system. I haven't examined the details for FireTV.

As the distributor, I'm able to offer TVOD through Roku. I've found it easy enough to set it up, but am finding that the consumer doesn't pay to watch content, since so much is available free. No one even pays as little as $0.99 - they just don't.

This is such an important conversation to be having, Michael Howard.

There’s still a lot of confusion out there about what “distribution” actually means today, and your point about OTT channels serving as a bridge between YouTube and traditional distribution is spot on. That curated middle ground, especially with quality standards and a defined audience, can be incredibly valuable for filmmakers who are trying to get their work seen without immediately jumping into expensive or restrictive deals. Really appreciate you opening this up, there’s a lot of value in demystifying these pathways for the community.

Hi Michael Howard! Do films on your channel get discovered organically, or do filmmakers still need to drive their own audience?

You can do NDA agreements , contract, copyright ownership (as you're doing a large project , you might have done it...) ...

Can send by Gdrive or Frame.io (better) ... And can send files with password protection...

(idk if it's the answer you're looking for....)

Great question, Andrew Crutcher! You’re already in the right place asking here, especially from a distribution and delivery standpoint. I’d also recommend posting this in the Post-Production Lounge as well: https://www.stage32.com/lounge/post_production

You’ll get really valuable input from editors, colorists, and post supervisors who can share how they’ve safely collaborated with filmmakers in real-world workflows, from file transfer methods to security practices and legal considerations.

The combination of perspectives from both lounges should give you a well-rounded, practical approach.

Laura Hammer, this is such an important shift to highlight, and I completely agree, this is something writers and filmmakers should be paying close attention to.

A 45-day theatrical window really does feel like a strong vote of confidence in the big screen experience. It signals that studios still see real value in stories that are designed to be experienced collectively, not just consumed at home. And that has a ripple effect on development. From what I’ve been seeing, it also reinforces the idea that understanding the marketplace, where your story lives and how it’s positioned, is becoming even more important. It definitely makes me feel excited about where feature filmmaking could be heading, especially if it encourages more intentionality around what belongs on the big screen.

Most films today are built on hype long before they’re actually released. Big studios invest heavily in marketing to generate excitement, and it works—people show up in huge numbers during the first few days.

But here’s the pattern I’ve noticed: for the first 2–5 days, most reviews are overwhelmingly positive. Why? Because it’s mostly fans watching the film during that phase. Their excitement and expectations often influence early reactions. Give it a week, though, and things start to shift. That’s when more neutral audiences step in, and you begin to see more honest, balanced reviews.

There are a couple of reasons behind this:

1. Pre-release hype pushes people to watch the film regardless of its actual quality.

2. Early reviews are often shaped by fan bias rather than critical evaluation.

Another thing worth considering is cost. A single theatre ticket for a major film—like something from the Mission: Impossible – Dead Reckoning Part One or Dune franchise—can cost as much as a monthly subscription to platforms like Netflix or Amazon Prime Video, where you get access to a wide range of content.

So, it makes sense to be selective. Not every film deserves a theatre visit. It’s better to spend time and money on movies that genuinely offer something—whether that’s strong storytelling, immersive experience, or simply good entertainment—rather than watching something just because it’s trending.

Personally, I’d only consider going to theatres this year for films like Spider-Man: Brand New Day, Dune: Part Three, or Avengers: Doomsday—but even then, it ultimately depends on how they’re received after release.

A theater I frequent in Madrid offers a total experience.

The seats are huge, like low, comfortable armchairs with side tables, AND they don't offer food and beverages at a bar but with service at your seats up until ten minutes before the featured film.

People don't show up at the last minute... not even in Spain ha ha, because of this experience... funky music, cool things, funny things showing on the screen, in dim lights, but not completely. People are chatting and laughing, right up until the feature starts when the lights go off and the sound hits it!

After the show is when the bar/restaurant out front opens, and it's a buzz.

Yes, this comes with a premium price, but it's always packed. You have to order your tickets in advance.

Ashley Renée Smith, you’re absolutely right; audiences haven’t stopped going to theaters; they’ve just become far more selective. When a film feels like an experience, something designed for the biggest screen possible, people still show up in huge numbers. Dune selling out 70MM IMAX eight months early proves that theater isn’t dying; it’s becoming more intentional and event‑driven.

For me, there are a few upcoming films that I already know I want to see in theaters: Practical Magic 2, The Devil Wears Prada 2, and Steven Spielberg’s next film, Disclosure Day.

And there’s another layer to this conversation that often gets overlooked: the cost of going to the movies varies wildly depending on where you live. Here in Portugal, a night at the theater is around 7€ for a regular film and 11€ for IMAX, and if you want popcorn, add another 3.5€. For countries with higher average incomes, that might seem inexpensive, but here, with an average monthly income of about 1,500€, it’s not a small outing. People think carefully about what’s worth seeing on the big screen.

Christopher Wells AMC A-List makes seeing movies very affordable. Am I using all 4 visits per week? No. But even 3 visits per month brings the cost per movie down to $8-9 per watch which is reasonable. Watch 5-6 movies per month in theaters, I pay $3-4 per visit. That's a maximum experience to cost ratio.

What's get me into the theater most though is knowing great filmmakers are making exciting movies. Project Hail Mary was a stunning pre-summer blockbuster this year. Excellent auteurs like Stephen Soderbegh, Kristoffer Borgli, Gus van Sant have all released fascinating movies. There's been popcorn genre flicks galore between PRIMATE, SEND HELP, 28 YEARS LATER 2, SCREAM 7, READY OR NOT 2, and LEE CRONIN'S THE MUMMY. There's also been stupendous crime thrillers left and right like CRIME 101, HOW TO MAKE A KILLING, and THEY WILL KILL YOU, to go alongside amusing stunt movies like GOOD LUCK HAVE FUN DON'T DIE, THE MOMENT, and NIRVANA THE BAND THE SHOW THE MOVIE. The movies are literally back and there's something for everyone out there.

And like I mentioned , I do not have a 70 FOOT television in my house yet. 80 INCH - yes, but 70 FEET - no. I unfortunately still lack the space in my 2 bedroom townhouse.

What Damon Zwicker said! x5

The myth: Of course they enjoy watching the first one. But come out with another one and don't start wondering why the audience engagement starts dropping off. Sorry producer, you're only gonna get so far in the repeat or tried and true strategy. Eventually, you'll be at the cliff's edge and b forced to jump. Better to start bold and with something new and unexpected on he secos go round. Your "easy path" might work while th money rolls in but eventually you'll come face to face with the chasm and wish yuan been more careful way back at movie 2.

Do you have a clear festival strategy? It's not just about getting into festivals but also which festivals you're showing at, whether the film garners buzz there, and if the festival has a robust sales market. Without those elements, much of the film's success will depend on who is leading the film in front of camera and whether that person has an audience that will intentionally seek it out. Do you have recognizable stars?

Wes Ambrecht It's local talent from the city where we shot, Austin TX, and our strategy is aimed at more first-time filmmaker friendly festivals, smaller festivals in big cities, with a few of the bigger festivals on our radar but keeping a realistic approach to the film's festival strategy. If you have any advice, recommendations, etc, please let me know!

My gut instinct overlaps with Alexia Melocchi in that case. Festivals probably won't get the film sold. You should be looking for a sales agent, if you don't already have one, who can assist with the hunt for distribution.

IMDb pro would be a good place to start to narrow down companies that fit your niche, budget range, and level of accessibility. Festival networking is also pertinent. As far as talking to them, be clear and professional without being pushy. Explain exactly what you’re looking for (in this case SVOD or AVOD placement). Try to have all your materials ready to be shown/sent if needed, including the pitch deck, one sheet, festival strategy, any marketing plans, script, and whatever else you have that’ll help convey the project quickly and efficiently.

Awesome advice on this thread. We also have a really great class on distribution that will help you navigate the different options: https://www.stage32.com/education/products/creating-a-distribution-and-m...

That's fascinating. A constitutional right to cinema? That's wild and kind of amazing. Makes you wonder what U.S. filmmaking could look like if we treated it as something essential, not just entertainment. Gonna read more about The Secret Agent—thanks for sharing this.

Sam Rivera Canada provides funding to the National Film Board to ensure continued Canadian and especially Indigenous content. Maybe it's only the USA?

History has shown that while film is often used for propaganda purposes, it is also a necessary escape for the public in times of stress and especially war. Fantasy, love stories, and other genres (aka serial killer documentaries) provide a community service, in a way.

I agree with all of these! I'd also add that even if you're not a salesperson, it is valuable to learn how to sell yourself as a creative and your project. You may have a great project but if you can't get someone excited to read it it could get lost.

Perfectly put Alexia Melocchi: Distribution is where art and business truly collide.

Alexia Melocchi Brilliant these truths are timely when it comes to distribution and getting my work seen. Headed to Cannes ,,,