Distribution

Hey everyone, it’s Sydney from the Stage 32 Education Team. I hope you’ve had a great week!

I wanted to pop in today to talk about distribution because there are so many opportunities for filmmakers to get their projects seen, and we want to make sure you have the tools to take full advantage of them.

One class I’m really excited about an upcoming class this month.. Chris Hazenbush's 4‑Part Distribution Guide for Documentaries, Docuseries, or Unscripted Projects. Chris walks you step by step through planning your distribution strategy, navigating the marketplace, and making sure your project reaches the right audience. Plus, direct access to Chris once you sign up and throughout the course. You’ll leave the live interactive class with practical steps you can start using immediately. You can check it out here: https://www.stage32.com/education/products/stage-32-4-part-class-step-by...

Here are a few other webinars on distribution you might find helpful:

-How to Secure the Best Distribution Deal for your Feature Film Project

Taught by Tiffany Boyle: https://www.stage32.com/education/products/understanding-the-economics-o...

-Distribution Today: How Netflix Picks Up Completed Films and Works with Filmmakers

Taught by Kristin Harris (On Sale!): https://www.stage32.com/education/products/distribution-today-how-netfli...

-The Writer-Director Blueprint: Taking Your Film From Concept to Distribution: https://www.stage32.com/education/products/the-writer-director-blueprint...

Here are a few other classes on distribution you might find helpful:

-2-Part Distribution Class: The Future of Film Distribution - A Masterclass to Navigate the New Terrain: https://www.stage32.com/education/products/creating-a-distribution-and-m...

-Stage 32 Producing Class: The Ultimate Guide to Getting Distribution For Your Indie Film: https://www.stage32.com/education/products/stage-32-producing-class-the-...

-Stage 32 2-Part Class: Advanced Film Distribution: Contracts, Sales Agents & Streamer Agreements: https://www.stage32.com/education/products/stage-32-2-part-class-your-de...

If you’d like hear more about Chris’s class, just email me at edu@stage32.com and I’ll send you more info!

We’re planning our 2026 education, and I would love to hear from you. What topics in distribution would you like to see next year? Or are there other areas you’d like us to cover that we haven't? Share your ideas in the comments — I read every single one!

I can’t wait to see what you suggest :) Comment below!!

—Sydney

Stage 32 Education Team

edu@stage32.com

I want to know your profit experiences with both mainstream (which now includes TubiTv if you went to them directly, but NOT if you went to them through Filmhub) and independent distribution pipelines, as well as what people call DIY. We at the Independent Producers Guild finalized a research study of the profits and payments to independent films since 1990. We all know they have literally vaporized. The question is, why, and by how much. We have conclusions, but as we move into solutions (which we have also been working on) I want to hear your experiences regardless of where they come from. Also I would invite your discussion of the conclusions of the paper below. The research conclusion:

"The economic difficulty faced by independent filmmakers is not a simple misfortune resulting from technological change; it is the calculated outcome of a system designed to suppress competition, acquire valuable IP at reduced cost, and eliminate the contractual obligation to share residual profits. The low profitability of the sector is structurally mandated by the dominant cartel."

A key factor, but not the only one, is the setting aside of the Paramount Decrees in 2020, after which the MPA was permitted to engage once again in monopolistic practices like block-booking, clean screens, and vertical ownership - among other things. But there's far more and you won't like it... BUT this is to cause some debate and exploration of how we as independent filmmakers can actually succeed in this environment, Read or download the whole paper here: https://independentproducersguild.org/paper-cartel-or-collapse

Lionsgate has started getting fans to create their trailers on TikTok... My understanding of the industry and fanbases tells me that this is destined to be one of those "sounded good at the time" decisions, and I will tell you why. But first, the article:

https://variety.com/2025/tv/news/lionsgate-tiktok-fan-edits-1236551825/

One of the discussions we have at Diamond Shadow Productions as we begin to implement the FilmPod model revolves around the gaming industry and how the response of game studios to fan-generated media differs from that of the film world. For example, Larian studios recently gave free reign to Baldur's Gate 3 fans to create not just videos, not just added "mods" for the game (one of the most successful in recent history), but to even permit those mods to expand the already enormous game. Currently, among the many hundreds of mods available, through Larian no less, there are at least two massive expansions being worked on by fan teams numbering, literally, in the hundreds. The Baldur's Gate 3 fanbase is eagerly awaiting those, which will be FREE. We often compare this to the attitude of Paramount over the infamous Axanar. Originally supportive, Paramount reversed itself and sued the creators of Axanar to shut down their production (this was ~11 years ago). The reason apparently was that the Star Trek fanbase (I was one of them) supported the project to the extent that it was going to be a feature length production with production values at least as good as the Paramount films - you can still see the 21 minute Prelude To Axanar here: https://youtu.be/1W1_8IV8uhA - The fan group pivoted and kept the dream alive, but are still struggling to create their first two shorts after that debacle.

At first blush, Lionsgate's move might be seen to be engaging the fan base, moving toward the kind of relationship that gaming studios have with their market. That is not the case and if Lionsgate thinks it is, they are mistaken. Gaming studios encourage and permit FANS of a game - those who are already invested in the game existing and wanting to share their experience. The market is already prepped, and likely even mature, for that game. Lionsgate is opening up actual film footage and letting amateurs have at it, before the film is released, in the strange hope that this will interest people in the upcoming film.... one which trailer they certainly haven't seen and which is now associated with a random jumble of visuals and sound which unrelated to the film - created by people WHO ARE NOT FANS yet.

What are your thoughts on this entire move?

Everything needs a plan: a script, book, PR campaign, marketing, magazine article, media interview, blog, podcast -- everything.

Writing isn't exclusive to one genre, to one media, to one platform. It can't be, because every audience is different and gravitates to a different location.

The November Write Club is a great opportunity for holding yourself accountable for what and how you write.

I'm not saying we need to be Pollyanna with our messaging. F that. But we need to be able to look at something we published, especially in the free digital space, a month from now and not cringe and/or delete.

My goal for Write Club is to promise to write with more intention, to be completely true to myself, whether it's to educate, entertain, or just respond to a comment.

Writing with intention, to inspire, tell the story others are too afraid to tell, fight for a cause, be a voice for the voiceless -- to me that's what writing with intention is. That is what I plan to use the Write Club to remind me of. Also, to get over the fear of just writing that damned script.

https://www.stage32.com/blog/the-11th-annual-november-write-club-is-almo...

Has anyone subscribed to Luminate and if so what sort of success did you have?

Distribution coordinator Manuel Palos stressed, “Some countries support film distribution in other European nations: to help films from their countries gain greater reach, they support local distributors in these destination countries.” Stefan Schmitz confirmed this: “Film institutes in France, Germany, Italy and Scandinavia allocate funds to supporting the release of their films in other countries.

https://cineuropa.org/en/newsdetail/482326/

Hello, I just finished the post of my indie feature. 140' Drama. Looking for guidance in distribution and festival strategy. If any one can help. Thank you .

Distribution can be one of the most confusing (and crucial) parts of the filmmaking process — but understanding how it works is key to getting your film seen and making sure you’re compensated fairly.

In this helpful breakdown, the video walks through the fundamentals every indie filmmaker should know:

• Types of film rights: theatrical, digital, streaming, broadcast, and more

• Exclusive vs. non-exclusive deals and what to watch out for in your contracts

• Streaming models explained: TVOD, SVOD, and AVOD, and how each generates revenue

• Territory rights: domestic vs. international distribution, and how to approach each strategically

Watch here: https://www.youtube.com/watch?v=z5ZHj7ukkw8

For those who’ve been through this process: what did you wish you understood about rights or distribution deals before your first release?

Now this is interesting. Netflix has always used the ‘subscribers first’ model and avowed not to do what they are doing here, or at least what is being claimed in the article. Any thoughts on this move, or non-move, by the streamer? 

Mind you, I hope it’s going to be at a cinema near me, and not just in the US and Canada! I’ve loved this series and it would be great to see the finale on the big screen! How about you? 

https://www.hollywoodreporter.com/tv/tv-news/netflix-stranger-things-fin...

It’s not often we see a week that redefines the entertainment landscape, but this one might just qualify.

According to Deadline’s in-depth report (read it here: https://deadline.com/2025/10/warner-bros-discovery-deal-suitors-1236596524/), Warner Bros. Discovery, the powerhouse behind Warner Bros., HBO, and CNN, has officially opened itself up for sale, with major players circling. Paramount Skydance has made multiple bids, while Netflix, Amazon, Comcast, and even Apple are reportedly weighing their options.

If this sale happens, the ripple effects could be seismic. We’re talking about a move that would shrink the number of major studios to four, potentially reshaping everything from theatrical distribution to streaming deals, licensing, and global rights management.

Some key takeaways from the article:

• Paramount Skydance is considered the frontrunner, backed by Larry Ellison’s deep pockets and tech-world influence.

• Netflix has surprised analysts by not dismissing the idea of acquiring a traditional studio, raising big questions about how far streamers will go to secure top-tier IP.

• Amazon and Comcast could also benefit strategically, while Apple’s focus appears to remain elsewhere (for now).

• Analysts estimate the total acquisition value could reach $75 billion, with a major reorganization of assets and divisions already in progress at WBD.

This story represents more than just a corporate headline, it’s the clearest sign yet of how content ownership, IP control, and vertical integration are shaping the next era of entertainment. Whoever wins this bid will hold a vast library, production infrastructure, and streaming leverage that could redefine global distribution pipelines for years to come.

This conversation is vital for independent filmmakers, distributors, and producers alike. The consolidation of power at the studio level means fewer buyers, but also new opportunities for partnerships, co-productions, and smart positioning in the indie space.

What do you think this could mean for the future of film distribution?

Will consolidation limit opportunities, or could it open new doors for agile, independent creators and distributors?