Distribution

Thank you for this post, Geoffroy Faugerolas. It's so important for the creative community to be aware of this positive momentum in the global industry and how international productions - and distribution - are thriving.

Hi Geoffroy - amazing timing given the new Tariffs that are kicking in.

I was so excited at the aggregated savings you shine a light on with "These co-production structures create remarkable financial efficiencies. Imagine shooting principal photography in Ireland, completing additional scenes in Canada, and finalizing post-production in England: each phase qualifying for specific tax incentives and rebates in its respective territory. This approach can reduce production costs by 30-40% while simultaneously opening access to multiple distribution markets."

I think the answer to your question is "Made in the USA" seems to be the order of the day. I am wondering though with advancements in AI killing production jobs, will we see some states offer HUMAN-ONLY production credits to maintain jobs. (Think 2026-2028)

Geoffroy Faugerolas, The point you raised about co-production structures not just enabling collaboration but actually creating financial efficiencies is so important and often overlooked by indie creators. That 30-40% savings could be the deciding factor between a project being shelved or greenlit. I’ve also noticed how format adaptations and non-English series are no longer niche, they’re leading the global conversation in entertainment.

Geoffroy Faugerolas Warmest greetings from Greece! Have sent you info about my adventure series The Savage Roads!

Speaking of the global TV market...we just had a fantastic chat with literary manager George Salinas who works with US-based and international writers to adapt formats in different territories. He has such a unique expertise and skill set. No one knows better about the international TV landscape. If you have a pilot that could be produced internationally or be adapted into a global format, he JUST opened up a pitch session: https://www.stage32.com/happy-writers/pitch-sessions/Pitch-George-Salinas-Sunday-June-8th-2025 and he's also available for consultations!

I think Thunderbolts is going to be a box office hit too, Ashley Renee Smith. I also think this momentum means indie distributors and major distributors will release more movies in theater and maybe even push for longer theater windows.

I interpret this as a bounce back from the slow down of the post-Oscars blues, and though it happens most of the time but with the release of SINNERS I believe there is a hope and even a push for original films and of course, indies will always be the home for that but there industry almost always needs a film to "reinvigorate" itself and change the mood and tone of people. I think we should take a look at how prod. cos. upcoming releases and slates are crafted to see where we the industry will go!

Many people aren't ready to completely let go of the cinema experience. If you give them a great story (and a $50M media campaign), they will come. Or, just produce a great indie and 4-wall the hell out of it. They will still come. The movie theater isn't dead; it is just reconfigured.

"Looking ahead, buzz is building fast around Marvel’s Thunderbolts, which looks poised to pull in both fans and critics with its darker ensemble tone." - It had a great debut!

I saw Thunderbolts on Sunday, and honestly, it was the most fun I’ve had watching a Marvel movie in a long time. What really stood out was that it was built around real emotional themes rather than just rushing to move the plot forward. The concept was simple and clear, the performances were top-notch, and the overall arc felt genuinely satisfying by the end. It struck a great balance between action and character depth. Definitely one of the more grounded and resonant Marvel entries in recent years.

Debbie Elicksen This is a fascinating move and a strong sign of how global distribution strategies continue to evolve, especially in markets like Japan where physical sales and traditional genres still hold unique strength. Curious to see if this sparks more collaborations between heritage labels and digital distributors.

Matthew Wade, thank you so much for sharing your experience so openly. It’s incredibly encouraging to hear about real-world examples where self-distribution, betting on yourself, and protecting the integrity of your work actually paid off. You hit on something so important, creative ownership, and finding the right audience sometimes outweighs the allure of a big name distributor who might not understand the heart of the project. I think the future belongs to the filmmakers who are willing to build their own lanes and connect directly with their audiences in authentic ways.

Matthew Wade , Your insight on indie filmmaking and self-distribution hit deep. Totally vibing with the boutique future you described. Would love to connect — I'm currently working on something impactful to help empower that exact indie spirit.

Thanks for sharing Matthew Wade and I appreciate your story and curiosity. The industry can feel like a high-stakes game, but festivals absolutely level the playing field. Look at ANORA’s Palme d’Or win: a scrappy, bold film that outshined studio films at the Oscars. That’s the power of the festival circuit—it rewards vision over budget.

And don’t sleep on YouTube! I’ve seen filmmakers bypass traditional gatekeepers by building audiences there. It’s not just a plan B; it’s a legit launchpad for cult hits and career momentum.

That is the route we are taking with my film at this point. The fact is, people don't expect to pay for a documentary. That's a painful fact, but it just IS. Or I tell myself that, anyway. So, we are going with self distributing through a medium that allows 100% ownership, still lands on AVOD, and includes an ancillary service in addition to the film for more revenue over time via a service that actually helps people.

Matthew Wade, the last time I went to the Cannes Film Market, I was able to sell my feature films to foreign buyers. They paid me 20% on signings and later when I delivered the 35mm prints, they paid the balance of the 80% upon delivery of the 35mm print. Other American Distributors did the same. While at the American Film Market, it was the same. Today, everything has changed it seems, what with 'Streaming' services; but they don't seem to pay much. Anyway, it's been about 20 years since I went to the Cannes Film Market and Festival, so email me if you like -- vicalexander37@gmail.com

Only top tier talent will do this, and not all will succeed. Not all movies are going to see a theatrical release which costs money. Back when Slumdog Millionaire was made, WB wanted to go straight to DVD with it. Danny Boyle, the director, asked if he could take it to Fox Searchlight. They allowed him. It was a theatrical release, won best picture in 2008. Tom Cruise fought hard to ensure Top Gun Maverick was released theatrically. Finally, just because it's an item in a contract doesn't mean the other side will accept it. Many times one side will say, "that's off the table," meaning it's not included.

Dwayne Williams Would be nice, but that clause would likely kill any deal for the vast majority of filmmakers. I frankly don't know of anyone who could even think of this, for the last couple decades, save a couple. Think about the repercussions though - how is anyone with brains going to agree to that given the thousand or so variables in whether the film might be any good or whether people will want to see it or not? Some proposals are only sensible in very specific instances.

Dwayne Williams, Entertainment Attorney Jackie Ward started a great conversation in the Producing Lounge, to share advice about building a strong foundation for your production and getting a greenlight. This may be a great question to ask her! You can find her post here: https://www.stage32.com/profile/1164177/lounge

I love this question! If I had the means I absolutely would, that where I think distribution and getting the right distubotors is an important factor when selling a film, it's important for people to see your film but what some people don't realize is that there is power in visibility so being able to get a press run is huge and contributes to a larger impact such as word of mouth recommendations. However, for smaller films, that power can come from anywhere so it's not necessarily important on that scale but it is important to seek some kind of guidance when it comes to these kinds of questions, in my opinion, seeking the advice from industry professionals is a way to get a better view of what you want!

The request for a theatrical run has a functional element beyond ego... at least for a seven day run, anyway.

To qualify for the Oscars, a film needs a qualifying theatrical run. Generally, this involves opening in a commercial theater in one of six qualifying U.S. metropolitan areas and completing a minimum seven-day run. For Best Picture, additional theatrical standards are required, including an expanded run of seven days in 10 of the top 50 U.S. markets, no later than 45 days after the initial release.

Neat idea! I used to run backyard "YouTube Theatre" for neighbors where we would call out our favorite videos Karaoke style. It's all about the community and creativity to get everyone to watch thing (Insert Media Here).

Just spoke to Mark, he's super excited!

I am very excited for this webinar. I'm looking forward to answering your questions tomorrow!

Thank you Mark for a wonderful webinar and for everyone who attended! That was so informative :)

Excellent. Always a pleasure working with Stage 32.

Thank you Mark! If anyone is interested in other education from Mark here is a link to a webinar he taught: How to Plan Your Film Release Window & Strategy: VOD, SVOD, AVOD, Broadcast

Taught by Mark Padilla https://www.stage32.com/education/products/how-to-plan-your-film-release...

Randall Scott White, thank you so much for taking the time to write such an in-depth and thoughtful post on this subject. You broke down the realities of modern distribution so clearly and provided genuinely actionable advice. It’s rare to see all of this information laid out so transparently, especially with such a grounded look at both the challenges and opportunities that filmmakers face today. This is incredibly valuable insight for anyone navigating their release strategy!

That's so awesome Michelle Alexandria.

Thank YOU Michelle for the incredible webinar, we are so lucky to have you and your knowledge !

Fantastic opportunity for people who don't know much about the sales and distribution process to learn how this part of the business works. I worked at sales agencies for 10 years but its oddly not a part o the process that isn't as openly talked about as it should, yet it is a key part of your film's life.

I totally agree Ashley Renee Smith

Having the chance to experience this success first-hand, living close to the area where the movie was shot, was truly inspiring. These stories are a boost of optimism!

I forgot the tag Sam Sokolow :)

Such a great post Chiara Torrisi. Sometimes we forget to reach out to our local market, who may be the most invested in seeing a local producer thrive. Local media, for sure, like to feature projects that have a local connection.

I totally agree Debbie Elicksen