Orly Ravid's guest appearances

Orly Ravid

Indie Film Hustle® - A Filmmaking Podcast

Creative Distribution 101

Liz Manashil

Julie Cohen

Emily Best

Naomi McDougall Jones

David Klein

Jeff Goins

Elijah Wood

John Kim

Brad Olsen

Joel Holland

Stanley Kubrick

Ashley Scott Meyers

Adrian Martinez

Marta Kauffman

Sean Baker

OwlTail

Today on the show we have attorney and film distribution expert Orly Ravid. Orly is committed to helping artistically and intellectually rigorous and important films reach their respective audiences via a financial model that is sustainable for filmmakers.Having established the theatrical, festival, digital distribution and educational services, presently at TFC, Orly works primarily on distribution, sales/licensing and contract/negotiation services with a focus on new media digital distribution. She also oversees theatrical releases, the various educational services, and the organizational overall.Called a “big picture” thinker, Orly founded The Film Collaborative in response to a dominant and overarching structure that favors middlemen, not filmmakers. She is passionate about protecting filmmakers’ rights and revenues as much as she is about good film.Having worked in the film business for two decades, Orly’s past experience ranges from programming to all aspects of the business of film. Orly and discuss the current state of distribution, what the future holds and how not to get ripped off by a predatory film distributor.Enjoy my conversation with Orly Ravid.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/2664729/advertisement

Today on the show we have attorney and film distribution expert Orly Ravid. Orly is committed to helping artistically and intellectually rigorous and important films reach their respective audiences via a financial model that is sustainable for filmmakers. Having established the theatrical, festival, digital distribution and educational services, presently at TFC, Orly works primarily on distribution, sales/licensing and contract/negotiation services with a focus on new media digital distribution. She also oversees theatrical releases, the various educational services, and the organizational overall. Called a “big picture” thinker, Orly founded The Film Collaborative in response to a dominant and overarching structure that favors middlemen, not filmmakers. She is passionate about protecting filmmakers’ rights and revenues as much as she is about good film. Having worked in the film business for two decades, Orly’s past experience ranges from programming to all aspects of the business of film. Orly and discuss the current state of distribution, what the future holds and how not to get ripped off by a predatory film distributor. Enjoy my conversation with Orly Ravid. This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at <a href="https://www.spreaker.com/show/2664729/advertisement" rel="nofollow" target="_blank">https://www.spreaker.com/show/2664729/advertisement</a>

IFH 444: How NOT to Get Ripped Off by a Predatory Film Distributor with Orly Ravid

In episode 3, Orly Ravid, who founded THE FILM COLLABORATIVE in 2010, tells us all about how to market docs and fiction films, the golden rules of online distribution, how to have a sustainable career with creative distribution and build festival relationships. Orly has spoken on distribution at Sundance, Cannes, SXSW, and many more places.   Show notes:  Orly focuses on removing the middlemen so more money goes back to the filmmakers. TFC Offers free education resources (Distripedia, Guides, blog), paid consultation for members and custom distribution. Will educate everyone but doesn't distribute everyone. Not every film is a festival film. You have to know how to see past your immediate vision, most people won't go to Sundance and even if you do it might not work out the way you want. Think outside the box. Having distribution potential means some awareness and niche potential to market to. For narratives, if you have an unknown cast, you need niche appeal or themes that equate to marketing potential. Example of a fiction film that worked, "Light of the Moon": had some cast and a nice festival premiere, but also an issue and themes. If it's very funny, it's also a marketing hook. You need a hook, otherwise how many people are going to go see a film if it's just a poor version of a studio film ? You need a combination of factors for success. B-list cast can be very deceiving even if on a successful show, that doesn't translate into audiences. If you don't have A-list cast or a big festival premiere, be creative with niche marketing. The premiere creates buzz and gives you press. You need a plan B if it doesn't happen. Really think of the distribution very early on and look at what similar films did and what worked for them. Some of the films that worked well: "Mosquita Y Mari", a lesbian Latina film, "Hooligan Sparrow",  "Invisible War" and "The Hunting Ground" on sexual assault issues. Those issue-based films and with niche appeal will do well in every category, they also had top festival premieres. "Landfill harmonic" is our most successful film in festivals, made about 200K in festival income gross alone. We turned down Netflix worldwide to do a semi worldwide SVOD deal and a HBO deal, educational, etc. They got corporate sponsorships. We did a lot of various deals in various territories. It was a once in a blue moon movie that got covered in 60-min. It usually doesn't happen like that. Stuff you can do even without a big festival run: we had the film "Under our skin" about lyme desease, the director was making 25K a month just selling DVDs, when DVDs were still a big thing, but DVDs and educational licenses still sell very well. Niches and their strengths vary. For example LGBT content is more competitive now, because thankfully there is more content. In Europe there's a lot more public funding, but in the US it's about investors, equity, donations, grants, etc. The Basics: 1) Have a great publicity team 2) Have great marketing assets (trailer, stills, etc). You need new content to build an online community, and custom content for each platform.  Include all of this in your budget, it's just as important. Key ingredient: get everyone to sign up at every screening so you can let them know when the film is released and build  a mailing list. Get organizations on board, corporations, NGOs, schools, early on to be a screening venue and a place of outreach and marketing. Basically you need a plan before the film premieres: it takes time, work, and care. Assess where your film is and what worked or didn't for similar films. Coordinate timing if you were funded by a broadcaster, or adjust to SVOD restrictions or knowing when you have to turn that down. Corporate sponsorships take a very long time, so get help. Hire the right person if you don't have the relationships, it's rare that it's worth the time and energy. Windows matter: have the longest possible window when the licenses are at a high price, but also release the film online before people completely forget about it. It's a balance. If you are offered a lot of money from a streaming platform, weigh if it's worth it to forego other windows or not, and what they can bring tot he table. Each film is different. Streaming is king and transactional (iTunes ) diminished but still works for some films. Ad-supported VOD will be key, like original TV, as people won't to pay for multiple subscription services. Community screenings and educational are still generating plenty of revenue for the right type of films. Digital distribution advice: Don't assume that just putting it out there will be enough. If no one knows about it, if the platform is not promoting, no one will buy it, films don't sell themselves. Design key art that sells on those platforms. Some people don't want to own a film if they won't replay it over and over - renting or streaming with ads or a subscription service can be enough for most content.  Do not give exclusive rights to anyone when you don't know what marketing they are doing or if you don't know what other deal you could be getting from another platform. Build festival relationships with programmers, and other gatekeepers and entities that have reach. The film festivals' appeal is on the rise, as they are the ultimate curators within a sea of content. 

In episode 3, Orly Ravid, who founded THE FILM COLLABORATIVE in 2010, tells us all about how to market docs and fiction films, the golden rules of online distribution, how to have a sustainable career with creative distribution and build festival relationships. Orly has spoken on distribution at Sundance, Cannes, SXSW, and many more places. Show notes: <ul> <li>Orly focuses on removing the middlemen so more money goes back to the filmmakers.</li> <li>TFC Offers free education resources (Distripedia, Guides, blog), paid consultation for members and custom distribution. Will educate everyone but doesn't distribute everyone.</li> <li>Not every film is a festival film. You have to know how to see past your immediate vision, most people won't go to Sundance and even if you do it might not work out the way you want. Think outside the box. Having distribution potential means some awareness and niche potential to market to.</li> <li>For narratives, if you have an unknown cast, you need niche appeal or themes that equate to marketing potential. Example of a fiction film that worked, "Light of the Moon": had some cast and a nice festival premiere, but also an issue and themes. If it's very funny, it's also a marketing hook. You need a hook, otherwise how many people are going to go see a film if it's just a poor version of a studio film ? You need a combination of factors for success.</li> <li>B-list cast can be very deceiving even if on a successful show, that doesn't translate into audiences. If you don't have A-list cast or a big festival premiere, be creative with niche marketing. The premiere creates buzz and gives you press. You need a plan B if it doesn't happen. Really think of the distribution very early on and look at what similar films did and what worked for them.</li> <li>Some of the films that worked well: "Mosquita Y Mari", a lesbian Latina film, "Hooligan Sparrow",  "Invisible War" and "The Hunting Ground" on sexual assault issues. Those issue-based films and with niche appeal will do well in every category, they also had top festival premieres. "Landfill harmonic" is our most successful film in festivals, made about 200K in festival income gross alone. We turned down Netflix worldwide to do a semi worldwide SVOD deal and a HBO deal, educational, etc. They got corporate sponsorships. We did a lot of various deals in various territories. It was a once in a blue moon movie that got covered in 60-min. It usually doesn't happen like that.</li> <li>Stuff you can do even without a big festival run: we had the film "Under our skin" about lyme desease, the director was making 25K a month just selling DVDs, when DVDs were still a big thing, but DVDs and educational licenses still sell very well.</li> <li>Niches and their strengths vary. For example LGBT content is more competitive now, because thankfully there is more content. In Europe there's a lot more public funding, but in the US it's about investors, equity, donations, grants, etc.</li> <li>The Basics: 1) Have a great publicity team 2) Have great marketing assets (trailer, stills, etc). You need new content to build an online community, and custom content for each platform.  Include all of this in your budget, it's just as important.</li> <li>Key ingredient: get everyone to sign up at every screening so you can let them know when the film is released and build  a mailing list. Get organizations on board, corporations, NGOs, schools, early on to be a screening venue and a place of outreach and marketing.</li> <li>Basically you need a plan before the film premieres: it takes time, work, and care. Assess where your film is and what worked or didn't for similar films. Coordinate timing if you were funded by a broadcaster, or adjust to SVOD restrictions or knowing when you have to turn that down. Corporate sponsorships take a very long time, so get help. Hire the right person if you don't have the relationships, it's rare that it's worth the time and energy.</li> <li>Windows matter: have the longest possible window when the licenses are at a high price, but also release the film online before people completely forget about it. It's a balance. If you are offered a lot of money from a streaming platform, weigh if it's worth it to forego other windows or not, and what they can bring tot he table. Each film is different. Streaming is king and transactional (iTunes ) diminished but still works for some films. Ad-supported VOD will be key, like original TV, as people won't to pay for multiple subscription services. Community screenings and educational are still generating plenty of revenue for the right type of films.</li> <li>Digital distribution advice: Don't assume that just putting it out there will be enough. If no one knows about it, if the platform is not promoting, no one will buy it, films don't sell themselves. Design key art that sells on those platforms. Some people don't want to own a film if they won't replay it over and over - renting or streaming with ads or a subscription service can be enough for most content.  Do not give exclusive rights to anyone when you don't know what marketing they are doing or if you don't know what other deal you could be getting from another platform.</li> <li>Build festival relationships with programmers, and other gatekeepers and entities that have reach. The film festivals' appeal is on the rise, as they are the ultimate curators within a sea of content.</li> </ul>

Orly Ravid, Founder of The Film Collaborative