Right now, content is king. We have more ways to watch more content than ever before. As a result, the film distribution marketplace is incredibly segmented: theatrical, non-theatrical, educational, and now, within that there’s streaming, VOD (video on demand), and AVOD (ad-based video on demand). To say it’s complicated would be an understatement. To say there’s one way for filmmakers to get their film out there would also be an understatement.
There’s no one way to find and watch a film (given the plethora of streaming services and VOD services). Similarly, there’s no singular way to get a film out to audiences or to support independent filmmakers. As we’ve said, it’s complicated, but understanding the basics of educational film distribution can help filmmakers, librarians, and educators make the best decisions to meet their specific needs.
The Wild Wild West - Film Distribution
When it comes to film distribution one thing is for certain: the system is not linear. “It is the Wild Wild West, but people really don’t talk about it,” explains Ali Fujino of the Far Star Action Fund, which partners with films and organizations to create solutions to the world’s challenges, focusing on Good Governance and Civil Society, The Climate Crisis and the Environment, and STEAM Education and Systems Thinking. “The distribution system is such a mystery. Most often, we hear about these amazing distribution deal stories or the horror stories, but nothing in between,” she asserts.
Liz Manashil, agrees and takes this a step further stressing that there is not only very little talk about the realities of film distribution but also very little talk about money and what the current digital landscape means for filmmakers. “Filmmakers are not making any money,” Manashil dares to explain, “but no one says it out loud. This means that every single transaction is really important to filmmakers.”
For most of us, when we think of filmmakers, we think of big names and big movies. Of course, those filmmakers are making money, but those big names and big movies represent a small percentage of the filmmaking industry and, outside of Ken Burns, Ava Duvernay and Errol Morris (who some of you may know), known filmmakers with guaranteed money make up an even smaller part of the educational film market.
The financial realities and disparities in the industry make understanding the film distribution landscape important for filmmakers and, I would argue, for audience members and educators who want to watch these films responsibly and support the filmmakers who’ve given so much of themselves (and often years of their lives) to the films that we beam into our living rooms and classroom with the click of a button.
What Is A Distributor? What Do They Do?
First things first, what is a distributor? Manashil distills it simply, “a distributor is also supposed to market the title - to other platforms and to audiences. In modern distribution, a lot of digital distributors do not put a lot of effort into marketing to audiences, which makes things like captivating key art and a stellar trailer incredibly important.”
What Makes Educational Distribution Different?
So, what educational distributors do is focus on platforms and assets of value to educators and librarians. This is important for filmmakers who focus on the educational marketplace. “Often, for documentaries,” Manashil explains “the film is available first and exclusively to educators when it is new, novel. The goal is to get educators first and to get educational libraries to buy the films. This part of the process is important for filmmakers.” This process can bolster ROI (return on investment) for the film financially and in terms of social impact and audience reach.
Zanah Thirus, a documentary writer, director, and producer, highlights how important this distribution process is for her. “Usually I will partner with an educational library distributor who has relationships with universities and academic institutions directly. Unlike mainstream influencers that focus on AVOD and streaming platforms, university library distributors foster relationships with universities who license films for classroom use.” This offers her the audience and reaches she wants for her film with financial support.
It’s important to note and understand that distributors don’t do this for free. They get a percentage of the sales revenue for the film. For that cut, some do marketing and outreach and others don’t.
What Percentage Does a Distributor Take?
In very few cases, distributors will do a buyout and give a lump sum to a filmmaker or company for the film. More typically, distributors take a percentage, and the range varies. With consumer sales, a film distributor typically takes 20-30%. With educational rights/non-theatrical rights, there is no standard percentage taken. Thirus opened up about her latest project. “My current split is 60/40. I take 40%, and they take 60%. Part of their cut goes to all of the marketing and distribution costs (formatting DVDs, negotiating licensing, promotion, and outreach). It's really nice to hand over my films and let them do the work.”
Fujino explains, “Filmmakers end up doing the best they can. They hope for the best. What many people don’t realize is that the films often go onto platforms like Netflix or PBS for literally nothing or for very little.”
Many filmmakers working on documentaries or in the social impact space, like Thirus, start with educational distribution in mind, which can help as they raise funds for the film and shape the film’s creation. Other films have theatrical release plans as well as educational distribution goals.
Different goals and release methods create different challenges and advantages. “If the film is advocacy or educational film, the goals are different and streaming makes it even more challenging because educators don’t always have access and can’t always use streaming, Fujino points out. “Many educators are still using DVDs, but very few distributors still are releasing films in that way.” In this way, tension can exist, but Fujino has some solid advice for filmmakers.
Filmmakers: Ask Yourself These Questions
When Fujinio works with filmmakers she encourages them to ask themselves these three questions: “‘What are your goals? What is the audience for these goals? What is your strategy?”’ If you can answer these three questions,” she explains, “it will help you know where to go and who to work with. With this, you can develop a strategy that will help you build a reasonable path for your goals.”
Thirus also recommends that filmmakers research university library distribution, and see what educational library distributors are out there and what films are in their catalogs. “See what types of films they license. Also, look into course offerings at universities. There is nearly a class for EVERY subject. It can help target outreach and shape your project based on the current market.”
Community and School Screenings of Films
Often social impact filmmaking and educational marketplace films have audiences outside the school or university marketplace. For nonprofit organizations or community organizations seeking to screen films as a fundraiser for ticketed sales, they need to understand that this does require a specific license, and public performance rights (PPR). What that means will vary by film, as Manashil was quick to point out: “Some filmmakers will work directly with nonprofits, religious organizations, and community centers seeking to use their films for fundraisers through ticketed sales or as a way to rally an audience around a specific issue (e.g social justice, conservation).
Sometimes these community organizations have budgets that allow them to pay filmmakers to participate in these events that bring their community together.” The case is the same for schools screening films for recreational use/pure entertainment or for ticketed fundraising. In those cases, schools need to get a license and permission from the film studio, filmmaker, or distributor. Often this will require a flat fee or a percentage of the fees collected.
However, classroom instruction is different. When active classroom instruction is taking place, when the film is used as part of the curriculum, then public performance licenses are not required. The American Library Association (ALA) has a clear statement about this.
The best route for schools and libraries is to purchase the umbrella licenses that are available for such institutions, which can be secured through direct contact with distributors. The Motion Picture Licensing Corporation has information available about umbrella licenses, and you can also read our recent piece about these licenses here.
These licenses support filmmakers and protect schools, educators, and librarians and can contribute to a supportive ecosystem for filmmakers, which is great because in the end, we all want the same thing: powerful films that provoke critical thought and engagement through the power of storytelling.
P.S. Another aspect of educational distribution that often gets overlooked and/or forgotten is the distribution to zoos, aquariums, science centers, and museums. Since this educational distribution landscape is so specific, we’re following this article with another one focused specifically on distribution to these entities. Stay tuned!
Filmmakers, check out this article highlighting Distributors for Documentary Filmmakers.