Shooting People is an international networking organization of over 37,000 filmmakers who share their skills and resources through email bulletins, calendars, and networking events in New York, London, and elsewhere. Ingrid Kopp is the Director in NYC and took a few moments to share her thoughts on the emerging state of distribution and Shooting People’s members.

[I]nfinicine: What is the role of networking in distribution? Do you see that changing as online distribution methods emerge?

Ingrid [IK]: Networking has always been key but as the networking tools that Web2.0 enables become more sophisticated, the power of the network becomes greater. And as more filmmakers explore the possibilities of online distribution, self-distribution, or some kind of hybrid distribution, this networking becomes more important than ever. As new online distribution methods emerge the ability to network strategically is vital because this is how filmmakers can reach out to and connect with audiences and begin to get over the marketing hurdle which is definitely a huge problem for a lot of people pursuing online distribution (Netflix’s Ted Sarandos refers to this as the “cold start” on the Internet). Apart from anything else this can also be enormously gratifying for filmmakers: to have a more direct, sustainable relationship with their fans. Many filmmakers I have spoken to say that this connection really feeds them creatively and inspires them to continue to make films.

[I]: How are Shooting People members getting involved in new distribution technologies? Is it something that is addressed specifically on the site?

[IK]: There is a great deal of conversation about this on our email bulletins and blogs but I am sometimes surprised by how resistant filmmakers can be to explore this new territory. I think so many people still hold out for the holy grail of being discovered at Sundance, getting a great theatrical deal and making a killing, despite the extreme unlikelihood of this ever happening. It seems less sexy to pursue alternative avenues which is why I was so pleased to see John August’s candid blog post about his experience with distribution of The Nines, and what he has to say about Sundance and theatrical distribution. I think festivals are enormously important and I would always encourage filmmakers to pursue a well-thought out festival run but it always comes back to managing your expectations and really thinking about the realistic possibilities for you film what YOU want for it. Doing a 4am deal at Sundance is not necessarily the measure of success that filmmakers should be aiming for.

[I]: What do you think is the best model for filmmakers who want to make money with their films online now?

[IK]: First thing I want to say is that I would never discount the experience, knowledge and connections of more traditional distributors and, again, to really think strategically. People often talk about distribution strategy as though a one size fits all model will work, which is ridiculous when you look at how vastly different films are. As some people have pointed out, Mark Gill’s recent comments are simply not relevant to the vast majority of super-indie producers out there who will never be part of Indiewood in the first place. And strategies should obviously be different for someone making viral shorts specifically for the web and someone making a feature-length social issue documentary for example. The doc might be very well suited to educational distribution which is another avenue that people often don’t think of and which can be lucrative. Many of the tools used will be the same but referring to all of this as “content” obfuscates the differences. After all these differences are GOOD differences that enable filmmakers to come up with a distribution strategy in the first place, targeting different niche audiences etc. It also drives many filmmakers crazy to be lumped in together with people who are using their phones to make 2-minute videos of their cats – and I totally understand this.

[I]: How do you think theatrical screenings will figure into the new distribution landscape of 5-10 years from now for Shooting People members- and what is their significance now?

[IK]: I do believe that failure creates opportunity and I also believe that people will still want to go see films in theaters so I think that for the kind of films we are talking about there will be a lot more event screenings, limited runs with filmmaker Q&As, special guests, that sort of thing. For certain kinds of films, filmmakers can also create outreach strategies around their films which can bring new communities to these screenings and create a dialogue that carries on beyond the screening itself. I am endlessly impressed by the work of Working Films, Active Voice, Sandi DuBowski and others in this area. Again, I do believe that people will always want to go to the movies, and see films on a big screen with great projection and great sound. But I think the distribution bottle-neck for independent films vying for theatrical release and audience attention is going to force the current model to change (and simultaneous release on VOD, DVD etc makes a lot of sense to me for many films).

[I]: As a filmmaker yourself, are you looking at your distribution options before you begin a project? How do they influence you in terms of your technical and content decisions for the film?

[IK]: I have to be completely honest and say that I am doing my damndest to be completely naïve when it comes to my own project. I’m not thinking about anything other than getting it done. At this stage I really just want to have some fun creatively, work with some really talented people, and explore a subject that fascinates me. Also I still feel like if I actually get this thing done it will be a miracle. I’m in awe of each and every one of the filmmakers I know who get their films made and out into the world. I think my strategy in a nutshell is to have a day job to support myself to minimize the risks and and to try not to over-think anything and just enjoy the process. I’ve basically given myself permission to screw up royally. Which is great!

But if this was a different kind of project then sure, I would absolutely be thinking more strategically. Especially because funding and distribution are often linked – if you create partnerships, your funding opportunities can turn into distribution opportunities. Again, I think it all comes back to the kind of filmmaker you are and what you want your film to do: fame? fortune? creating change in the world? creating community? just getting people to see it? Films are not laundry detergent and should not be treated as just another commodity.

[I]: What do you think are the biggest misconceptions or questions Shooting People members have about digital distribution?

[IK]: I think a lot of members have no idea what to think and no idea where to look for clues as to what they should be thinking! It’s very confusing. People talk about splitting up rights and and creating sticky websites and SEO and I can see people’s faces just cloud over. That said, there are people and organizations doing a lot of great work to provide more resources to filmmakers or offering us new ways of thinking digitally. People like Lance Weiler, Scott Kirsner, Tiffany Shlain, Chris Anderson – plus lots of bloggers, and indieWIRE and Shooting People of course. I think it’s really great that so many of these folk are so generous about sharing what they have learned – but it’s hard when you are talking to such a vast constituency with such different needs and so ultimately filmmakers will have to learn to play the distribution game better, and I know many producers are stepping up to the plate in this area. It always comes back to looking at each film on its own merits and really asking yourself what you want your film to do and what you honestly think it can do. And I think it’s really important to be realistic and not bankrupt yourself to make a film because you have to create a sustainable career for yourself too.

I should add that I feel really optimistic about all of this. I think it’s tremendously exciting that filmmakers have so many tools and options at their disposal now. It’s really great to be able to make a plan for your film knowing that it is in your power to avoid total obscurity. Whatever your film does it does NOT need to gather dust on a shelf somewhere. And it is very empowering to be able to think as creatively about your distribution process as you would the production process. But we’re all on a steep learning curve at the moment. I think the hardest thing for many filmmakers is realizing that once they have finished their film they are only at the beginning of another Herculean task - at exactly the moment when they are often financially and physically spent. So it’s important to recalibrate for the long haul and to surround yourself with people with the skills and expertise to help you. If you don’t want to spend 2 years working full-time on the distribution of your film, you may need to find people who can help you.

[I]: Shooting People is an international organization. Do you think the concerns and knowledge about these new technologies and opportunities is pretty universal or does it vary a lot by region?

[IK]: There are obviously huge regional variations but the web is breaking down a lot of geographical divisions. I think it’s also really important for filmmakers to think globally these days. A lot of people think of foreign markets as an afterthought and I’m always amazed how little different filmmaking communities communicate with each other when there are so many mutually beneficial opportunities. Co-productions, foreign sales, international outreach partnerships, communities across the web. People need to think globally. I think that the UK is starting to learn a lot from the US as filmmakers wean themselves off total dependence on television or government funding – filmmakers there are starting to explore new digital opportunities and people like Liz Rosenthal and Matt Hanson are on the frontier exploring the boundaries of what is possible. I’m very excited to see what happens as more and more people join them and the frontier is pushed further. And I’m really happy that Shooting People can help our members navigate this new territory.

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