Reiss, Jon
2010
Think Outside the Box Office: The Ultimate Guide to Film Distribution and Marketing for the Digital Era

Gives very PRACTICAL advice: specific numbers, costs, prices, positions, tasks, etc.
Mentions transmedia 3 times.
Quite radical from a filmmaker’s perspective. I specifically mean indies, who always seemed to see themselves as a smaller Hollywood -> Hollywood’s concepts / business models / etc. should also work for them. Which they never did. But now it’s becoming more clear that they don’t and perhaps never will.
Not radical enough from my perspective. It’s a filmmaker sharing his insights from his struggles within the film industry. It’s not a step back to reassess the big picture.

29-36
Define who your film is for (hopefully not for yourself) and how you will reach it.

37
“The new 50/50 is as follows:
50 percent of your time and resources should be devoted to creating the film. 50 percent of your time and resources should be devoted to getting the film out to its audience, aka distribution and marketing.”

45-52
A good “overview of rights, markets and windows”; how they have been and how he reconceptualises them.

53-59
Know what YOU want to achieve and think about how to get there.

61-72
He describes “the bare minimum” of team members you need, and some more recommendable positions if you have the money.

127-131
His “Introduction to Transmedia” is less than 5 (!) pages short.

128
“media consumers don’t consume in one unified pattern anymore.”

129f
Definition “extradiegetic”:
“This material is called “extra-diegetic” and includes all content that is not part of the final released film, especially material that is created but never intended to be part of the final released film. However, as our understanding of film expands, there will not need to be a separate classification between diegetic and extra-diegetic; it will all be part of a seamless whole.”

133-136
Chapter 13: Redefining the Theatrical Experience
His new Definition-theatrical:
“It is time for filmmakers to reclaim the meaning of a theatrical release so that it is inclusive of a multitude of live-screening event scenarios. The theatrical experience needs to be redefined as people watching “films” with other people. Any place. Any time. Any media.”

143
“Unfortunately, due to contract obligations, IFC is currently only set up to do VOD day-and-date with their Festival Direct Program.”

151
“[…] Chris Hyams (the head of B-Side) did the research and found that all films (studio and independent), on average, lose money from theatrical.”

171
“I believe that incorporating aspects of an event into your screenings is the future of independent live event/theatrical releases.” A bit of a nonsensical sentence, but it goes back to stressing experiences.

172-174
“Ways to create a sense of an event:

1. Personal Appearance by the Filmmaker/Cast
2. Personal Appearance by a Celebrity
3. Parties
4. Partner with an Organization
5. Sell Advance Tickets
6. Live Audience Participation Part 1 (?)”

174f
“Transmedia Aspects to Screenings

1. Live Musical Remix
2. Live Film Mixing [Peter Greenaway]
3. Add Live Storytelling Elements to Your Screening [Head Trauma]”

175-177
Other options:

• One-Night Events
• The Film Tour

195
“The alternative theatrical grassroots screening model has shown the way to democratize and return a shared film experience to the control of individuals and groups,. With that newfound power, people will continue to find new ways to exhibit and congregate in order to watch films.”

243
“I think transmedia has tremendous potential for how narrative filmmakers can find new audiences and engage with them. Again, this is not just about marketing, it is about finding and engaging the audience for your film and your oeuvre.”

244
“Audiences don’t consume media as they once did. They have their own preferences, whether it is a movie theater, DVR, their iPhone, Xbox console, etc. Audiences have media and art form preferences. You can’t bend them, you must accommodate them.”

245
“Part of the death of DVDs has been due to people realizing that they didn’t need to watch a film more than once. Transmedia creates a life beyond the one viewing of a film.” -> Not sure about that. Isn’t transmedia even more ephemeral than a traditional movie?

275
“merchandise can be points of entry for films or narrative extensions – so they can be important to a transmedia strategy.”

289
“Television’s core business is repeat viewers.
It is difficult for television to command repeat viewers with individual films. When there was a plethora of fledgling channels such as HBO, Starz, Showtime, AMC, etc., they needed to buy movies to fill their schedules. But as those networks have matured, they have turned to series to bring back repeat viewers. Even indie stalwarts IFC and Sundance are buying fewer films in favor of series programming.”

296
“Ways to monetize your digital rights”:

• “Fees Charged Per Download, Rental, or Viewing”
• “Ad Revenue Share”
• “Subscription Fee”
• “Merchandise Sales”
• “General Promotion/Theatrical Launch”
• “Ad Sales/Banner Ad Sales”
• “Branded Entertainment/Product Placement”
• “Sponsorship”
• “Pay What You Want/Online Tip Jar”

299
“There is an argument I have heard on panels lately: Most filmmakers have a greater problem with anonymity than with piracy. I think this is a false argument.” If nobody wants to pay for it, perhaps nobody wants to see it, so perhaps the film is simply shit or doesn’t have an audience. -> Market it properly!

347
“Dentler observes that if you look at the history of consumer media, you always have different models for different types of publications. Some things are free, some things you pay for. He uses print media as an example, pointing out the difference between the Wall Street Journal and the Free Press.“