Lance Weiler is a pioneer when it comes to using digital technology to make and distribute independent films. His thoughts on the freedom low budget digital equipment offers filmmakers, as well as on the manner in which methods of distribution must be tailored to the technology and oriented toward niche audiences, are of central import to the budding genre MPI is working to support: films that operate from a truly positive, intelligent outlook on freedom.
Weiler spoke with Knowledge @Wharton recently. The whole interview is worth reading, but here are some of the more interesting excerpts:
Knowledge@Wharton: What's the outlook for digital downloads?Weiler: The prospect of digital downloads -- whether it's Amazon's UnBox or MovieLink or iTunes -- increases your profit margin by [eliminating] the physical media.
But I think we are in this awkward period where until that final leg of the living room is worked out, and it's easy -- I mean like really simple and idiot-proof -- then you're not going to see much [other than] early adopters purchasing online. It's a lot different than music.
But when you look at web 2.0 and social networks, it's like this playground of things that you can use to build your audience and promote your work. And it's free for the picking. It's stuff that you can use. The cost is relatively inexpensive.
I think the future is the direct-to-your-audience [model]. As the filmmakers start to build audiences, if they can figure out ways to cross-pollinate those audiences, then they start to build volume. At that point, they don't need as many of the middlemen that have typically been in line to take the money before they see any return, if ever.
Knowledge@Wharton: So, at least right now, the web is more helpful in marketing a film that may be distributed through other venues than it is for distributing film itself?
Weiler: Yes. At this point in time, that's correct. The architecture isn't fully there yet. The deal terms haven't been fully fleshed out -- which is encouraging. Because there are times when a window opens up, and if you're smart about how you leverage it, there are tremendous opportunities.
There are opportunities for revenue that fall between the traditional cracks -- places that you didn't even think you would find revenue. I think that's what's exciting.
Knowledge@Wharton: So, producing a movie has become much easier -- the equipment is cheaper and the PC tools are much better. But on the distribution side there are all these constraints. The web isn't there yet because it isn't linked to your large-screen TV. You have the shelf space problem with DVDs. You have the difficulty of competing with the big studios' distribution houses for a theatrical run. What's an independent filmmaker to do?
Weiler: [It's about] the one-to-one relationship with the audience I was discussing. When I did the theatrical release across the country, I didn't spend any money on P&A. I used social networking. I used an "embed and spread" campaign, where I took assets of the movie -- digital swag -- and gave that to people to put on their [web] pages, and they amplified my message. So then more people were coming back to the movie.
To me the future of it -- or at least one component for independent film -- is the ability to harness that audience and build it over time.
It's not that dissimilar to what musicians have been doing by going out on the road to support their work.
Television is difficult to get into, and it's next to impossible for independent film. And even if you get a deal, [the revenue] will be so low that by the time you get E&O -- which is errors and omissions insurance -- that's going to eat up the majority of what you're going to make.
For independent film, a way to circumvent that is to just go directly to the people. It's the power of the niche. That is where I think independent film is headed. Publishing is headed there. Music is there. Film has started to get sub-genres, and you see how those sub-genres have risen up -- whether it's African-American cinema, Latino cinema or gay and lesbian cinema. You've seen them start to fill a market that wasn't being served.
Using digital technology and distribution methods isn't only for relatively unknown independent filmmakers--it's also for established filmmakers who want more freedom. David Lynch, Weiler notes, has gone this route as a way of maximizing his artistic independence. And there you have it -- the business model that makes sense for the freedom-oriented films MPI supports is itself a form of liberation.
As Forest Gump might say, freedom is as freedom does.