1.How would you define the exhibition of film?

The exhibition of film is a commonplace, shared cultural activity highly visible in every city and town in Britain, constantly feeding the popular memory.

1. What number part of the film supply chain is distribution?

Third

1. How is it sometimes referred to?

The invisible art

4. Why is it argued that it is the most important part of the film industry?

Distribution

1. What are the three stages of film process?

In the practice of Hollywood and other forms of industrial cinema, the phases of production, distribution and exhibition.

1. In what way are they most effective?

Exhibition operate most effectively when 'vertically integrated', the three stages are seen as part of the same larger process, under the control of one company

7. Why is this more difficult for the independent film sector?

In the independent film sector, vertical integration does not operate so commonly. Producers tend not to have long-term economic links with distributors, who likewise have no formal connections with exhibitors. Here, as the pig-in-the-middle, distribution is necessarily a collaborative process, requiring the materials and rights of the producer and the cooperation of the exhibitor to promote and show the film in the best way possible. 

1. What are the three stage of distribution?

In this sector, distribution can be divided into three stages - licensing, marketing and logistics.

Licensing of Film

1. Define the licensing process.

licensing is the process by which a distributor acquires the legal right to exploit a film.

1. How many levels are there?

2

1. How many ‘market territories are there around the world?

International distribution ensures that films find their way to the 90+ market 'territories' around the world.4. Why are smaller independent film companies unable to handle the licensing for their own films?

1. So what do they do?

By contrast, independent producers have to sell their films to different distributors in each territory. Independent production companies are usually small concerns, sometimes set up for one film and often lacking the necessary knowledge or contacts of each of the territories around the world. Instead of doing this themselves, they might choose to hire a specialist sales agent, whose function is to understand the value of a film in many different markets. The sales agent will then set up stall at the film markets that take place throughout the year.

1. What is ‘local’ distribution?

Distributor acquiring the licence to release and exploit the film in a particular country. The distributor will usually pay the producer a minimum guarantee for the licence. This fee will vary depending on the status and perceived commercial potential of the film, and on the range of rights that the distributor chooses to exploit.

7.They purchase the theatrical rights, what does this consist of?

A distributor will usually be offered theatrical rights, for showing the film in cinemas; video rights, for video and DVD exploitation; and TV rights, if the distributor is able to sell the film to a broadcaster.

1. Who do they have to share royalties with?

A local distributor will conventionally share profits equally with the producer for the theatrical leg, pay back higher royalties for broadcast rights, and lower for video/DVD.

1. What is the most effective way to create interest in a new film in the UK?

A theatrical opening is seen as the most effective way to create interest in a new film. The big screen is still the optimum setting for a film for both audiences and the filmmakers.

1. What options are available after the theatrical (cinema) release?

Some months following the theatrical release, a film will be packaged and released on DVD and VHS video, then on various forms of pay television and eventually, two years after opening in cinemas, on free-to-air television. 

11.What must a successful distributor do?

At every stage, the successful distributor must have an in-depth knowledge of the marketplace - which cinemas, video outlets and broadcasters can best draw an audience for its films - and of the variable marketing costs involved in releasing a film in that territory.

12.Who was the distributor for your case study? 

Johnny English Reborn was distributed by Universal Pictures.

1. What techniques did they employ?

It used Blanket distribution and was therefore targeted at anyone, and shown to many cinemas.

Marketing

1. What are the two questions around the marketing of a film release?

When? and How?

2. What day of the week are new films released in the UK?

Fridays

3. Who schedules and coordinates forthcoming releases?

Film Distributers association

4. What is a ‘light’ week?

Only a few films scheduled for release

1. What three aspects have to be taken into account for a film to have the greatest potential to reach audiences?

Seasonality for the film, screen space, adequate review column

6. Why is this becoming increasingly difficult?

In recent years in the UK, these two aspects of release planning have become increasingly difficult, as the release schedule has regularly featured over 10 new releases in a week.

7.What are P&A 

P&A are the nuts and bolts of marketing and distributing films into cinemas, the tools used by the distributor to create a public for its film.

1. What are the costs of P&A?

P&A also represent the bulk of the distributor's investment, after paying the initial fee for rights, and can range from less than £1,000 to over £1 million for the release of a film in the UK.

1. Who marketed your film?

Universal

Marketing P&A (Print and Advertising)

1. What are the 7 elements of P&A?

The quantity and production of release prints and trailers.

Press materials, clip reels, images, press reviews, screen tapes.

The design and printing of posters and other promotional artwork.

Advertising campaign - Location and size and frequency.

Press campaign/ contracting a PR agency.

Arranging visit by talent from the film.

Other preview screenings.

1. About how many prints might a specialized film have and how long will the tour be?

Fewer than 10 prints.

3. How many prints might a commercial mainstream have?

over 200 prints.

1. How many did your case study film have?

5. Why is a favorable press response a key factor?

For the majority of releases, favorable press response is a key factor in developing the profile and desirability of a film. Distributors consider both the quality and breadth of coverage, and this is often inscribed into the nature and scale of a press campaign.6. What is the standard format for a cinema poster?

7. Why is a poster important?

Numerous recent examples indicate that the poster design is highly effective in 'packaging' the key attributes of a film for potential audiences. Distributors will also consider other poster campaigns, ranging from Underground advertising to billboards.

1. Please insert a copy of your case study film poster and analyze how it features to key attributes.

The poster shows a major focus on the actor, this is so the audience knows automatically who is in the film. Can see that it is an action film due to the explosion in the background, and as he is holding a gun.

9. What is the word to express coverage working at the same time.

‘to work in tandem’

10. What is the key aspect for mainstream film?

Scale and high visibility

11. Why is distribution in the UK seen as riskier than in other countries?

The cost of print advertising in the UK is comparatively high, and is seen as making distribution in the UK a riskier business than in most other countries. 

1. How are distributors trying to get around this problem?

In order to extend the reach of advertising and develop more effective communication with audiences at low cost, distributors are looking increasingly to 'viral marketing' - different forms of electronic word-of-mouth via the internet, email and mobile phones.

1. Who was the press agency for your case study?

SunChaser.

14. What is another name for the actors or director?

Talent.

1. What sort of coverage did the key players in your case study have? Did they appear on Jonathan Ross?

No they did not. 

1. What is the ultimate aim of marketing?

To promote the film, and to make people aware.

Logistics Of Distribution

1. Who decides on the  'play date'?

Distributor and cinema. 

2. What is the distributors responsibility?

To arrange transportation of the film to thew cinema.

3. Why is it imperative that films are delivered on time?

The showing of films in cinemas is a time-pressured activity. Cinemas spend their money publicizing film play-dates and times in local papers or through published programs.

4)About how much does a 35mm print cost?
£1500-£2500

5)How are prints usually broken down?

Lasting around 18-20 mins when run through a projector at 24 frames per second. So a feature print, in its physical form, will usually be 5 or 6 reels, stored and supplied in a single hard case, weighing in at 20-25kgs.

6)What are the disadvantages of using film prints?
They are very expensive

7. How was your case study film distributed? Digitally or 35 mm or a combination? Can you find out how many prints were developed?
It was digital.

Bullet Boy

1. Who is the director of Bullet Boy?

Saul Dibb

2. Where was the film first screened in 2004?

Hackney

3. Who handled the release?

Verve Pictures

4. What is their most recent release?

Breathing

5. What percentage of their releases are from first time feature directors?

Over 75%

6. Who handled the release of your case study, provide the link to their website, consider how effective their webpage is?

http://johnnyenglishreborn.com/home/entry

7. How did Verve manage to broaden the theatrical release?

We have a proven track record of working with first time filmmakers who have previously excelled in other visual fields

8. How many prints did it have in the UK?

9. What did the advertising campaign consist of?

10. How does this compare to the ad campaign for your case study film?
They had a lower budget.