[I]nfinicine: What made you interested in working with an online video market like IndiePix? Was it just the films or were you a techie type?

Danielle DiGiacomo [DD]: Although I was more proficient at say, recording 90210 episodes onto videotape than my mother, I would never dare to call myself a “techie.” I fell into IndiePix because of the serendipitous meeting (through my great friend and head of Narrative Acquisitions, Jordan Mattos) of IndiePix visionary Bob Alexander, the need for a job, my love of independent film, commitment to documentary, and a rapidly shifting industry that allowed a small, flexible company to meet previous unfulfilled needs of independent filmmakers.

[I]: What do predict for the future for indie filmmakers in terms of distribution options? Do you think there will still be theatrical options or will things be mostly online?

[DD]: I think there will always be room for theatrical, but I think studios and filmmakers have to start being more strategic about it. I don’t think the blanket strategy of marketing all independent films the same way is working anymore; even mini-majors need to shift their thinking about getting an audience into the cinema.

That said, I think that filmmakers are waking up to the fact that, despite its cache, theatrical is not only a money-loser but also not the way to attract the biggest audience possible. Theatrical has never been viable for more than a thimble-full of independent filmmakers. So, yes, I think theatrical will always be there, but more and more films will roll out theatrically in a different way (for example, day-and-date models). No one can predict the exact future of what will take off online and which models will be the most financially viable, but something will surely take off.

[I]: How technically adept are most of the filmmakers you work with at IndiePix at this point in time? Can you talk about the challenges filmmakers have with negotiating technology?

[DD]: Everyone is different, but I don’t think it’s that hard to be technologically savvy. 98% of the people I know have either an iPod or an iPhone, and most online technology is relatively user-friendly for people of our generation — particularly people who shoot on HD Cameras and edit on Final Cut Pro. What I do see a broad range in is the level of business and self-marketing strategy that filmmakers have. There is a spectrum ranging from super-savvy (think the 4 Eyed Monsters and their mastering of viral marketing, podcasts, MySpace, etc.) to nearly clueless (those filmmakers who never thought of where their film would possibly end up after the final cut). We have some filmmakers who have done loads of leg work promoting their films through the Internet, and know about every online or viral service available. It really is a full time job keeping up, but independent filmmakers absolute HAVE to think about their potential audience and distribution/marketing strategy even while in development stages.

[I]: What has been the evolution for IndiePix so far in terms of the way it tries to sell films and what do you see as the future strategy?

[DD]: IndiePix has evolved and expanded rapidly in the past three years. After starting out as a catalog with a Download-to-Own capability, we rapidly expanded to distributing exclusive DVDs on our website, and since then, have opened up channels in the retail, brick-and-mortar markets, and have even started doing some small theatrical and international television sales. We also have cemented a strategic partnership with the Cinema Guild to handle the educational market.

Recently, we launched IndiePix Studios, which will be under the direction of Ryan Harrington (formerly of A&E IndieFilms and Tribeca Gucci Fund). This will serve as one-stop shop for filmmakers. Each film is different and requires different focus and distribution strategies. We try to have very personal relationships with the filmmakers to make sure we maximize the possibilities for their particular film and capitalize on our mutual resources.

[I]: What advice would you give a filmmaker who is just beginning their project in terms of thinking about digital sales?

[DD]: Keep your digital rights or give them to IndiePix :). Seriously though, if you do give away your digital rights, give them to a company you can really trust, and for no longer than 3 years at a time. Do your research and talk to other independent filmmakers about their experiences. And attend as many panels and receptions as you can. Knowledge is power, and it is helpful to have honest advisors in the community.

[I]nfinicine: What services are offered on your site?

[IP] Indiepix:
DVD Sale
Download to own
Download to disc

[I]: What is the structure of the deal, i.e. flat fee, percentage of sale, ad revenue, etc. Provide terms if possible.

[IP]: We do not give advances, but we do all the design, production, manufacturing and marketing. The filmmaker receives a flat 60% of all the revenue.

[I]: Does your service sell into all territories?

[IP]: Yes, it does. It depends on which ones the filmmaker(s) opt for.

[I]: How many people visit the site? How many are “members”? How many sales on average per title? What are the top-selling titles?

[IP]: Top-selling titles are SENTENCED HOME, COCAINE ANGEL, THE HOLE STORY, OFF THE GRID

120K visitors, 30K members. It is hard to say an average, sales range from hundreds to tens of thousands.

[I]: What is the marketing strategy for the site? Why will customers purchase or rent from your site as opposed to other similar sites?

[IP]: Each of our “spotlight” films is catered to individually. So, for example, for one film we will do viral marketing, set up event screenings to sell DVDs, plan release parties, promote in email, blasts, newsletters, and at festivals, while for others we will make postcards and buy ads in independent magazines. We work very closely with the filmmaker to strategize about marketing and promotion.

[I]: Can individual filmmakers sell to the site?

[IP]: Yes, of course.

• Over the last 3 months, the indie distribution business has seen some major shifts, either towards elimination of specialty divisions at studios (Warner Independent, New Line, Picturehouse); financial instability (THINKFilm); or consolidation of cable markets for indie film (Sundance @ Cablevision).
• With the expenses of theatrical, it will be too costly to put indie films in theatres.
• Traditional indie distributors don’t have a plan for this end-of-theatrical marketplace.
• The new era will allow for amazing new films with great cinematography, editing, and storytelling but will not use theatrical distribution (but IndiePix will be at the forefront, natch!)

While I applaud Bob’s vision and his optimism, I can’t say I agree with the model he’s proposing, at least as I understand it. While I believe that there will be a market for digital distribution for indies (it is, in fact, the premise of this here blog), I think that the idea that theatrical will totally wither and die seems unlikely for a number of reasons. What seems more likely is that indie theatrical will need to become more limber, have a better understanding of what was once known as the “non-theatrical” market (schools, museums, non-profits), find more creative ways of rolling films out and rely more on marketing than advertising. Some kind of “theatrical” is still important and will continue to be so- even though the real money for the last decade has been in ancillary.

One reason traditionally is reviews- perhaps a new first gate will emerge for reviews (major festivals?) but so far, if you want reviews, it’s pretty important to have a theatrical. Conceivably there could be an online system with the same prestige as theatrical but right now the model seems to be to get everything out there and “let the audience decide”- which they have done in the past with the help of reviews from theatrical runs. Reviews are not what they once were, but for the indie world, they are still pretty important for getting people interested in the film. A great NYTimes review still has traction- and a theatrical is needed, by and large, for the Times.

Maybe even more importantly, theatrical is a great social networking tool. I think it has not been exploited enough in this way- there are a lot of things exhibitors can do to make their theatre more than just a 2-hour destination point. But even so, going to a movie is a great social activity as a date or as thing to do with friends- it’s economical, climate-controlled, and creates a common experience in 90-120 minutes. It’s also fun to do alone when you want to get out of the house. I don’t think watching something on your computer (or even set-top box) will replace this completely.