Looking for a film that will make us money: Rialto
Mike Vile, general manager of Rialto Distribution, admits that, “to be absolutely blunt about it, we are looking for a film that is going to make us money!”
What were your strongest performing films of the 2009/2010 financial year?
The Girl with the Dragon Tattoo has grossed $5.7m in Australia so far and $1.3m in NZ. I Am Love has grossed $1.3m in Australia (yet to be released in NZ). The Secret in Their Eyes grossed $815k in Australia and $600k in New Zealand.
In New Zealand our joint venture release with Becker Film Group, The Last Station, has grossed over $1m.
What titles didn’t necessarily meet your expectations?
In Australia, Topp Twins, and A Bunch of Amateurs and Secret of Moonacre in New Zealand.
Were there any surprises, positive or negative?
The longevity of The Girl with the Dragon Tattoo – in week 21 and continues to take approximately $30k per week – has been a surprise, plus the success of I Am Love. Mid August Lunch was a positive; a small film that found an audience in both countries.
How experimental are Rialto’s plans in terms of distribution models?
We remain committed to the release windows but each film does need to be treated in its own right. We believe that over time there will be opportunities for simultaneous release, though that will be the exception rather than the norm in the short term
Are you focusing your promotional efforts across a wider range of platforms?
Our marketing budget has stayed fairly similar, though we now tend to focus more on the demographic of the planned film to determine a better fit, whether it is greater online presence or the more traditional avenues
What was your best campaign of the year?
The Girl with the Dragon Tattoo; the film captured the readers of the book and influenced people to go to the cinema to see a foreign language film
How does your New Zealand experience compare to Australia, in terms of release/marketing strategies? What are the main similarities/differences?
Although, we are very similar there are quite big differences in the two markets when releasing art house/crossover titles. An older skewed film play very well in New Zealand, however, a good quality film will generally play well in both markets
While 2009 registered a record box office intake, attendance was down a little. Can ticket premiums compensate for that decrease in attendance, in the long term?
Cinema competes with many forms of entertainment and for our industry to enjoy these premiums we need to ensure that the whole package is always perceived to be great value for money. This includes not only the quality of the film but the quality of the cinema, the service and the accessibility.
Will the performance of recent local hits increase distributors’ interest in local product?
The success of local films at the cinema is a real boon but most importantly the quality of the films that have been produced is great and it is important that this remains at the forefront of our production industry. Yes, the slate is diverse but generally the overriding factor in their success is a great story that has been well filmed.
Compared to NZ, how does Rialto compare in terms of distribution/co-production of local projects?
We currently have two Australian films in post-production (My America, 6 Plots) and several New Zealand films. We do not determine our distribution or production acquisitions based on the country but rather on how good the film is
What are the main mistakes that Australian producers make when they approach a distributor?
The last thing I want to hear is that the target market is “broad” and covers “everyone”! If it turns out that way then that is great but it is important that the producer can articulate the target market easily so that we can work together on accessing that market and then look at subsequent markets. I also hate hearing how it’s a “nice, little, arty film” and then be told that the budget is $7m!
What should they keep in mind when pitching a project – emphasis on the business side instead of just the storyline, perhaps?
Personally I believe that the story is paramount. If the storyline doesn’t stack up then there is no way that the business side is going to work.
What are Australian distributors really looking for in a local film?
To be absolutely blunt about it we are looking for a film that is going to make us money! Good story, accessible target market, realistic budget. We want a film where we know that Rialto can make a real difference to the marketing and promotion of the film to ensure that people want to see it. It is also important to fully evaluate the potential of the film across all distribution platforms.
Do you provide feedback when you turn down a local film for distribution?
I like to think we do and I am always happy to offer my thoughts in more detail if necessary. I say to many producers not to get too downhearted if they hear a negative about their project, because this is an industry where A+B does not necessarily = C and none of us have all the answers. Sometimes we turn films down because we just can’t give a film the full attention that it deserves within that particular timeline.
