Projects, valued on their own merits: Icon
According to Greg Denning, director of Icon Film Distribution, projects need to be valued on their own merits, regardless of country of origin, as the theatrical business is about survival of the fittest.
Will the performance of recent local hits increase distributors’ interest in local product?
We, the local film industry, happen to have had a few hits locally this year. I don’t believe that this will see distributors clamouring for more Aussie films to add to their slate. However, these hit films have put a few extra filmmakers on the radar for sure. Ultimately though, we value each project on its own merits, whether it’s from Australia or elsewhere.
What were your strongest performing films of the 2009/2010 financial year?
Paranormal Activity, Fame, Edge of Darkness, A Single Man and Harry Brown.
What titles didn’t necessarily meet your expectations?
Blessed, Red Cliff, Cheri, Nowhere Boy and Looking for Eric.
Were there any surprises, positive or negative?
Paranormal Activity, which became the second highest grossing horror film – a genre than normally underperforms locally – of all time in Australia.
We always felt that Harry Brown had potential to well, but it has exceeded our projections.
How experimental are icon’s plans in terms of distribution models?
While we are supporting the ever expanding platforms, we are not looking to collapse existing release windows or release simultaneously on different platforms.
Are you focusing your promotional efforts across a wider range of platforms?
The nature of marketing is that it’s ever changing and as no two of our films are ever the same we look at each campaign afresh to suit the film in question.
What was your best campaign of the year?
Paranormal Activity. We did a massive online campaign alongside a word of mouth campaign in the lead up to the release. It went like clockwork.
With an increasing number of 3D titles already competing for a limited number of screens, do you anticipate a saturation level where there are more films than screens?
Not really. I think the exhibitors are rolling out 3D screens at a rate that is in keeping with demand.
Do smaller 3D films – which are now being produced in many countries – have a chance competing for screens with the major blockbusters?
The theatrical business is all about the survival of the fittest, be it 3D or 2D. Many films bypass a theatrical release because the competition is too strong; arguably 3D will be the same. The cream will always rise to the top.
Are audiences losing the meaning of the movie going experience as better home entertainment systems become available?
The bottom line for cinema audiences is the shared experience of seeing films with an audience. Arguably we’re seeing this more and more with “event” films (and indeed 3D films), with other films being left to be consumed via other distribution channels, but nonetheless there is still an attraction for people to leave their homes and enjoy a that communal experience that cinema going has to offer. It’s up to us to ensure our films are being positioned in such a way that the punters want to see them upon theatrical release, as well as down the track on other formats.
How would you describe icon’s past experience distributing Australian films?
Just like any of the films we’ve released in the past, we’ve had some successes and we’ve had some disappointments. We’ve also worked with filmmakers that we’d love to work with again should the right project come along.
What’s stopping icon from making local films instead of just distributing them?
Most distributors are doing what they do best – distribute films. Our business model at this stage is to do just that. We’re not really set up locally to make films.
What are the main mistakes that Australian producers make when they approach a distributor?
Some of the lesser experienced producers come to us thinking that just because they have a script, they have a film. We can’t really value a script (with no attachments) no matter what country it’s from.
What should they keep in mind when pitching a project – emphasis on the business side instead of just the storyline, perhaps?
They need to put themselves in our shoes, and indeed our business. We’re valuing projects from all over the world. We have to value these projects based on cast, director, script, target audience, how distinctive the material is, costs to release vs potential returns etc. It’s very competitive. A strong storyline is just the beginning.
What are Australian distributors really looking for in a local film?
Again, just like when we value an American film, or a UK film, we look at the strength of the overall package (cast, director, how distinctive the project is, risk etc). Broadly speaking, in the last couple of years filmmakers are looking to tell stories that will resonate with a worldwide audience. This is refreshing as I feel that in the past we’ve had a high ratio of small films for a small audience vs distinctive films for a broader audience.
