The Global Opportunity for Independent Filmmakers
Adapting the Hollywood Playbook for International Reach
Some time ago, a few friends and I had the pleasure of getting a personal tour of Walt Disney Animation Studios in Burbank. It was my first time there and it was incredible peering into the past to see the behind-the-scenes of some of the most important animated films in history - films like Dumbo, Cinderella, Sleeping Beauty, and more. However, the focus of this tour wasn’t those classic animated films or the office of the infamous Walt Disney who produced them. The person giving the tour worked in the localization department on the studio lot. In many ways, what she explained about the work her team did was as interesting as learning how those old animated films got made.
The Global Reach of Hollywood
We don’t often consider how people outside our borders consume the media that is created here in the states. But Hollywood is an international industry with incredible cultural reach. The first thing we think of when considering international distribution is subtitling. But at the studio level that is no more than the base necessity. Content changes are sometimes needed to align with regional requirements - we see this with some of the big blockbuster movies that are distributed to countries like China. Timing of release is also very important.
How the films are marketed internationally are as important as those considerations. This part was the focus of our tour and it was eye opening. At the studio level, when a film is distributed to other regions, how the film is messaged has to be specifically tailored to those target media markets. This means, in some cases, rebuilding marketing collateral for a film from the ground up several times over - from trailers, to posters, to ads, and more! This is a massive effort, and for me it brought clarity to why studio films can end up costing far more in marketing costs than production costs. It’s this kind of investment that turns actors and actresses into stars and makes Hollywood the capital of commercial filmmaking.
A Blind Spot for U.S. Independent Filmmakers
In the United States, a lot of independent and up-and-coming filmmakers tend to have a very America centric view of filmmaking and film distribution. I can attest to this myself. When I completed my last and previous short films, submitting to international film festivals was an afterthought. Yes, I have submitted my films to the Cannes Film Festival with fingers crossed, as almost every independent filmmaker does. Beyond that, I didn’t give international festivals serious consideration. The cost of travel to foreign festivals is prohibitively high, especially after wrapping production. We would be stuck in production longer with additional requirements and costs for localizing the films. We have limited knowledge of the international independent scene so it’s hard to know which festivals are most appropriate to submit to.
While I haven’t submitted my past films to many international film festivals, in my experience attending festivals here in the states, I’ve found the reverse to be true of international filmmakers. They are very willing to submit their films to U.S.-based film festivals. And they are often in attendance at these festivals. I saw this earlier this year when we partnered with Short. Sweet. Film Fest. to have Cinevite Pledge at the festival. A significant amount of films were from international filmmakers.
The Benefits of Going Global
The approach these international filmmakers take is one that I believe U.S.-based independent filmmakers should consider adopting. The benefits of thinking globally about the film festival circuit are numerous and potentially game-changing for emerging artists. The U.S. market, while substantial, is just a fraction of the global audience for cinema. By targeting international festivals, filmmakers can exponentially increase the number of people who see their work. Moreover, the sheer number of international film festivals provides more opportunities for acceptance and screenings. Each festival acceptance means more eyes on a film and more chances to build a reputation in the industry.
Different countries and regions have their own unique cinematic traditions, preferences, and audience expectations. A film that might struggle to find its audience in the U.S. could resonate deeply with viewers in Europe, Asia, or South America. The story, style, or themes that seem commonplace in one market might be refreshingly novel in another. This cultural exchange goes both ways – American indie films often have a certain cachet overseas, viewed as windows into American life and culture that can be intriguing to international audiences.
Adapting the Hollywood Playbook
Taking a queue from what Disney does to localize their films internationally, the best way for indie filmmakers to be similarly effective is to adopt the approach of tailoring marketing and messaging to specific media markets. In practice, this might mean creating different materials for different regions and emphasizing aspects of the film that are likely to resonate with local audiences. While this level of customization might seem daunting, independent filmmakers today have powerful tools at their disposal that weren't available to previous generations. The internet and digital platforms like Cinevite will allow for targeted, cost-effective marketing campaigns that can reach niche audiences around the globe.
At Cinestruct, we recognize the immense potential for independent filmmakers to make a global impact with their work. This is why we're developing the Impact Toolkit for filmmakers on the Cinevite platform. We believe that with the right tools and support, independent artists can transcend geographical boundaries and connect with audiences worldwide.