how to get your doco film to a wide audience

You’ve just made a documentary that you are passionate about, and are ready to show it to the world.  Now what?

Getting a documentary film made by a newcomer noticed and accepted by a distributor is tricky business. Mainly because there is not much money to be had for documentaries – licence fees for documentaries are very low in proportion to budgets – but mostly because many broadcasters produce their own content or commission documentaries, so they very rarely buy them off the shelf.  When they do, they’re very picky.

If you are lucky and get a distributor, expect a fee of something around a flat rate of 30% (no deduction for expenses in that case), or 25% plus costs, and a 3 year exclusive term of representation.

Unless your doco has won awards or has proven to be controversial enough elsewhere to be in the same category as Micheal Moore‘s (eg. online sales through the roof), you stand little chance with traditional avenues.

However, the collapse of old models and the emergence of new media mean there are more opportunities than ever before.  And even better, the filmmakers now have the freedom to make their own rules for distribution of their works!

So, before you get discouraged about the chances of selling your masterpiece to a major broadcaster, consider that you can also manage the distribution process yourself (or with a bit of help) by:

  • Selling the film as VOD online – pay to view download (this is how “The Secret” did it in the beginning);
  • Selling the DVD via your website, eBay, Amazon, FaceBook etc.
  • Showcasing it at relevant film festivals;
  • Pitching at international markets such as MIP TV, MIPCOM, BBC Showcase etc;
  • Travelling around with the doco, showing it at various art-house theatres;

All of these options do require quite a bit of effort and creative cross-marketing on the Social Media platforms, but the pay-offs can be amazing.

THINGS TO KEEP IN MIND

Whichever approach you consider, remember that an independent, non commissioned documentary that is looking to make a reasonable return should either have a highly saleable subject matter, or serious likelihood of major awards.

At the very least, your Executive Summary (my template at Scribd) of the proposal will need to include:

  • Title.
  • Exact duration.
  • A short, 25 word log line.
  • A one paragraph – no more than 250 word – synopsis of the concept.
  • Short bios of key creatives i.e. Producer, Director, Writer (good idea to include their short CVs).
  • Full contact details of the distributor, including postal address.

ALSO in your letter/email:

  • Which documentary slot you are submitting an idea for.
  • Year of production. (NB: Many broadcasters do not consider programs more than couple of years old.)
  • Details of any festivals or broadcast screenings and award nominations/wins.
  • Links to additional online content, including trailers.

Other points to consider:

  • Keep your proposal brief, concise and clear. This is more important than something pretty, glossy or bound. Your focus is your work and its benefit.
  • Focus on the purpose of the project. What is it trying to say? Why did you make this documentary? Why is it important?
  • Convince through facts, rather than emotion, the obvious connection between your work and the potential audience.
  • Your interpretation of audience must apply to a demographic and not just to a television audience and ratings.

Describe the Project

  • A Synopsis, or a 250 word summary,  includes the story or issue, why it is of interest and most importantly, what will be the impact of the documentary?
  • You may want to provide a five hundred word outline as well.  The Project Outline indicates a problem and presents a solution. Where does the story take us from to?
  • Are there any other pending broadcast arrangements and if so with who?
  • A good submission is a reflection of a well-planned project , including a plan to reach a wider audience ie. merchandising.

Why Now?

  • Highlight the need. Whom does this issue or film affect? Include where the research comes from: facts, figures and references (this may be written or anecdotal).
  • Outline the value of your documentary to your target audience.

Who are You?

  • One page of information about yourself and your company or organisation including what you do more broadly (including other projects or previous work), key personnel, company members, a history of your organisation or your own work, your philosophy or mission statement, evidence that you are connected to a community of interest.
  • Outline the ability of your team to carry out the project. Are there issues of access? If so, highlight how you have been able to gain this access.

Copyright Clearances

Bear in mind that no festival, broadcaster, theatre or distributor will consider a documentary film if all literary, visual (as in photographic), audio and video material used does not have cleared copyright.

Assignments of rights should be in writing and signed by both parties – the assignor and assignee – and should be for the rights to exploit the material in every imaginable manner, including in ways that have not yet been invented at the time of the assignment.

Movie Popcorn

Selling to Broadcast Stations

If you’re still determined to submit your brand spanking new documentary to a major broadcaster for consideration, first ask yourself, “Is my doco of a high standard?”  That includes all elements: story, visual, audio, editing.

Most channels are inundated with submissions, so before submitting a program it is a very good idea that you first familiarise yourself with their current content and if available, take the time to view the showreel on their web page.

In general, all broadcasters evaluate programs according to the following criteria:

  • Their schedule requirements;
  • Their broadcaster Charter;
  • Whether the program suits one of the schedule’s established time slots. (NB: Good programs can also be rejected if there is no free suitable time slot);
  • The quality of the production;
  • The program’s relevance to country’s viewers;
  • The program’s appeal to a particular demographic;
  • That program adheres to their Editorial Policy guidelines;
  • Whether the program is innovative in its style or content.

What channels will pay for a broadcast hour documentary varies from channel to channel, as well as from country to country.  USA pays much more per hour than Australia, however the exact figure is based on a broad array of commercial and programming considerations, as outlined above.

According to WestDoc 2013 (West Coast Documentary and Reality Conference) Co Founder Richard Propper (also CEO and Director, International Licensing and Acquisitions at Solid Entertainment, a sales agency specializing in documentary films) , “Today, we see around $8,000 for an hour in Germany.  We used to see $20,000.  France, about $7,500 and it used to be $15,000.  The UK – as high as $80,000, now $25,000.  Generally, all the digital, free follow along rights go with the license fee.  Pay VOD (view on demand) is still retained by the producer.”

WANT TO BROADEN YOUR HORIZONS?…

20 Tips for Strategizing Festivals & Distribution Today

Best Selling Documentary DVDs on mightyape.com.au

DataBase of Film Festivals

Distribution Strategies for a Changing World by Peter Broderick

Documentary production in Australia, 2010: A collection of key data by Screen Australia

Get My Program on SBS

How to Sell a Documentary to a Network by Steve Brachmann, Demand Media

International Documentary Buyers’ Guide 2013-14

List of International Film Festivals by continent

Marketing Resources at Screen Australia

OzDox – The Australian Documentary Forum

Screen Australia’s Top 10 Australian documentary and light entertainment series titles on video 2010-2012

Supplying a program to the Australian Broadcasting Corporation

Top Grossing Australian Writers 2013

What Will TV Channels Pay for Your Doco? on documentary.org

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