Episode 005 | $2.5M and 11 Weeks In Theaters with Susan Tuckett
The collaboration of all of the positive valued Indies can be a a greater power for good as a whole, as a unit. It used to be a anomaly to have a Saratoga portrait or free town or something in the theaters. Right? It was an anomaly. Like, there's something of that caliber, value and specific.
Susan:And now there's just there should always be something in there that's a good opportunity. So people that are looking for that can go to the movies as often as anyone.
Daren:This is truly independent, a show that demystifies the indie film journey by documenting the process of releasing independent films in theaters. Each week, Garrett Batty and I, Daren Smith, will update you on our journey, bringing guests to share their insights into the process and answer your questions. In today's episode, we're joined by Susan Tuckett from Susan Tuckett Media. We'll be talking about distributing indie films, especially here in Utah. And we'll answer the listener questions, how did we end up with such a unique distribution arrangement, and how did Garrett meet Purdy distribution back in the day?
Daren:This is Truly Independent episode 5. Alright, everybody. Welcome. Welcome. Another episode of Truly Independent.
Daren:Oh, We're very excited to be here. Garrett, how are you feeling today?
Garrett:Hey, Darren. Good to see you. I'm feeling good. I'm excited for for today's chat.
Daren:Me too. Me too. We have a great guest today, and I'm excited to dive into that conversation with her. But first, seen anything good this last week?
Garrett:Well, I I did, but it's kind of a I don't know if it's independent enough, but it's a movie called Top Gun Maverick. My my daughter well, let's see. We were watching a documentary. We're watching the blue blue angels, which is a new documentary on Amazon, which is kind of fun, and then we're talking about Top Gun and all that. My daughter said, oh, I haven't ever seen Top Gun Maverick, and I was like, what?
Garrett:Okay, so the the next night, we got the whole family together and, watched it on the big screen downstairs and and, thoroughly enjoyed it. It holds up. That doesn't count as independent, but, you know
Daren:No. That's okay. But I I have an idea now after I I tell you what I saw. I think I have an idea for this podcast. So I got to go see, Inside Out 2.
Daren:I was, invited to a special screening the night before, and it was really really good. I was shocked at how solid it held up as like a sequel to a really perfect movie. Inside Out was great. 1 of my favorite Pixar films. And I think 1 of the most beloved Pixar films, and so that's a high bar to go and like hit out of the park again.
Daren:They really nailed it. It got me twice emotionally where I was tearing up in the theater full of people. Of course, I look over my wife is bawling her
Garrett:eyes. Yeah. Yeah. She loves this stuff.
Daren:But it was so good. It was so so good. I'm curious why they replaced a couple of the voice actors, but that's not the point of this conversation. But here's an idea for you. Gonna throw you a curveball.
Daren:What if we as truly independent podcast, committed to watching an independent film every week, so that we're not just talking about the big movies that are in theaters, and then we'll put the links or we'll put a list on our podcast page of what we liked, you know, and we could I don't know if we go in and rate them or give them rankings or anything like that, but we could just have a running list of here are great independent films that are out that you can see now. Yeah. And as we share them each week, we'll just update it on the page.
Garrett:That sounds great. That sounds very fun. I hope Inside Out 2 is able to dig out of their 154, $1, 000, 000 weekend, just being buried with all that, all that reception. But, yeah, I'm hearing great things. I will say I did watch an independent film this weekend.
Garrett:I watched Ordinary Angels. It's no longer in theaters, but boy, it sure, you know, it's very applicable to this podcast as we we talk a lot about faith based cinema, and, the the the Erwin Brothers produced that and, just hit a home run with it. It's very good, hit all the marks, and I, I was affected by it.
Daren:Yeah. They're following the Garrett Batty playbook, and they only make good movies.
Garrett:Yeah. So III switched that around around real quick. Real quick. Yeah. They do incredible jobs, an incredible job.
Garrett:Okay. And I will point out let's see. In the top 10 box office weekend, we always try to look for some indie film. It looks like I don't know if this counts as an independent film. Lionsgate released it.
Garrett:The Strangers chapter 1 was number 9. I don't know much about that film. I imagine it's some sort of horror movie, but but good. And then just out of the top 10 is, a 24 released a movie called Tuesday that expanded to 654 screens from from 2 screens, so it's now 654 screens. Their per screen average was $447 and they are number 12.
Garrett:So we that's about the screens that we're gonna open on Carpenter. We just need a higher per screen average, and hopefully we'll get into the top 10.
Daren:That's awesome. Yeah. It looks like there's a few that were kind of in that release range. The 654, treasure at 650, Firebrand at 442.
Garrett:Yeah. Yeah. Yeah. It's a model. Roadside Attraction is Bleecker Street, 824.
Garrett:These all release independent films. So this is exactly what we're trying to do. K. Well, I'm excited about our guest. Yeah.
Daren:Let's bring her on. Hey, indie filmmakers and movie lovers. This show is sponsored by Purdy Distribution. Since 2011, they've been bringing incredible independent films to theaters, like Garrett Batty's The Saratov Approach, T. C.
Daren:Christensen's Love Kennedy, and McClain Nelson's Once I Was A Beehive. They've worked with top notch directors like Mitch Davis and Mark Goodman specializing in family, faith based, and funny films. This year alone, they've released hits with JK Studios like Go West and Villains Inc, and have even branched out internationally with films shot in South Africa and Japan. Purdy Distribution works with indie filmmakers designing personalized distribution plans whether it's a theatrical release or straight to streaming on platforms like Amazon, Itunes, Google, and more. If you have a PG or PG 13 film ready for the world, think about reaching out to Purdy Distribution.
Daren:They're approachable and knowledgeable, ready to help you visualize your film's distribution. Even if your film isn't fully polished, they can offer valuable guidance. Plus, if you need that crucial distribution piece for investor packages, Purdy Distribution can provide a letter of intent to distribute, helping you secure funding without locking you into a contract. Mark your calendars for Purdy Distribution's upcoming releases. Tokyo Cowboy on August 30th, the digital release of Thabo and the Rhino Case on September 1st, Faith of Angels in theaters on September 12th, Villains Inc on Amazon and Itunes on October 1st, and The Carpenter on November 1st.
Daren:To stay updated on these releases and more, sign up for their newsletter at purdiedistribution.com. That's purdiedistribution.com. Now back to the show. Welcome. Welcome everybody to another episode of Truly Independent.
Daren:We are excited today. We have another guest, Susan Tuckett with Susan Tuckett Media Group is with us today. And oh my goodness, Garrett, why don't you introduce Susan and then we'll bring her on? I'm very excited to get into this conversation today.
Garrett:Susan, how are you? Thanks for being here.
Susan:I'm great. Thank you. I'm honored to be a guest on this tremendous show.
Garrett:Well, Susan, it's a thrill to absolute absolutely thrilled to have you here. You and I have worked together. I think our first experience working together was back in 2013
Susan:I think so.
Garrett:A minute ago, with, 1 of my independent releases. And, Susan, you were the outdoor media buyer is what you were introduced?
Susan:Anything traditional. Any back in 2013, it was anything traditional. Okay. Outdoor television, radio, all that fun stuff.
Garrett:Which is amazing, and it'll be interesting to talk to you now and to see how what what is considered traditional now.
Susan:Changed. Yeah.
Garrett:But yes. And so and you've subsequently helped on each 1 of my releases and for which I've been very, very grateful. And, we're just thrilled to have you on here and to, to ask questions and to talk about independent film and and now your experience as a distributor. So, to so we I just wanted to start with that and then Susan, you've just come off of a or you're in the midst of a very
Susan:Still in the midst.
Garrett:Of a successful independent film release. Do you wanna talk about that?
Susan:Yeah. I'd love to. It has just been an absolute privilege to work with T. C. Christensen on Escape from Germany, and it opened April 11th.
Susan:And so we are starting week 11 on Friday. So we just booked week 11, and we're still in more theaters than I think his first film started in, than 17 Miracles started in. So the trajectory is still up, so it's it's all still all systems go.
Garrett:Okay. The movie is called Escape from Germany, and it's been in theaters now 11 weeks. Your book you've booked your 11th week this Friday. Yes. What does that look like?
Garrett:What does that kind of initial whether it's Escape from Germany or or at a film booking in general, independent film, what does that look like for you? When you when you take the film, what is your process? What's your next step?
Daren:What he's saying is have you slept at all in the last 11 weeks?
Susan:In fact, this morning this morning, I thought, wow. I wonder when it is that I'll just slumber peacefully because you're just it doesn't end. It's not over until the last theater says no. It's not over. So you're constantly seeking and searching, turning over pebbles.
Susan:They used to be huge boulders and then stones and now pebbles. Challenging sometimes when you'd have some big regal say no. You can't have LA. You just can't have LA. Well, you had to have LA.
Susan:So you had to meet and find all different kinds kinds of sizes of theaters that had come onto the map in all different time periods. It was delightful, actually, because you're working with some mom and pops and some big shops, and then you get Regal to say, oh, I missed it. So then Regal Books. And it's just it's just been thrilling. It's just fun.
Susan:Fun, fun, fun.
Garrett:Okay. So you it's been an up and down process. What was the open like? You booked it on, how how many screens do you open on?
Susan:We booked it on, we booked it in the Utah DMA because and I'll that's a designated market area. It's a media marketing term. And for Utah, the DMA is as far as those TV signals will travel. So that included Rock Springs. It included Mesquite.
Susan:We kicked off on a general conference week. So So that was a great that was a great last hurrah on the weekend to say this week in theaters this week. So we actually snuck in 1 more day into the weekend, opened on a Thursday instead of a Friday. So that built the weekend. It it gave it a little bit of a bolster, which was nice.
Garrett:Okay. So let me just let me just bring our bring any, like, outside listener up to speed. So, TC Christiansen is a Utah based filmmaker who has an incredible following centrally located in Utah. Correct. So general conference is a weekend in which which there's a lot of media and attention in Utah for for members of the church that TC belongs to, and so, you opened that weekend.
Susan:We call it we call it the Super Bowl of that particular genre because, honestly, in television ratings, it is number 2 after the Super Bowl. And, actually, just fun fact, when Gordon b Hinkley was alive and before there was so much fraction between, all of the media outlets, Gordon B. Hinckley actually beat the Super Bowl 1 year. So that's that's a little fun fact
Garrett:for you. You talk about it. Well, fantastic.
Susan:So that kicked us off.
Garrett:Okay. So you targeted the DMA, and I I didn't realize okay. DMA designated media. What is it?
Susan:Marketing area. Same thing.
Garrett:Then in marketing area.
Susan:Far it's it's as far as those signals will travel.
Garrett:And the country is divided up into 20 210
Susan:2. Different media areas, and it's based on how far those signals will travel. So, yes, 210. And Utah is ranked, I think, 34 right now, 34th in size in from those 210 markets.
Garrett:So your goal when you open and said, look. We are going to just own the Utah DMA in as many theaters as we can, or how does that work?
Susan:Your goal is TC made the first part so easy. He just made a terrific film, and it's downhill from there. If you have a great film, it's downhill from there. But if you don't know there's a great film out there, you can't go. So the the impact of the designated market area is how many people can you reach.
Susan:And that weekend of marketing reached 50% of Of
Garrett:the DMA.
Susan:50% of households were reached that weekend between streaming digital, television radio. 50%. So that's good when you figure that everyone is not even interested in a film genre that re has the church of Jesus Christ in it. Yeah. So it was a great hit.
Garrett:Okay.
Susan:That's how we started.
Garrett:That's incredible, Susan. So the there's this balance then between booking the theaters and then creating awareness.
Susan:Yes.
Garrett:And those are simultaneous, or how does that work?
Susan:You don't wanna create awareness too soon because everyone's creating awareness. And so if you've created your awareness, but the movie's not there and they can't find it, they're frustrated, and they're on to the next thing that the media has told them to go and find.
Garrett:Okay.
Susan:So the timing is pretty it's very strategized because it's on a budget too. If you spend that p and a money too early before people are ready to buy a ticket, you're sorry out of luck.
Garrett:Yeah.
Susan:And if you spend it too late and didn't get people in the theater in time, you're sorry out of luck because the theater didn't see the growth. So it's just really a a you've just gotta have those 2 pistons firing together as a unit, really, to get it off.
Garrett:Incredible. Which
Susan:So then it's off the ground, and, strategically speaking, it had a tragic terrific per screen average. So high so that other areas that would not traditionally pick up a film associated with that genre were calling and saying, what is this film? Why is this per screen average so high? We have got to have this film. So Yeah.
Susan:That was terrific too.
Daren:If you're willing, Susan, can you give us, like, some context there? Like, what is a good per screen average? For those listening, like, we're talking about things like p and a, which stands for prints and advertising. That's your marketing budget. Right?
Daren:But what's a per screen average, and what's a good 1? What are you aiming for with the movie like this?
Susan:Well, you're aiming to be profitable, so let's just start there. Right? Because you can make a $100 a dollar at a time and take a 100 days, or you can make a $100 in 1 day. And either way, you've got a $100 of profitability. So it it's not the killer factor.
Susan:But if you can get a per screen average of 2, 000, that's something that they really look at. 2, 000 is a a bar, I guess, in the industry that something higher than that is kind of a wow. That's what we need to consider is that and higher. And so there were days when TC was triple that with that film. So they were looking.
Daren:And are they measuring that on a per day basis or a weekend or a week?
Susan:You that's a good question, and it yes to all of the above. They particularly look at the weekend because film buyers book on Monday Tuesdays. So Friday Saturdays are the big movie going days and then numbers are crunched fast through that weekend. And they have those numbers first thing Monday morning. So Sunday night, the emails start to come.
Susan:We're ready to look at this or we're ready to renew, etcetera, because they've seen those averages from the weekend. So a theater week is does not start on Monday and end on Sunday. It starts on Friday and ends on Thursday. If a movie is playing in a theater on a Saturday, it will be there the next Thursday, and then it starts over again on Friday with a new a new selection or renewal.
Garrett:Gotcha. So what does a Monday morning look like for you then? I mean, is that just
Daren:a scramble?
Susan:Morning is it's a fun scramble. If you're an adrenaline junkie, it's it's whatever you do to get adrenaline, it's like myself. You're trying to get the quick yeses done, super early so that you have more time for those yeses that'll take a little bit more time. You're trying to in a market where you might have 2 theaters that wanted it that were located very close to each other, you have to kind of bank, is this 1 gonna say yes? This is the 1 I want more.
Susan:So you go after this 1 earlier and get your yes so you're not so worried about that 1, etcetera. So it's fun. It's busy, for the film booking industry, for those buyers. I don't think anyone has lunch on a on a Monday. They go in early.
Susan:They stay late, and everything happens on Monday. And then Tuesday, you pick up the things that didn't happen on Monday, which means kind of down the priority.
Garrett:Wow. K. K. Okay.
Daren:I'm I would love to, have you check my math here a little bit because I know a lot of filmmakers listen to this and people who have not distributed a film want to independently distribute their films. So if I'm an independent filmmaker, which I am, and we're distributing our movies this fall, we're aiming for a $2, 000 per screen average, which, you know, about considering an average ticket is $10, that's like 200 tickets for that weekend. It's probably better for me to go and think about how many theaters I'm gonna release in. I'd rather have 10 theaters at a $2, 000 plus average then a 100 theaters at a $200 average. What do you think about that?
Daren:Or am I just, like,
Susan:spinning wheelchairs? Well, in the first that's a such a good question. In the first couple of weeks before your your film is established as a success, then that per screen average is much more critical. But once you're known as, hey. This is a good movie.
Susan:It's got a high per per screen average. People aren't checking the math as much on subsequent weeks. They just know it came out of the gate fast and hard and everyone loves it. Then pick them up pick them all up. Pick them up at the same time.
Daren:That's awesome. Very cool. I hadn't really I I knew what that was, but hadn't gotten into the weeds on. So thank you for indulging me there for a try.
Susan:To a I talked to a different, film booker, distributor, and and it was a terrific, I thought, philosophy. And the philosophy was we want people to see the film. Anybody that wants to see the film should be able to see the film. Get the film to them. If that's gonna get your per screen average from 2, 000 down a little lower, but you have audiences, maybe smaller audiences, maybe a smaller town, but full, why in the world would you not do that?
Susan:The the head buyer at Cinemark, in fact, he he was 1 that agreed with that philosophy because I asked him flat out because I'm a lucky rookie like, I've said before. And so I asked him, do I really wanna spread into these cinemarks nationwide this early, or do I wanna wait and keep my per screen average up? He said, why in the world would you wait if I have theaters full of people in cities throughout the nation that wanna see it now? And that's what it's like. Okay.
Susan:Per screen average, I don't really care anymore. You're gonna slide with the purpose of getting the overall grosses up.
Garrett:Okay. So, Susan, I wanna shift gears for a second because, I mean, that's fascinating. Monday is the the stress day. Tuesday is kind of a cleanup day. At some point, when you've booked your 100 screens or 200 screens, whatever it plays on, you've gotta ship the film and poster or trailer to all of those theaters.
Garrett:How does can you give me an overview of that process?
Susan:Yes. It's like shipping anything from Amazon. The more tightly in a more tight of a timeline you need it shipped in, the more of an expense that's going to be. So the minute you book a theater, if you book it on a Monday, get that DCP out that minute. Get the posters out that minute.
Susan:Don't wait.
Garrett:The DCP is just this hard drive that goes to every theater.
Susan:It's the it's the film. It's the actual film that's that's going to the theater that is going to play the film. So you have to and it's a physical. It doesn't have to be, but in a lot of cases still, it's a physical delivery. It's not an electronic delivery.
Susan:Garrett is doing his Vanna White.
Garrett:Something like this.
Susan:No. Just
Garrett:a regular old hard drive. Just looks
Daren:like a 4 terabyte hard drive. But what's funny is I think it stands for digital cinema print, but it's not it's not a print. It's a digital. It's not our our it's so funny how we've kept some of those words around for as long as we have.
Susan:If you scroll on your computer screen is the minute that you've scrolled past the main content, we call it be below the fold, which is an old newspaper term. So, yes, some some things carry on, and that 1 did. So I don't I think that as we move forward, I I can't see why everything wouldn't become more just immediate and electronic, and you can deliver it in a minute. But but, anyway, you've gotta prepare and be aware of those couple of days.
Daren:Okay. Is that something a indie filmmaker I'm sorry. Is that something you need filmmaker?
Susan:Go ahead.
Daren:I hope there's not a delay on my end. Is that something it did an independent filmmaker I'm gonna say it again. Is that something an independent filmmaker could think about strategically? Like, if there are theaters that accept the digital version, you could send a Dropbox link or whatever it is or upload a file and save the money on the DCP. Like, is that a strategic thing, or am I getting too in the into the weeds on that?
Susan:You're too in the weeds there at this particular moment in time because the same company that sends out the DCP, the physical drive, also sends out the electronic drive. So, no, you're not it's not a Dropbox thing.
Garrett:Gotcha. I think too the last thing that an independent filmmaker wants to be is, like, the nuisance or the the, you know, hey. We're gonna cause extra work for this theater chain that we've begged to book our movie.
Susan:It has to be as easy as possible. That's exactly right. It has to be as easy as possible. There was a good example of that. When I was sending out the the big the posters, the big 1 sheets that hang in front of theaters, and inside the theaters, I thought, well, wait a minute.
Susan:I've been in their offices, and they have those cardboard tubes full of posters all over the office. So I just made, printed a small version of the key art, a 5 by 7 of the key art, and just slap that across the front with the address so that they knew that's where the escape from Germany poster was in that tube. They didn't have just little details like that for exactly what Garrett just said. Make it as easy as possible for them to succeed.
Garrett:Yeah. Because they want to. I mean, we're doing this budget for the carpenter for its release, and a significant amount of the budget or a chunk of the budget is for in theater marketing. Like, theaters have their own marketing campaign. They're doing their best to try to get an audience to to show up to that particular theater.
Garrett:And so, yeah, if we can give them a little bit of money to help market the movie and then give them the materials that they can use to market the movie, there's more of a chance of of success.
Susan:It has to be a win win or nobody wins. You help the theater succeed or you don't succeed.
Garrett:Yeah.
Susan:And they're terrific people there. That terrific people. I've just been really impressed. And a lot of, generational families in the film industry, that's been really fun to know them too. They care.
Susan:They care about their industry. They want it to continue.
Garrett:Susan, you've been generous with your time. I have I have, 1 last kind of question or topic to ask you and then, but we don't wanna hold you longer than than you've agreed to hold longer than your contract. Settlement. I mean, you've done all the work. You've gotten the movie out there.
Garrett:It's now played in theaters. It's done a certain amount per theater. Is part of your process as a distributor then tracking down the money and say, okay theaters Yes. You I mean is it a 50 50? Or You are.
Garrett:Details you wanna share, please share.
Susan:You are the booking agent between, that filmmaker and the theater, and it's your responsibility that the contract between the 2 of them is fulfilled, including that payment. And that payment needs to be clear in writing. It saves everybody time in the end. Don't assume anything. Everything's clear and in writing and agreed to up front, and, payment terms are agreed to in writing.
Susan:Payment options are made easy for the theater. Again, whatever you can do to help them succeed. Did I answer the question? Is that what you wanted me to say?
Garrett:Yeah. And does that happen what's the timetable on that? When a filmmaker puts his movie in theaters, is it is it, 6 months later, he might see the theater box office return, or what is that?
Susan:Okay. I'm gonna answer that question, but I'm gonna ask you a question first. I have a $1, 000. If I give it to you today, are you alright about that?
Garrett:Yeah. Yeah. Yeah. I'll take your money.
Susan:Say yes. Right? If I gave it to you in 30 days, are you alright about that?
Garrett:I'll take it. Sure.
Susan:And if I gave it to you in 45, would you be alright about that?
Garrett:Yeah.
Susan:Sure. And that's how it works. Some of those, theaters pay weekly. After 2 weeks, you will have your payment, and it will be in full and the numbers are accurate. And some of the theaters take 30 60 and more days.
Susan:Okay. But you do get it.
Garrett:Okay. So it just varies per theater, per chain?
Susan:It varies, and you don't have to play with the ones that pay later, but the ones that pay later usually are the bigger chains. So, of course, you wanna play. You you need them. You need them to win.
Garrett:K.
Susan:And they'll help you win, and you'll get your $1, 000, but it might be a few days later than tomorrow.
Garrett:Amazing. Well That
Daren:Can I ask 1 quick question? Because it's timely. 1 of the biggest, news events has happened in the last week or so. Sony bought Alamo Drafthouse, which is like the first time since the paramount decree that we've had a, distributor own a theater chain. Have you been paying attention to that?
Daren:I would love to hear your thoughts on it. Is it a good thing for the industry? Is it a bad thing?
Susan:I'll take you back in time because I came into this from the marketing and from the media buying side. And I remember when Disney bought ABC, and everyone was aghast why in the world would Disney buy ABC. And, the answer was simply ABC is a distribution point, and Disney is a creator. And if the creator doesn't make sure that they have distribution points at a point in time, the creator could be shut off completely from the audience. Now that's way that's like the first creator that bought a media company, but that's it.
Susan:So I go back to that. I just remember thinking, you gotta be kidding me. Why would they wanna get in? Media is messy. Media companies are messy.
Susan:Why would you wanna get in a media a media messy company? And, that was why, and you can see what's happened since.
Garrett:Yeah. Now they all now they all have it. Amazing. Yeah. What a story.
Garrett:Susan, this has been so great to to hear your experience. Congratulations on just the incredible home run that you've hit with, TC's film. And,
Susan:Thank you, and I'll pass it on. Any squirrel out there could have done it with a great TC film that he created. So it was terrific that it got to be me.
Garrett:K. K. Fantastic. We'll we'll catch up with you soon.
Susan:Alright. Thank you.
Garrett:Thank you.
Daren:Oh, man. Susan is great, Garrett. That was, so wonderful to have her not only join us on the podcast, but to have her on our team. I'm feeling so excited about this because 11 weeks in theaters with an indie, that's a very Utah movie. That's amazing.
Garrett:Yeah. Susan's great, and for her to share that information and I mean, she she's super humble, says, oh, anybody could do it with a TC movie. TC makes incredible movies. But, no. Susan has certainly stepped up and and, helped that film succeed.
Garrett:It's awesome.
Daren:Tell me about how you put this team together because you've got Minu and then you've got the Purdy brothers who we met last week. Yeah. I shouldn't say the Purdy brothers. The the brothers that own Purdy distribution, the Monteer brothers. Yeah.
Daren:And now we've got Susan. And so we've kind of shown the audience, the team here, but can you give us a little bit more insight into why we're doing it this way and why you chose the team that you did?
Garrett:Well, it's still it's still coming together. There's still a key element, that we'll bring in our our marketing side of it. Susan is gonna help with our regional, marketing in Utah in the Utah DMA. But, yeah, I mean, I think we as we build this team, we want people with experience. We want people that, know what they're doing, have proven, that they can do what they say they were going to do.
Garrett:And then, I mean, as Susan pointed out, it's it's a it's a lot of work. Right? And so for an independent film to be released on 600 screens, that's going to take a a lot of hands to make that happen. So she's she's gonna be a key part of that.
Daren:Yeah. The idea that, like, you and or I together would would pull it off on our own is ridiculous. Like, just hearing about the Monday calls and not taking lunch and the amount of things that need to go out each week. Yeah. Yeah.
Daren:All the shipping, like, you've gotta have a team for that. Not just a a point person, but she's gotta have a team that's hustling 247, taking calls, taking emails, always on call, ready to go. And, like, that's a big part of why it takes so much to put a movie into theaters. It's not just calling up theater and going, hey, I want to put my movie at theaters like, you should see the value of the relationships she's had over decades now working with these bookers and these buyers and these other marketers and these other filmmakers and how that makes it easy for her where whereas it would be near impossible for us to do the same thing.
Garrett:Yeah. Yeah. It's fantastic. And so, yeah, let's build a build a team full of people that are able to do what they what we need done.
Daren:Awesome. Well, so we are it's now we're re I'm just gonna say the date and people can work backwards from November 1st, but it's June 18th as we're recording this. And so where are we at? Where are you at? What do you what's on your mind right now?
Daren:What's your focus this week as we're getting ready for these releases?
Garrett:So we are, definitely, like, in rush mode as far as getting an initial trailer done and out to theaters. We're in we're in the middle of summer and that's when a lot of people are going to movies And so we need to have a presence where people are already they have the habit of going to movies. Let's have a visual presence there. So I have asked the Montiers, the Purdy distribution, to just start booking screens, even the low hanging fruit. The the ones that are aware of the film or that Perry has succeeded with in the past, let's book those screens right away and get a trailer and posters in the theaters.
Garrett:We've received a, a print for the poster, I guess a proof for the poster and the key art, and we have approved that. And so that will be printed this week and shipped out, And then the trailer, I submitted it to, the Krebs family, last night for their approval. So they will, once we get approval on that, we'll start duplicating that. That has to go on DCPs, but they're little thumb drive DCPs, and they get sent out to all the theaters as well.
Daren:Amazing. Yeah. So months out these are the things we're thinking of. It's not, again, it's not something you turn on and 2 weeks later you're in theaters. Like this takes a lot of runway and a lot of prep work and a lot of, effort and coordination from a lot of people in order to put a movie in theaters.
Daren:That's cool to hear. I'm excited to get the trailer out. So you put the trailer in theaters, and then are we sending people to the carpenter movie.com? Like, where are we sending people? Because they can't buy tickets yet.
Daren:There's no ticketing available. So what's the strategy there?
Garrett:Right. There's no ticketing available, but, yes, it's right now, the the the play at the carpentermovie.com is to add your ZIP code and email so that you can be alerted when theaters become available. And so, you know, each week each every day, I'm getting a few emails from people who have stumbled onto the trailer or website or whatever it is or the podcast is generating interest, and people are requesting theaters. So we're getting an idea of where our listeners are but where, people want to see see the movie.
Daren:Awesome. So the listeners of this podcast can go to carpentermovie.com and
Garrett:be a
Daren:part of that, which is pretty exciting. Like, I love that aspect of it as I've had conversations with people getting excited about, oh, you got the podcast and the movie's coming out. We've been waiting for 2 years. It's like, yeah. Go and sign up because it's an opportunity to be involved and make sure it comes to where you wanna see it.
Daren:And there's, like, that level of interaction with the audience is really, really cool. It's something I'm really loving about this version of distribution rather than, like we've talked about just handing it off to distributor and saying, please send us money. Yeah. It's really cool to be doing it together with the audience. So fun.
Garrett:Yeah. It's it's a lot a lot of work to do and, but, but it's nice to have a team to do it with.
Daren:Yeah. Alright. Let's get into our listener questions today. I have 1 for you. But so Garrett, the first question for this week from last week's episode talking with the Montereth Brothers is how did you guys do this?
Daren:Like, they're a traditional distributor, but you guys have a non traditional kind of relationship relationship or set up with them. How did you do that? Because a lot of people I think would love to be able to say, oh, I'm in charge of the distribution, but you guys are handling the booking and the logistics. How did that come together? Yeah.
Daren:I think well, I'm in charge of the distribution, but you guys are handling the booking and the logistics. How did that come together? Yeah. I think well, I'm
Garrett:Krevs family wanted to make sure and the Krebs family wanted to make sure and maintain an an element of control on where the movie is gonna play and and how it was going to be positioned. And so in order to own that type of decision making, they had to come up with the funds. So we did find a distributor that essentially we had to say, look. We have P and A already taken care of. Most distributors will come in, and they'll give you a certain amount of P and A that they say this film will probably do this much, therefore, we're gonna give this much P and A to make our money back.
Garrett:We didn't go that route. Said, look, we have P and A. This is our goal on 600 screens. We need to find a distributor that would, facilitate that happening. So, essentially, it's a a little bit of work for hire, which there are independent film distributors that that do that.
Garrett:I mean, the idea is that if you can build this team that works together in cooperation and a a win win type scenario, that's a that's a good way to go for independent film.
Daren:Alright. Then our second question is, how did you find Purdy? They sound awesome. And so where did that relationship come from? We talked about how we met the Monteith brothers at the festival last year, but how did you meet Purdy distribution back in the day?
Garrett:So yeah. Good great question and that that might be AAA lot I'll try not to give a long answer to warrant a a whole another episode, but essentially, Brandon Purdy, who founded Purdy Distribution, saw 1 of my early films. He was working or had worked for a distributor that I had submitted the film to. That distributor passed about the same time that Brandon was was leaving that, that distributor, and so Brandon reached out and said, hey. I'm interested in distributing that film, and we've had a great relationship from there.
Garrett:When he then built his company and and sold it to the Monterrit brothers, they reached out and we maintained that good working relationship.
Daren:Awesome. Awesome. So this is your this will be your 4th with Purdy distribution then?
Garrett:Yeah. Yeah. And and the and the takeaway, I guess, for anybody is, I mean, certainly Purdy distribution is incredible and and reach out to them. They have great. If if your film fits within their parameters, it's they're they're a great solution.
Garrett:I think the takeaway for any independent filmmaker is it's about relationships. There's the the film and we've had successes and we've had, less than successes with Purdy or with other distributors that I've distributed with, but I've always maintained, and I think filmmakers do themselves a favor if they can maintain that positive relationship and just, you know, obviously, there needs to be best interest in mind for both parties. If a distributor is taking advantage of you or unresponsive, that's probably not a good relationship to maintain. But, but I think there are enough opportunities out there for distributors and enough filmmakers out there that once you find somebody that does you know, you work well together, that's it's worthwhile to invest time and energy and resources into helping each other succeed.
Daren:Amazing. Yeah. And like we've said before, where do you meet these guys or gals? You go to film festivals, like Yeah. If you're if you wanna make a faith based film in Utah, go to the Zion's Indie Film Fest where they right?
Daren:Because that's where all of these distributors are at. They're there watching the movies to see what's good and what's coming out and what could they, what movies do they wanna have a conversation about. Just the same thing that happens at Sundance or Cannes or Toronto or any of these other big festivals where, yeah, that's the biggest movie of that festival. Everybody's clamoring for that. You kinda had a similar thing happen with the faith of angels this year.
Daren:You had a number of people wanting to sit down and have a conversation about the distribution of the movie, and then that gave you a lot of options. And so, a, take your films to the right festival, make sure it aligns with the fest the type of festival it is. If it's a horror festival or a drama festival or a documentary festival, faith based, whatever it is, align with what the goals of the festival is. But then if you're don't have a film yet, go to those festivals and figure out who are the distributors. Because they're there.
Daren:They're in the there's probably sitting right next to you in the same seats, in the same theater, and you can strike up a conversation say, hey, I think I know you guys, and there you go. You have a relationship started, and then you continue it and you nurture it over a decade. And that that's what makes it easy now 10 years later to just have the conversation about, hey. We wanna do it this way and they go, great. We just wanna work with Garrett, so let's go.
Garrett:1 of the most fun experiences at this last Zion's, Indie Film Fest, which again isn't a faith based exclusive film festival, but it's all, you know, generally family or drama or things like that. But, it was enjoyable this last year to be there with other filmmakers. We're kind of in a filmmakers lounge, and the Montier brothers were there. And for me to be able to introduce them to other filmmakers, say, hey. You know, I appreciate the interest in Faith of Angels, and it's exciting that the that that conversation is taking place.
Garrett:But, you know, I'd say, hey. Have you met so and so? They've got a new film that's premiering in you know next week at the festival, you should take a look at it. And we've been able to do that and try to build up the community. The more that Purdy has to distribute, the more films get made and the the more success we can have as independent filmmakers.
Daren:Awesome. Alright, Gary. That's another great episode. Very, very cool. Thanks for helping set that 1 up.
Daren:And, man, we've got another good episode next week. Another guest, I think. We'll, we'll announce it next week. How about that? Okay.
Garrett:Okay. Thanks, man. Thanks for listening. We'll see you next week.
Daren:Thank you for listening to this and to join us on the journey, be notified of new episodes and screenings, and ask us questions about today's episode, head over to 3coinpro.com/podcast, and put in your name and an email address. If you're a fan of the show, please leave us a cast app and be sure to share this episode with a friend. Thanks for listening, and we'll see you next week. Our intro and outro music is Election Time by Kjartan Abele.
