D.I.Y. Distribution Dealmaking Today, An Emerging Case Study: “Four Eyed Monsters”
"Four Eyed Monsters" Filmmakers Arin Crumley and Susan Buice in a scene from the film. Image provided by the filmmakers.
Frustrated by a lack of distribution prospects following successful festival screenings of their first feature at Slamdance, SXSW, and then Gen Art—and facing mounting credit card debts this spring—“Four Eyed Monsters” directors Susan Buice & Arin Crumley questioned whether they should have ever made their personal, low-budget movie. “You really wonder if you’ve done the right thing, quitting your job, going into debt, committing your life to a project,” explained Crumley in late April. Facing a post-fest malaise and with seemingly no awareness of their film among distributors, the filmmakers realized that without representation it is quite difficult to assure industry awareness of a movie. Buice said at the time, “One of the main problems is that we assumed that at these bigger festivals we’ve been going to there would be acquisition executives in our screenings. This has not been the case at all. We now realize that without somebody strong arming them to the theater, it doesn’t happen.” Crumley added, “But it might not be completely over, I mean how can we know we aren’t going to get a distribution deal when no distributors have seen our movie?” The path that Buice & Crumley have taken since that exasperated email nearly four months ago is evidence of the sort of clever strategizing sometimes seen among indie filmmakers who are unwilling to simply ride out the fest circuit wave and move on to a new project, or even pursue a different career altogether. As summer began, Buice & Crumley began implementing a pro-active approach to securing distribution for “Four Eyed Monsters,” a narrative feature about modern love and relationships starring the filmmakers and set in New York City. Told through video re-creations of key moments from their lives together, the film includes Buice & Crumley meeting via an online dating site and traces the development of their relationship. It also features non-fiction elements and footage of couples in New York talking about their own relationships. While at SXSW this spring, the filmmakers posted daily video blogs of their festival experiences in the hopes of creating broader interest in the film and drawing people to their screenings. The success of the short online video clips led them to imagine how they might use the Internet to market an eventual release of their movie with a distribution partner, or even on their own.
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