It’s an auspicious time for the AMC Networks-owned specialty distributor. Birbiglia’s film is set to expand Friday to more than 20 markets (plus to the Ziegfeld, BAM and City Cinemas 86th St. in New York), with advance interest suggesting another strong weekend; the company’s ongoing day-and-date releases, such as the James Franco porn-industry drama “About Cherry,” continue to perform well; and IFC Films and its sister divisions Sundance Selects and IFC Midnight head to the Toronto International Film Festival next month with eight titles in the program — “Like Someone in Love,” “Sightseers,” “Antiviral,” “Beyond the Hills,” “Something in the Air,” “The Central Park Five,” “Room 237” and “On the Road,” a high-pedigreed adaptation with a lot riding on it for the company.
IFC Films and Sundance Selects are releasing “On the Road,” Walter Salles and Jose Rivera’s adaptation of the 1957 Beat Generation novel written by Jack Kerouac, in late December. But the film’s Cannes world premiere in May resulted in mixed reviews and a months-long effort by Salles to re-cut it. So Toronto audiences will see a distinctly new version of the film, which stars Garrett Hedlund, Kristen Stewart, Sam Riley and Kirsten Dunst, that focuses more on the relationship between Dean Moriarty and Sal Paradise. Clearly, the hope is that the re-jiggered narrative will generate new buzz through the fall and potential awards notice for the filmmakers and cast.
Meanwhile, Sehring and IFC Films colleagues Arianna Bocco and Ryan Werner continue to acquire movies and look for the best ways to make them work on multiple platforms, a methodology, Sehring takes pains to point out, that IFC Films pioneered along with Magnolia Pictures years ago. In a wide-ranging (and amiably combative) discussion right after the impressive “Sleepwalk” numbers came in Monday (the film grossed another $6,000 that night), Sehring spoke to Indiewire about the keys to indie-film promotion in 2012, just how well “About Cherry” is doing and what’s different about “On the Road.”
So “Sleepwalk With Me” made a wonderful splash this weekend at IFC Center. For skeptics, can you really use that as a measure of how well it will do when it widens? Or do you have some other data that is suggesting success?
I don’t know what there would be to be skeptical about. It is by far and away the highest-grossing film ever at the IFC Center over a weekend, and that includes “Cave of Forgotten Dreams” with Herzog and our charging a premium for 3D. It really blew those numbers away. So, in terms of skepticism, the fact that the movie did about $70,000 on two screens at the Center on what was probably the most beautiful weekend weather-wise. I read someplace, somebody said, “Well, it was because Ira and Mike were there.” Nobody was there yesterday evening, and they were all sold-out shows! [Glass and Birbiglia are hosting a screening at the WGA Theater in L.A. Tuesday night with faux nemesis Joss Whedon.] But I could talk about pre-sales in other markets, which are fantastic.
That’s what I was getting at. It’s one thing to say it did great at this one location. But do you have some other indication that it will be successful as it widens?
The pre-sales in Chicago are fantastic. I’m not sure what I can speculate on in terms of going forward. But I can say that the pre-sales for the new markets that are opening are extremely strong, as are sales for this week. We’re getting calls from everybody. We’re going to be on 30-plus screens Labor Day weekend. I can say I’m cautiously optimistic.
What would constitute satisfying box office next weekend?
That’s what I don’t think I can speculate on. What would I like to see? I’d like to have people calling on Labor Day wanting double or triple the expansion that we’re doing Labor Day weekend. I’d like to see it on more screens. But we’re very confident in the film.
Did you do anything different with “Sleepwalk With Me” in terms of how you released and marketed it?
We didn’t do anything differently. What we are a huge proponent of — and this is the changing landscape of the independent film business — is that the filmmakers’ success is as much in their hands as it is in ours. We approach all of these movies like it’s a partnership. And the filmmakers that get it and the producers that get it work just as hard on the marketing and distribution. We’re very collaborative. For movies like “Sleepwalk,” movies like “Medicine for Melancholy” or “Tiny Furniture,” we’re as reliant on filmmakers to help market that movie. Somebody like Lena Dunham knows her audience and her voice, and Mike knows his audience, and Ira [Glass] knows his audience, and it’s really important to work in conjunction with filmmakers to get these movies out.
Can you tell me what you spent to acquire the movie?
No. No, I can’t.
Or no you won’t.
I think it might be both. [laughs] Suffice it to say, I know Ira and Mike are pleased and we’re very pleased. They’ve been great partners.
Going into Toronto, there are a lot of things that we’re very pleased about. We’re always sort of amused when there’s a new entry into the day-and-date business, theatrical and VOD. A year ago it was “Margin Call” and the guys from Roadside suddenly becoming experts off of one movie, and the Radius guys as well with “Bachelorette.” You don’t see Eamonn at Magnolia, you don’t see us — the two pioneers in the changing of the windows — coming out and reporting our numbers on a weekly basis. We have a movie right now that went up about the same time as “Bachelorette,” but we went on all the platforms, not just iTunes, and on Rentrak, when they report their VOD numbers, we’re right there with “Bachelorette.” “About Cherry” is performing just as well. We weren’t the number one movie on iTunes, but we’re up there on all the cable operators’ VOD platforms. It’s a much different profile film, we’re not spending the kind of money they are, but we know how to market these movies. It’s not the first one for us like that. We’ve had a lot of movies, like “The Other Woman,” or, earlier this year, “ATM” — again, you don’t see Magnolia trumpeting all of their successes, you don’t see us doing it. It’s really interesting when a company does it once, and suddenly they’ve reinvented the wheel, when Magnolia and IFC Films invented the wheel five or six years ago.