We’re excited to continue our exploration of distribution – in this modern digital world,
And we’re pleased to be joined by the Head of Global Sales & Licensing at Filmhub
1. Tells us more about Film Hub and your mission as a company.
2. How does the revenue stream work, for filmmakers?
3. Are you active in the Acquisition space, or do most films come to you?
4. What if a filmmaker wants Netflix and/or iTunes, do you submit everything or essentially curate what you believe they will want?
5. Would you say overall, this is a very exciting time for independent filmmakers, with so many distribution outlets, Or that we need to narrow the Platform playing field, and/or support more curation tools?
Final Tip for Filmmakers?
Two Film picks?
Roger Jackson Bio
Roger Jackson is Head of Global Sales & Licensing at Filmhub, the cloud-based marketplace for film & TV content owners to easily distribute and monetize their content across hundreds of global VOD platforms. Filmhub pioneered direct digital distribution of film, TV to on-demand and OTT platforms globally, including fast-growing markets in China, India, Latin-America & Africa.
Recognized as an innovator, expert & speaker on global sales & distribution of video-on-demand (VOD), Over-the-Top (OTT) media and IPTV. He was Vice President, Content for VOD startup iFilm.com (sold to MTV Networks for $49 million) and Executive Producer for on-demand documentary channel Explore.org.
Produced conflict-zone documentaries in Darfur, Jordan, Palestine, Bangladesh and Nepal, a reality series for VH1 and one rather bad movie for Fox TV. Prior to starting Filmhub, he spent a year managing education & humanitarian aid projects for an NGO in Afghanistan, Tajikistan and Mauritania. A graduate of UCLA's Anderson School of Management, and the University of Southampton (Politics & Law) in the United Kingdom.
We’re excited to dig into film Distribution today, and pleased to be joined by Richard Castro (COO & VP, Distribution & Acquisitions) of Cinema Libre, a leader in the social impact space.
1. Tells us more about Cinema Libre and your mission as a company, and your emphasis on these social issue projects.
2. Please share title or two, you have represented over the years, and a sample model of your work with that project. For example, you see a movie at a film festival (or submission) and choose to acquire it. What the process from there?
Any newer projects that are in current release, or coming soon, we should know about?
3. With all the new distribution models, how much of your business today is driven by theatrical release vs all the digital platforms?
4. Would you say overall, this is a very exciting time for independent film, and social impact filmmaking? Or that system is broken and many more changes are coming that will give more structure to distribution models?
5. You do have a production division. Do you have targets for how many films you want to make each year? Budget range? Do you consider unsolicited projects?
Tips for filmmakers to keep in mind?
Richard gives us his 2 movie picks!
Richard Castro Bio:
Richard joined Cinema Libre Studio in 2004, less than a year after the launch of the company. Initially leading outreach efforts on films like Outfoxed and The Future of Food, he eventually took over domestic theatrical distribution responsibilities for over thirty of the studio's releases, including Betty Blue: the Director's Cut, The End of Poverty?, South of the Border. In his current role, he oversees distribution and acquisitions while managing day-to-day operations of the company. Prior to joining Cinema Libre, Richard worked in production at Lorimar Television and in the domestic distribution and international marketing divisions of 20th Century Fox and Fox Video, respectively.
To learn more about Cinema Libre, click here.
Q1 – What made you decide to move into filmmaking? And at what point did you know you wanted to make social impact movies?
Q2 - Of course, I met you when you were touring Running for Jim – a terrific movie that did very well on the festival circuit. Was that your first movie, and tell us how that movie came to be?
Q3 - What were some of the key things you learned on your first project that you knew you would do differently on the next one? And maybe something you learned with be repeated, or similar elements you would continue with in next film.
Q4 - At what point, and was it during the Running for Jim process, did you come up with the idea for Code? And share the goals for the project and what it has meant for you and the community you were trying to impact.
Where can audiences find Code…and Running for Jim?
Q5 – Tell us about your next project? Bias? Almost sounds like a sister project to Code?
“I hope to inspire change in how women and girls see themselves in the industry,” Reynolds told the audience, “I hope to inspire change in startup culture so they become more welcoming and inviting to women.” it can be and make amazing things, we have to bring everybody into this.” http://www.hollywoodreporter.com/news/tribeca-2015-code-debugging-gender-790255
Robin Hauser Bio
Robin is the director and producer of cause-based documentary films at Finish Line Features, Inc. and Unleashed Productions, Inc. Robin’s most recent award-winning film, CODE: Debugging the Gender Gap, premiered at Tribeca Film Festival 2015, and has caught the attention of the international tech industry and of policy makers in Washington, DC and abroad. Robin is currently directing and producing Bias, a documentary about unconscious bias and how it affects the ways we hire, promote and fund. Previously, Robin co-directed and produced the documentary feature, Running for Jim, which won 14 awards at 20 film festivals.
She has spoken about the importance of increased diversity in computer programming and on behalf of women’s rights at Watermark, Conference for Women, Mobile World Congress, SXSW Interactive, AT&T Foundry FutureCast, Dell Women Entrepreneur Network and Women 2.0. As Director of CODE, Robin has been featured in national publications: USA Today, Wired, Forbes, Fortune, The New Yorker, just to name a few. Robin is recipient of the 2016 National Political Women’s Caucus President’s Award.
This is a very exciting time for social impact cinema, as a low barrier to entry combines with an increase in public interest for Cause Cinema.