SXSW ’13 Interview – Fandor BONUS

Tweet Part of the fun of SXSW is not just the sessions, the films, the Chevys and the parties but the people you meet, waiting in line for films. Such was the case for Jonathan Marlow of online distribution platform Fandor and me. We were waiting to see press screeners at this year’s SXSW and voila an interview was born! Check it out below. It’s in 5 parts. This is Part 5. Check out Parts 1,  2 , 3 and 4. Sometimes the unexpected happens during an interview. This one was no exception. The good folks at SXSW Music were kind enough to let us use their interview room to conduct ours as the Film Fest began to wind down and Music began to ramp up. Listen as Jonathan Marlow and I take a quick moment to geek out over a mutual idol we spotted in the room So hopefully you’ve read all of the interview parts. Would you consider using Fandor to distribute your...

SXSW ’13 Interview – Fandor on Digital Distribution

Tweet Part of the fun of SXSW is not just the sessions, the films, the Chevys and the parties but the people you meet, waiting in line for films. Such was the case for Jonathan Marlow of online distribution platform Fandor and me. We were waiting to see press screeners at this year’s SXSW and voila an interview was born! Check it out below. It’s in 5 parts. This is Part 4. Check out Parts 1,  2 and 3.   JM …That is one of the issues with the complexities of rights. Unless you’re working directly with the filmmaker and they’ve retained all of their digital distribution rights, it becomes necessary to piece the assorted rights together from numerous locations. For instance, we’ve recently licensed the short films of Jay and Mark Duplass. I’ve adored their short films since the first time that I saw them. I would like to license their features, too, but each one has a different distributor. It is rather difficult to create a comprehensive selection of their works. The same is true with David and Nathan Zellner. We have nearly every short film they’ve ever directed. We also have their second feature on the service. Their third feature is available from IFC and we do not presently have a licensing pact with them. The Zellners’ latest film, Kid-Thing, is in theaters now through Factory 25. We have a great relationship with them and, at some point, Kid-Thing will debut on Fandor, too. But the entire process is particularly convoluted. To do this correctly, it represents a ridiculous amount of work. BTBO: So you tend to get films after somebody else has them?  JM: Not necessarily. I noticed that...

SXSW ’13 Interview – Connecting with Your Film’s Audience on Fandor

Tweet Part of the fun of SXSW is not just the sessions, the films, the Chevys and the parties but the people you meet, waiting in line for films. Such was the case for Jonathan Marlow of online distribution platform Fandor and me. We were waiting to see press screeners at this year’s SXSW and voila an interview was born! Check it out below. It’s in 5 parts. This is Part 3. Check out Part 1 and Part 2.   BTBO: Is there an opportunity for filmmakers to connect with the customers that have viewed their films? At the moment, there are only a handful of opportunities but it is definitely something which we plan to expand. There is a mechanism for people to connect through social networks and, on a number of occasions, filmmakers have connected with viewers through reviews. But it doesn’t happen as often as we would like. We are definitely interested in enhancing the engagement between our audience and individual filmmakers. There are a number of forthcoming improvements to the service that will make it more viewer-friendly and, simultaneously, more partner-friendly as well. BTBO: You just mentioned, if you’re promoting a film on your social networks, how do you decide which films you’re going to be promoting? JM: These are decisions made between the content team, the marketing team and our Keyframe editorial staff: Susie Gerhard, our editor-in-chief; David Hudson, responsible for Keyframe Daily; and Kevin Lee, our chief video essayist. There are layers upon layers of curation which occur. When we debuted the Todd Solondz film Dark Horse, we knew immediately that it would perform very well with our existing audience. But we also knew that it...
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