Sustainable Business Models For Films & Series
+ what I'll uncover while at MIPCOM, and benefitting from AFM
I’m here putting the finishing touches on our MIP slate and refining our overall strategy for the market in terms of objectives, but also observations I’ve had so far in my exchanges with buyers and sellers.
Like I said last week, there’s no way around pursuing alternative funding models for both scripted and unscripted series going forward. Everything from brand partnerships, to equity involvement, to international co-productions and partnerships, plus tax and soft money funding schemes…. it’s all on the table.
And I’ll be exploring all of this in depth across a week of back to back meetings while in Cannes :)
As always, I’ll report as much as I can from the trenches and in my take-aways post-market, and welcome any questions ahead of time that you have. Just post them in the comments below…
But what about feature films?
I’ll be exploring that too! My real curiosity lies in uncovering any sustainable business model for making independent films.
Notice I said ‘business model’ because funding films entirely with equity isn’t a ‘business model’ - aka it’s hard to make a business case for it. Though if you have the capital to make films with all equity, it’s amazing and a privilege! But financing a film like that usually leads to deep financial losses unless you’re operating in the micro budget categories (in which case it could be profitable).
For features the sweet spot I’m focusing on at the moment is what can be done with only 30%-50% of the budget in equity? To that end I’m meeting with international co-production partners in a handful of different countries plus the international networks and streamers who are still pre-buying rights to movies. Also brand ambassadors, and a deep bench of FAST and AVOD players.
The theatrical pre-buy market is not viable at the level most of us are playing at, but I’m seeing a lot of companies around the world do a brisk business with local streamers, Fast and AVOD platforms, and good ol’ fashioned networks. And by golly I’m going to uncover those opportunities if it kills me! lol.
AFM On The Horizon
Which leads me to AFM kicking off in just a few weeks at this point. My sources tell me that between the change in venue and the above mentioned theatrical pre-buy market slow down that international buyers will be scarce. It’ll be more of a domestic market with some international buyers here and there, but not robust.
What does that mean for you? Well if you’re a US based filmmaker I think you could still come out and benefit from the market particularly if you’re using it for networking and research purposes.
What are you taking to AFM or could use help with? Email me at stacey@filmspecific.com and I still have a few slots left for AFM consulting.
On that note I’ll wrap things up for today. I hope you have a fabulous day ahead and I’ll speak to you again soon!
Stacey
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