How To Get Your Independent Film on Netflix

How to get your independent film on Netflix

With distribution in film theatres often infeasible for independent features and DVD sales plummeting, all in combination with a general oversupply of content, the thought of a deal with Netflix seems like the Holy Grail of distribution.

Aside from the money (although in fact,  the streaming service does not usually pay more than four figure sums in licensing fees) the really alluring prospect is getting your film delivered to more than 100 million potential viewers worldwide. Obviously, though, it is not easy to obtain such a deal. Netflix usually request films they’re interested in, but if your film has not been screened at major festivals or if it didn’t go viral, you will be better off going through a distributor or aggregator.

The first step is getting your film into the Netflix Database, which is basically a list of potential additions to the Netflix library. In order to do that, you have to either get a distributor on board with your project who can leverage connections within the company, or go through an aggregator.
A good option for independent filmmakers with few connections or who don’t want to share their revenue with third parties, is indie distribution company Distribber. It is owned by IndieGoGo and deals with distribution on Netflix and other major streaming platforms in exchange for a single fee (up to $1600), and you get to keep all of the revenues.

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Forget The Medium, Stick To The Message

Forget The Medium, Stick To The Message

This week, I look at the future of television content and offer some optimism for how production companies and programme makes can pave their way to a sustainable future.

We know that these are turbulent, insecure times. The commercial broadcasters are watching their traditional sources of income dwindle, the BBC is fighting to keep the licence fee revenue to itself, Ofcom is offering Channel Four a choice of shotgun weddings to Five or to BBC Worldwide, and all the terrestrials are likely to screen more repeats through 2009 at the cost of new commissions. Where’s the good news?

As long as you are a programme-maker or a production company executive, and you probably are if you’re reading this in the first place, then this is an exciting time of opportunity and change for you personally. Whatever massive shifts the mass broadcasting media are undergoing, viewers will always want professionally made, editorially intelligent programmes and content to watch. That means there will always be work for you to do. But it probably won’t be for traditional one-way broadcast television programmes in the long run, and you could find that getting paid is a more complex business than before.

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