Roles of the distributor

Every film has its own tailor-made distribution plan.
Most important decisions are when and how to release a film to optimize its chances.
When distributors have estimated what a film may earn, they prepare a budget to release it.
When planning a new release, relying solely on conventional wisdom is never an option.
Audience tastes are notoriously unpredictable and traditional preferences may not count for much in practice.
Market research may be conducted to probe audience reactions at pre-release test screenings or to evaluate alternative marketing campaigns - fundamental considerations for every release.
Occasionally a film becomes a 'sleeper' hit, playing for longer than expected.
inevitably, as its such an unpredictable, product-driven business, each distributor's earnings, market share and profitability fluctuate year by year, reflecting the success or otherwise of individual titles across all platforms.

A detailed understanding of the target audience age group and gender, but also lifestyles, social networks, media consumption patterns - always informs the subsequent decisions on how and where a particular film is promoted.
Naturally the audience can vary considerably film by film, for example from families with young children to teenage males and/or females to older adults, or sometimes a combination.
It's important never to lose sight of a films core target audience
The most frequent cinema goers tend to be aged 15-25 for teenagers, students and young adults, the cinema is the favorite out-of-home leisure activity.
Although a majority of 15-25 year olds visit the cinema at least once a month, overall just a quarter of the population goes that often.
The average number of cinema visits per person in the UK works out at 2.7 a year, up from barely one a year at the low point of the mid-1980's.
The better a film performs at the box office, the more likely it is to be attracting infrequent cinema goers and repeat visits.
Infrequent cinema goers tend not to come out for opening weekend but wait until later, raising the challenge to distributors to sustain the run in cinemas.

What Makes A Film Successful:

Is it a film for the holiday season? if so, which season? school holiday dates vary around the UK.
Is it a film in hopes for award nominations? Contenders for the Academy awards, Golden globes, or Orange British academy film awards usually release films between December and February when the awards season reaches its peak.
Is there a buzz about the film? due to a celebrity or it being a re-telling of a book franchise?
Is it a sequel or reboot of a previous movie? if so, what distinguishes it from its successor?
Has the film been released in a different country before the release here? (e.g. wreck it Ralph  if so, then it will bring in more attention from the reviews it got.
what certificate will the film have? awarded by the BBFC.

Different releases are managed in different ways. For example, a saturation release ‘at cinemas everywhere’ may open simultaneously on 1,000 screens UK- wide, playing at two or more screens per multiplex.

By contrast, specialized films offer a different cinematic experience. The UK release of, say, a documentary, foreign language film or revived classic may comprise 25 prints or fewer.

London, with an increasingly diverse population of 7.5m people, accounts for about a quarter of UK cinema admissions.

The marketing objective is to create visibility, raise awareness and engage interest, cutting through the blizzard competing messages.

Distributors must compete for a significant share of voice not only against other distributors, but also other leisure activities.

Word of mouth

Social recommendation is key – a personal recommendation from a friend colleague, relative or trusted online community can be the most powerful stimulus for a cinema visit.

Pre- requisite for favorable ‘word of mouth’ are high levels of awareness and strong interest.

When constructing a campaign, distributors aim to reach as much of their target audience as possible, as frequently but cost-effectively as possible.

Poster

The main image or artwork distilling the appeal and positioning of the film – its stars, its genre, credits and often a tagline to whet audiences’ appetites.

With often a dozen or more different posters on display in a cinema at any one time, distributors and their designers must work hard to make each one stand out.

Film posters may be created by the studio or sales agent (as applicable) and rolled out internationally or adapted for use locally.

A poster is produced for every release, in quad format (the traditional UK size of 30” x 40”, landscape orientation).

Many months before release, an initial teaser poster may be created to announce that a film is coming and to whet the audiences appetite.

Distributors also provide other display materials for cinema foyers – prime space for advertising current and future releases – such as cardboard standees, banners, window clings, and mini-posters.

Trailers

Distributors usually have a range of audio-visual content to work with as they prepare campaigns, including film clips approved by the producers; making-of material shot on set during production; and one or more trailers.

Full trailers, screened shortly before a film opens, may be preceded by early teasers (typically up to 90 seconds).

Exhibitors, who programme their own screens, select trailers appropriate to the feature film before which they're played. 

Online and mobile

fizzing with networks of film fans, the internet plays a pivotal role in shaping many cinema goers' perceptions of new releases.

The web helps distributors to start building awareness of a new film at an early stage.

Film clips are among the web's most searched-for content, available across many sites.

Film distributor website direct traffic to exhibitor sites where tickets may be purchased online.

The immediacy of social media

The internet being a two way street, the moment a film is screened, comments are shared instantly and constantly around the world, as online communities swap opinions and feedback in a galaxy of chat rooms.
Not just opinions, but content too, can spread like wildfire via Facebook and twitter, which have many millions of participants.

Broadcast, ambient and print media

Media proliferation and fragmentation have given all advertisers a multitude of options.
Advertising placed on broadcast channels, outdoor panels and in press is usually the largest expenditure item on the P&A budget.
Terrestrial television is traditionally the most effective visual means of reaching a mass audience.
Event films/blockbusters with top stars need heavy advertising spends to support their wide releases.
When planning their advertising schedules, distributors must bear in mind that different audiences react to adverting  and reach their decision too see a film, in different ways.

Publicity

As readers tend to accept in dependency written news items more readily than paid-for advertising, editorial coverage of a film can be highly persuasive.
Film publicists compile press kits for journalists, containing cast and crew lists, biographies, notable facts about the production and a synopsis.
The publicity team, frequently supported by specialist agencies, arranges media interviews with available members of the film's cast, and chaperoned artists visiting the UK for junkets or premieres.
Screenings for national critics are normally held on the Friday  Monday and Tuesday before a film opens to the public; those for journalists with longer lead-times are scheduled further in advance.
Awards buzz: The build up to the major awards is an important time for publicists promoting the films vying for consideration.
Set visits: As with any product development, the film production process is conducted confidentially behing studio doors or on guarded locations.

Promotional partnerships

Depending on the film's theme and target audience, the distrubutor will endeavour to arrange promotional partnerships.
Importantly, too, tie-in advertising under licenseby a promotional partner or brand with product placement in a film can add substantial weight to the distibutors own campaign.

Merchandising

Many releases, particularly family films, have merchandising programmes co-ordinated by the film company or an external consultancy.
Tie-in merchandise can embrace toys, action figures, ringtones, clothing, stationary, calendars, anything.
Media promotions, placed on an appropriate channel or publication, can make effective use of film merchandise or location holidays as prizes.
Occasionally, a film becomes a ubiquitous event, saturating the media as well as appearing in advertising, partner campaigns and other outlets.

Premieres and experiences

Perceived as glamorous and exclusive, but painstaking and expensive to organise!
Star-studded premieres and after-show parties are covered by celebrity publications and news media, and often transmitted worldwide.
A gala screening in aid of charity can raise a substantial sum via ticket sales and donations, while from distributor's professional perspective the main goal of a premiere is to give the film a high-profile, entertaining launch, boosting the all-important buzz factor.
Most premieres in the UK - around 50 a year - take place in london's leicester Square, which has recentely had a substantial make-over.
In addition to premieres, distributors may consider other 'experemental events' where fans and visitors can interact with the film characters or situations, for example via touring displays in shopping centres or themed presentations at movie conventions.