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Tuesday, June 7th, 2011 by Alessandro
"The plight of the independent film is an ongoing storyline that never quite resolves its core conflict. Let’s face it—it stems from the age-old paradox of “art vs. commerce”. As an independent distribution company, we make it our duty to find the films we love and support by finding the appropriate platforms to release them for the public’s pleasure. But why is our task such a difficult one? Maybe it’s as simple as “Michael Bay just kicks more ass” or “George Clooney is just too damn good-looking”.
But there are countless ways to justify mainstream cinema’s dominance over the independent, partly because it’s a multi-faceted conundrum that I have no shot of summarizing within this small article. However, what we can and are doing at this very moment is finding new routes by which to combat the system. A couple years ago I would have fervently argued against the surge of technology that was to dominate our modes of entertainment. Now, as an employee of an independent film distribution company, I realize that technology is our savior! The web gives us our “big break”—the platform we need in order to capture the eyes of independent fans across the globe. Enter Indiepix Unlimited.
We are living in the age of technology—there’s no avoiding that fact. One couldn’t start a conversation about independent distribution without acknowledging today’s ever-increasing web influence. (Will “indie” fans even go to theaters if every new release soon has an “instant streaming” option?) This is the way of the changing distribution world. Platforms such as Hulu, Netflix, Youtube, and iTunes are taking grasp of film catalogues in order to allow instant streaming access on their respective sites. Now that we have options for which platform to release our films, there’s less pressure for landing theatrical releases across the nation-wide independent cinema circuit. Still, the unavoidable allure of the big-screen keeps us motivated to push our films into cinemas per request from our ambitious filmmakers. But in this changing climate where viewing access begin to trump exclusivity, we need to consider how audience’s preferences are changing too. Will filmgoers pay $11.50 to see an independent feature, or wait a month to watch it for $3.99 on their laptop? The answer to this type of question will determine the ways in which we distribute our films in the near future."
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