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October 21 at 8:33am

How Big Brand Sponsorship Saved Our Indie Film (pt 2 of 2)

By Ted Hope

Guest Post by Amy Lo.  Yesterday Amy started the tale of Planet B-boy‘s march into brand sponsorship and how they teamed up with Samsung.  Today she concludes with how it was a win/win and some thoughts towards the future.

Taking the long view
We were relieved that our immediate need for post production funds was met, but our proposal also kept the door open for a much bigger fish to fry: distribution. Our initial strategy was the typical indie film non-strategy of keeping the film under wraps, doing a big premiere at a festival and waiting for any offers to come along. With Samsung unexpectedly involved at an early stage, we started thinking about how we could partner with them to bring the film out, either with or without a traditional distributor. We came up with a plan for live dance events combined with the film screenings, a 25-city tour presented by Samsung.

In the meantime, we finished the film and got it into competition at the Tribeca Film Festival. We had a magical outdoor premiere on the riverfront with Fab 5 Freddy as emcee, live performances, and breakdancing lessons before the movie. More than eight thousand people turned out. We’d made it an event. We knew we could be on to something.

We pushed Samsung and came so close – with no less than the Chief Marketing Officer for North America behind us – but internal politics and timing ultimately thwarted further P&A support. Planet B-boy still had a great run with distributor Elephant Eye Films, held over in NY theaters for 10 weeks and spreading to about 50 other cities. We threw some fantastic events, too.

Working towards the future
I’m convinced there’s a still lot further to go with sponsorship and indie film, particularly for distribution and the hard work of getting finished films to audiences. Folks like Rooftop Films , Alamo Drafthouse , and Range Life are making movies more of a communal event. Film festivals, too. Brands get behind those curators without dictating programming, so if a filmmaker’s vision is clear and resonates with audiences, why not experiment with individual film releases, too? Or theaters? Kind of like the old days of TV – Wild Kingdom never had anything to do with insurance but the show’s always been presented by Mutual of Omaha. Sponsorship’s coming back for indie music , why not indie film, too?

Samsung didn’t take any ownership or approvals of the film, and our deal with them paradoxically, became our best guarantee of creative freedom, no strings attached. Sponsorship wasn’t our plan at the outset, but by focusing on the film first, by preserving its quality and originality, we had something for others, both audiences and sponsors, to get excited about.

It most likely won’t happen the same way for me again on another film, and on each project, we as producers have to be more resourceful and more imaginative than ever, looking at every option. I’m telling you this story because the lesson learned is: You never know who might save you. When some doors close, just find new ones to knock down.

Amy Lo is a 2010-2011 Sundance Institute Creative Producing Fellow. Through her production banner Mental Pictures , she develops and produces feature films, documentaries, and new media, focusing on director-driven original stories. She can also be found on twitter @amy_lo .

For more on this subject check out: “Can Brands & Indie Films Collaborate Without Sacrificing Integrity Or Goals?

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