Re: [Videolib] Distributors...

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In a message dated 2/9/06 12:57:24 PM, MTiar@washoecounty.us writes:

> (Dennis, I don't know that I've seen your words on how profitable=20
> distributors are, that may be prior to my videolib subscription, so again,=
I'm not=20
> speaking as informedly as some others could.=A0 I actually tend to agree m=
ore with=20
> your perspective that the universities should be funding these screenings=20=
in=20
> the first place and avoid the whole problem.)
>=20

Well, then I'll quickly run through it. Though thanks for agreeing about=20
funding. Actually, I spent three years working on a Electronic Media panel f=
or the=20
New York State Council of the Arts and I was amazed at how many wonderful=20
people were applying for grants and running extremely professional film seri=
es. I=20
only wished that funding like that could be nationwide.

As to distributors. Simply put, I'm working out of my basement because we=20
couldn't afford a nice house in a good school system AND an office. However,=
I=20
can't scream, to quote from the legendary Max Bialystock, "I'm wearing a=20
cardboard belt!" (Though I do drive a 1992 Saturn with 170,000 miles on it.)=
Many of=20
the distributors struggle -- ESPECIALLY the first five to ten years -- and=20
some muddle through their entire lives because they'd rather bring out good=20=
films=20
than commercial schlock. (Yesterday, I got my third phone call this year --=20=
I=20
count -- saying: "I immediately thought of you. Only Milestone could=20
distribute this film." Which translates to -- and she agreed with this -- "O=
nly=20
Milestone is stupid enough not to care there's only 150 customers for it.")=20=
To=20
Jessica's credit, she has also carried on my fine tradition at Kino of convi=
ncing=20
the powers that be to distribute something totally noncommercial.

And the people who work at distributors (such as Jessica and Linda) are on=20
the whole, extremely well-educated, very capable people who could earn far m=
ore=20
money working in other fields -- much like librarians.

And when filmmakers die, we have many cases where the widows (Madame Clouzot=
=20
for MYSTERY OF PICASSO) children (Michael Powell's two sons for EDGE OF THE=20
WORLD), nieces (Ursula and Eva Plumpe for TABU) and other relatives receive=20=
the=20
royalties. The royalties for Mary Pickford go to the Foundation she set up t=
o=20
donate money to hospitals and educational institutions. In the instance of I=
T=20
HAPPENED HERE, ours was the first money Kevin Brownlow EVER saw for the film=
=20
he worked on for eight years of his life and United Artists owned for forty=20
years. The same goes also for Philip Haas (ten films), Rolando Klein (CHAC),=
=20
Elizabeth Rogers (PEOPLE OF THE WIND), etc.

And this cross section of producers is a very, very typical of all the indie=
=20
distributors. I think we're all proud of the directors we've helped establis=
h=20
and the money we've sent them. That's it for my spiel.=20

Dennis Doros
Milestone Film & Video
PO Box 128
Harrington Park, NJ 07640
Phone: (800) 603-1104 or (201) 767-3117
Fax: (201) 767-3035
Email: milefilms@aol.com
Website: http://www.milestonefilms.com

"Welcome to New Jersey.
=A0=A0=A0=A0=A0=A0=A0=A0Big Hair, Big Heart, Big Fun!"
=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0- Amy Heller

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In a message dated 2/9/06 12:57:24 PM, MTiar@washoecounty.us writes:

(Dennis, I don't know= that I've seen your words on how profitable distributors are, that may be p= rior to my videolib subscription, so again, I'm not speaking as informedly a= s some others could.=A0 I actually tend to agree more with your perspective=20= that the universities should be funding these screenings in the first place=20= and avoid the whole problem.)