![]() Sloss’ challenge, however, did spur one company, RADiUS-TWC, to release a VOD figure just days later. IFC Films, which has been a leader in VOD along with Magnolia, declined comment. He says he doesn’t receive accurate stats from some platforms for more than a month. Bowles also points out that gathering numbers related to a digital release can be much more difficult than theatrical numbers. Without these numbers, Bowles says, VOD results don’t provide a complete picture. ![]() “It doesn’t lead to clarification, it leads to more confusion.”įinancial success on VOD is dependent on several factors, including the film’s budget and marketing costs. “I don’t see any real reason the public needs to know these numbers, especially out of context,” Bowles says. And, according to Magnolia president Eamonn Bowles, the general public does not yet have a clear grasp on what VOD numbers mean, even as more films are being watched this way. While insiders call these numbers “fine” for a microbudget film like Tomorrow, many independent distributors argue that publicly releasing VOD results isn’t wise, given the lack of industry consensus about the context that should surround such figures. ![]() VIDEO: Sundance Hit ‘Escape From Tomorrow’ Continues to Jab at Disney 25 for a total of $259,894 during its first two weeks. The low-budget film, released through Sloss’ Producers Distribution Agency, had earned $139,334 in theatrical revenues and $120,560 in VOD/digital grosses by Oct. 28 released the numbers for Escape From Tomorrow, the horror feature shot without permission at Disneyland and Walt Disney World. Putting his money where his mouth is, Sloss on Oct.
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