3. Digital successes are predictable.
Either horror films, starry Hollywood-imitation indies (Margin Call, Arbitrage, Bachelorette), and lots of docs, whether those suited to capitalize on young tech-savvy millennials (Indie Game: The Movie, Bones Brigade, Jedi Junkies), pop docs (Dave Grohl's Sound City, Journey doc Don't Stop Believin') or health and wellness docs (Hungry for Change, Fat, Sick and Nearly Dead).
4. Theatrical runs are still key.
producers can come up with about $100,000 for small theatrical runs, Gravitas' Nolan Gallagher believes it's a cost-effective strategy to achieve the necessary
reviews and social media awareness to eventually be profitable—"if you
have a great film," he adds.
5. It's better than nothing.
Low-budget narrative indie filmmakers aren't getting rich—two recent indie projects launched through Sundance Artists Services saw about 10,000-11,000 downloads--but they still welcome the platforms. "I think some filmmakers might be disappointed with that result," says Adam Bowers, writer-director-star of the comedy, The New Low. "But I feel lucky to have this. For me, these digital platforms seem to be the best option for dealing with that huge amount of movies [being made and released]."
6. A digital apocalypse for indies may be looming.
"I think there's going to be a big VOD apocalypse coming soon," says Brian Newman. "As soon as Hollywood starts messing more with windows and doing day and date, imagine viewers sitting at home on the weekend, and they have the option to see the latest Hollywood movie over an indie? Then screw it: indies are dead."