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Distribution 
Keep up to date on where the films showing and who its be sold to.
Exspected completion by last quarter of 2003
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White Light
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My second film, White Light, it's still quite a way off distribution. As with just about all 'truely' independent feature films, distribution is something that we end up worrying about after the film is made. This isn't the best way, infact it's the worst. With the plethora of independent feature films being made, over 65% never even manage to secure a Sales Agent let alone see a return on their investment. If you think that figure is scary then check out this one, including the big budget features from the major distributors, approx. 70% of feature films made in the United Kingdom, never receive a commercial theatrical release.
I've set out below how I managed, against massive odds, to get both a UK theatrical release and a distribution deal with one of the most respected Worldwide companies in the field, Mel Gibson’s, Icon Entertainment International on my first film 'Dark Summer'.
As you can see from both 'Dark Summer' and this website, once I commit to something there is little that can stop me from succeeding. I hope that last sentence didn't sound arrogant, what I really mean is that I don't give up what ever is thrown at me. I might get down but in the end I pick myself up and accomplish what I have set out to do, at the end of the day the only person I would be giving up on would be myself. So as far as 'White light' goes, it 'will' have a cinema release and it 'will' be sold. |
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Dark Summer
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You can read more about my journey on 'the filmmaker' page.
When I started 'Dark Summer', to be honest, I was making it for myself. At that time I hadn't directed anything, not even a pop promo, so for me it was a total baptism of fire to see if I could direct but as usual I don't do things by halves. As with this film, 'White Light', I was also writer, producer, director, cameraman/DOP and editor.
After filming for 18 months, the worldwind really started when John Morgan, my sound recordist on both films, and I had been editing the film on a Steenbeck, definately non-linea editing, for a few months. Roger Shannon, who at the time was running MIDA in Liverpool and who used to run the Birmingham Film and TV Festival, saw a rough edit and liking it, mentioned the film to the London Film Festival. The next thing we knew, we had 6 weeks to complete the film for its World Premier in London.
From that screening we started to get a flood of festival offers and for the next year I was flown all around Europe and North America. During my travels I had a few offers from sales agents, but having heard nightmare stories, I declined. I wanted to make sure I got a UK sales agent I could keep an eye on, or a least take to court if they didn't pay up. On my return to London I did some research to find out which company was the best and most honest; it turned out to be Mel Gibson's company Icon Entertainment International, but with my feet now firmly on the ground, I knew that unless the film received a theatrical release they couldn't do much with the film. So after learning every other facet of film-making, and with the film being too small for other UK distributors, I decided to become a distributor myself.
Armed with my prior knowledge of public relations, I formed a company called United Independent Pictures Limited. I got a deal with Robin Cinemas, who own about 25 theatres around the country, their main one being ‘The Prince Charles’, Leicester Square in London, got a ‘12’ certification from the B.B.F.C., pleaded with Rank to make a further two prints and spent the next six months sending press packets out and wooing the press.
I was nervous as hell waiting for the reviews to come in, but they did and about 70% of them were good (reviews - short version, full version). So with reviews in hand and the film still playing in London, I went to see Icon Entertainment International. They liked the reviews, saw that they could sell it and took it on. Finally, after four years from beginning to end, I could rest knowing that the film was being taken care of.
(A complete list of reviews, script, credit list and production info. for 'Dark Summer' is also available at UIP Ltd. Alternatively you can watch the high quality QuickTime Movie Trailer, 11Mb\2min 30sec or view 64 of my favourite Stills, which I'm very proud of, taken direct from the 35mm Anamorphic print.)
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I would also like to thank the following companies who have make the filming of White Light possible:
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