AMC’s Nikkole Denson-Randolph Keeps Indie Filmmakers in Focus

Finding a distribution platform is very often the most difficult part of filmmaking. Now that advances in technology have made making a film a relatively easy process, finding an audience for that work has remained elusive for most filmmakers, especially independent. In her role as the Vice President of Specialty & Alternative Content for the influential AMC Theatre chain, Nikkole Denson-Randolph plays a critical function in providing independent filmmakers with the opportunity to find a following for their work.

A former Director of Business Development for the Starbucks Coffee Company, where she fielded, developed and negotiated music, film and book offerings for Starbucks Entertainment, Denson-Randolph was also the President of Magic Johnson Entertainment and President of Magic Hallway Pictures. Over her nearly 20-year career, she has earned a much-deserved reputation for creating and executing strategies for successful entertainment brands. BlackEnterprise.com caught up with Denson-Randolph to discuss access and opportunity for independent filmmakers.

What kind of criteria does your team consider when evaluating films for AMC independent (AMCi)?

The film should be independently produced.  From there, we evaluate the quality of the film, (story, performances, direction), as well as a detailed marketing plan, and the necessary resources and budget to support it. Quality storytelling is important to us, but for a movie to succeed, it’s just as imperative that the intended audience knows the film is available to them.  In the spirit of supporting independent filmmakers and

ensuring we can provide a platform for content that may not otherwise have had an opportunity to be experienced on the “big screen,” we do not require a substantial amount of marketing and distribution dollars.  However, we must be convinced that the filmmakers are going to leverage their film strategically, effectively and deliberately.  We have several success stories from filmmakers that did not have the deepest of pockets, but had conviction and commitment toward disseminating the message about their work to both wide and specified audiences.

Has technology introduced new opportunities that makes it easier for filmmakers to release their work independent of established movie houses?

Technology has definitely made filmmaking more accessible and affordable, however, a filmmaker’s job is not done once the film is complete. The distribution of a film is a significant effort and filmmakers must decide whether to distribute the film themselves, or find an independent distributor to do the job for them.

If they want to distribute the film on their own, a budget is needed that will allow for effective marketing and promotion. Additionally, there are costs associated with delivering the film, trailers, and one sheets to the theatres. If they plan to partner with a distributor, filmmakers need the proper resources to prepare the film for festivals and special screenings that will draw potential suitors.

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What’s one of the most effective ways for an independent filmmaker to gain the attention of potential distributors?

Festivals are the most effective way to get the attention of established independent distributors.  Films with great “buzz” or industry interest can often attract several eyes and ears to a filmmaker’s story. All of this starts with a good film that has a targetable audience, which is not as easy as one might assume.  While many films can tell a story, not all have a story that may appeal to the masses.  In this sense, it’s imperative for filmmakers to know their intended audience as they are developing their script and shooting.  Marketing and promotional opportunities should be considered as the movie is being shot.  Do not mistake this for product placement; this is speaking in the sense of taking notes of the efforts that it took to make the movie, the actors’ relationships. It’s much easier to document this experience than in previous generations.

What are some of the innovative AMC programs that filmmakers like Russ Parr have taken advantage of to find an audience for their work?

AMC independent (AMCi) is the program we launched a few years ago with a focus on diversifying quality content on screens.  We have identified several circuits within our theatre footprint that have loyal audiences with very diverse backgrounds to include African American, Hispanic, Asian and Hindi.  Our program also focuses on core art/specialty fare.  Our reach isn’t limited to the film festival darlings, but to films that have interesting and untold stories that we think will resonate with our guests.

What are some of the benefits of having a film released through AMCi?

Films that we agree to co-release via AMCi not only get access to some of the best theatres in the country, but will also benefit from mainstream tactical support in the same vein as traditional wide releases.  A multi-media marketing plan is assembled by our internal team that will help any AMCi-exclusive film to get in front of our guests. This includes a reach to our nearly three million Facebook followers, approximately 100,000 Twitter followers, hundreds of thousands of impressions via AMCTheatres.com and an online advertising campaign.

Some relevant examples are MOOZ-LUM, which starred Evan Ross and Nia Long; I Will Follow, which starred Salli Richardson-Whitfield and Omari Hardwick; 35 and Ticking, which was directed by Russ Parr and starred Nicole Ari Parker, Kevin Hart, Meagan Good, and Tamala Jones; and Kevin Hart: Laugh at My pain.

Does race and gender remain an “annoying reality” in your business?

Because of the nature of our business–offering on-screen stories from all walks of life–race and gender are always relevant topics.  People relate to movies and storytelling based on their own experiences, whether they’re from the city or the country, whether they are an only child or from a big family… or if they are a particular

ethnicity, male or female.  A guest’s movie’s choice is always going to be made in part by relate-ability.  It’s a key reason why we focus on “quality storytelling.” The best movies transcend limitations from race and gender.  MOOZ-LUM succeeded not only because it had strong African American and faith-based audience support, but because it was a coming-of-age story that many have experienced in some regard.

In regards to race and gender being a hindrance: no. In fact, it gives us many more options to reach our guests with films that relate to them. We can now release and support films in specific markets where we believe certain demographics or groups will have a connection.  As our guest base grows more diverse, it provides more opportunities for us to deliver different content experiences to them.  It truly is about the storytelling.  It’s our time, and the opportunities lie before us.

What’s next for you?

I plan to continue introducing audiences to films they may not have otherwise experienced, and ultimately make that a norm, not just a one-off experience.  We’ve captured “lightning in a bottle” a few times through AMCi by having the right tools in place for when “lighting may be in the area.”  Additionally, I enjoy the film festival circuit and educating other audiences and filmmakers about our work and what lies in front of us as an industry.