Decisions

Program & structure options

Pick one marathon concept (12–15 hours max). Run the easiest licensing path first — single-agency Hammer — then grow into a series. Your legal wrapper determines grants, liability, and who signs contracts.

Program concepts

Do not attempt all three in one day. Each option is a separate event.

Hammer Horror: The 1970s

Recommended firsteasiest licensing load

Single agency, one contract, combined DCP

~200 titles under one theatrical agent. Multi-title season deals can ship one drive at reduced per-title MGs.

Licensors: Park Circus (Hammer / Studiocanal catalogue)

The Vampire Lovers (1970)
Taste the Blood of Dracula (1970)
Twins of Evil (1971)
Dr Jekyll & Sister Hyde (1971)
Captain Kronos – Vampire Hunter (1974)

Not every title has a current DCP — confirm with Park Circus

Shyamalan Day

moderate licensing load

Chronological — but split across studios

Easiest if limited to one studio block, e.g. Universal titles only (Visit, Split, Glass, Old, Knock at the Cabin, Trap).

Licensors: Disney, Warner, Universal (depending on titles)

Full filmography = three separate licensing threads

Blumhouse Horror Marathon

hardest licensing load

Highest appeal, highest admin cost

Brand recognition does not equal one rights holder. Expect 3–4 parallel negotiations with separate MGs.

Licensors: Lionsgate, Sony, Universal, Paramount — not Blumhouse itself

Sinister → Lionsgate; Insidious → Sony; Purge → Universal; Paranormal Activity → Paramount

How to organize (five paths)

Sole individual

Best for: One-off, fastest start

Pros

No setup time

Cons

Unlimited personal liability
No grants or tax-deductible donations
Some distributors reluctant to license individuals

LLC

Best for: More than one event; treat as a business

Pros

Liability separation
Bank account
Credibility with venues/licensors

Cons

No tax-deductible donations
No grants

Fiscal sponsorship

Best for: Unlock grants & charitable giving without forming a nonprofit

Pros

Tax-deductible donations
Grant eligibility
Corporate matching
5–10% admin fee vs. months of 501(c)(3) work

Cons

Partner nonprofit takes admin cut
Must find willing sponsor

Co-presentation with art house / film society

Best for: First event when risk reduction beats ownership

Pros

Their licenses, insurance, venue ties, mailing list
Much higher chance the event happens

Cons

Less control and upside
Shared credit and revenue

Your own 501(c)(3)

Best for: Recurring series or festival only

Pros

Full charitable structure

Cons

Months of work
Board, bylaws, annual reporting — do not start here

Grants & non-crowdfunding funding

Most accessible with fiscal sponsorship (501(c)(3) partner) or your own nonprofit.

Avenue	Notes
State arts council project grants	6–12 month deadlines — plan ahead
County/city arts mini-grants	Often $500–$5,000; realistic first target
Community foundation arts pools	Discretionary culture funds
Tourism / hospitality authority	Stronger for multi-day festivals
University film program	Venue, gear, labor, sometimes funds
Corporate matching (via fiscal sponsor)	Employer match on sponsor gifts
Home-video label partnerships	Materials, giveaways, promotion

Ticket structure (revenue side)

All-day pass $35–45
Single-block pass $15–18 — fills afternoon seats; most people will not sit 12 hours
VIP $75–100 — reserved seat, poster, pre-show reception

Break-even check: fixed costs ÷ (avg ticket × expected attendance). If you need >65% of the house, cut a film, shrink the room, move weekday, or raise more upfront.