Independent / nonprofit art house
Start hereFour-walls outside content? Almost always yes
Has a projectionist, understands KDMs, may co-program and share risk.
Outreach
Who to reach out to — and in what order
Licensors need venue, date, seats, and ticket price before they quote. Sponsors are cheaper than crowdfunding and should come before your public campaign. Never ask directors or Blumhouse for screening rights.
Contact sequence
| Step | When | Who / what |
|---|---|---|
| 1 | Weeks 1–2 | Venue feasibility Confirm four-walling, outside DCP, day rate, F&B minimum, DCI specs, insurance. Get 2–3 venues in play. Key ask: Do you four-wall, and will you play an outside DCP with an outside license? |
| 2 | Weeks 2–4 | Licensor availability With venue, date, seats, and ticket price in hand: availability, terms, DCP existence. Do not sign yet. |
| 3 | Week 4 | Provisional venue hold Written hold before any public announcement. |
| 4 | Weeks 4–6 | Lock license terms Fixed cost floor — build your crowdfunding goal from this number. |
| 5 | Weeks 5–7 | Sponsors & partners Local partners + co-presenter; line up ~30% soft commitments. |
| 6 | Week 7 | Launch campaign 30-day max; presale framing; goal = floor + fees + contingency. |
| 7 | Weeks 10–12 | Sign & pay MGs Only after funding clears — never pay minimum guarantees early. |
| 8 | Final 3 weeks | DCP / KDM logistics KDM 10–14 days out; test window; ingest and tech check every title. |
| 9 | Event day | Day-of ops Volunteers briefed, run of show printed, 20–30 min breaks between films. |
| 10 | +1 week | Post-event reporting Box office report to each licensor — required and relationship-defining. |
Venue types (ranked)
Alamo Drafthouse
Four-walls outside content? Often yes
Actively programs rep and cult; best chain fit. Note private-event rules bar some studios’ content.
Historic single-screen / civic theater
Four-walls outside content? Yes
May need equipment rental if not DCI-equipped.
AMC / Regal
FallbackFour-walls outside content? Rarely (Group Sales only)
Outside DCPs and licenses are a hard sell. Treat as fallback.
Rights-holder map
Screening rights live with the distributor for your territory — not the director, producer, or brand.
| Title group | Contact for license |
|---|---|
| Hammer 1970s catalogue | Park Circus Agency for Hammer/Exclusive library; theatrical + non-theatrical |
| The Sixth Sense, Unbreakable, Signs, The Village | Disney Repertory / non-theatrical |
| Lady in the Water | Warner Bros. |
| The Happening | 20th Century |
| The Visit, Split, Glass, Old, Knock at the Cabin, Trap | Universal Repertory bookings |
| Sinister, Sinister 2 | Lionsgate |
| Insidious franchise | Sony Pictures U.S. repertory via Sony rep desk |
| The Purge franchise | Universal |
| Paranormal Activity | Paramount |
Do not contact
- Directors or producers (for screening licenses)
- Blumhouse (the brand does not hold most “Blumhouse” title rights)
Partners beyond the theater
Sponsors & co-presenters
Weeks 5–7, before campaign launch
- Local horror/genre podcasts
- Comic shops, breweries, record and video stores
- Film society or university film program
- Boutique Blu-ray labels (Scream Factory, Severin, Arrow, etc.)
Sponsorship is often cheaper to raise than crowdfunding and brings an audience.
Press & podcasts
Weeks 7–10 during campaign
- Genre podcasts
- Local arts/entertainment reporters
- Film bloggers
Mid-campaign momentum; story hooks (restoration, guest, market first in decades).
Fiscal sponsor (501(c)(3) partner)
Early — one email can unlock grants and tax-deductible donations
- Local arts council
- Film society
- Community foundation
- Established film festival
5–10% admin fee vs. months to form your own nonprofit.