With our lovely new artwork courtesy of the fantastic Paul Cousins, our much-loved horror romcom Hellbride has hit Amazon Prime this week. Subscribers can check the movie out for FREE as part of their subscription, and non-subscribers can rent on buy.
We’ve got a lot of love for this film. It was the second movie shot under the Jinx Media banner (back in 2006) and is the sort of film that could only ever be made as an independent. Fire up your Amazon Prime app and stick ‘Hellbride’ into the search field to check out our unique little supernatural stew of brides and bloodshed. We’ve got a script for a killer sequel which we’d dearly love to put into production next year, but it all depends on how the VOD release goes.
So, please, go watch it. Buy it. Rent it. Share it.
So Amazon have now launched a new VOD service called Amazon Video Direct, which will allow filmmakers to charge for their work and has been labelled as a cross between Netflix and YouTube.
This is an interesting new wrinkle in amongst the VOD options available to filmmakers and indies. We’re planning on trying it out this week, so I’ll let you know how things progress.
We’re in an interesting and probably fairly unusual position at the moment. As a small independent company, we have a back catalogue of four features which have all seen significant distribution of one kind or another and have had the rights return to us after previous distribution deals have expired. One of these, The Devil’s Music, we’ve discussed in some detail already. Before we get back to Amazon Video Direct (and start talking about Vimeo on Demand, too), I’ll take you through the other three one by one.
Our first feature was shot in 2004, and it shows. The film exists only in standard definition, because that was the way it was filmed. It was shot on 4:3 DV, then masked to a 16:9 ratio in post. The film was released in the UK on DVD on February 20th, 2006. The release ended up in every Blockbuster in the country, which was incredibly gratifying. It was described as having “clever ideas but dodgy tech credits” by the mighty Kim Newman in Empire magazine. It turned up on the torrents on a scale that I wouldn’t, frankly, have predicted at that point, meaning that tens upon tens of thousands of people watched it with no context whatsoever and absolutely hated it (the fact that the torrent apparently had buggered up sound presumably didn’t help). The widescale torrenting torpedoed a US deal which was scheduled for later in 2006 and the movie’s reputation as a weird, fun little micro-budget midnight movie went into the toilet under the onslaught of negative commentary people who downloaded it expecting the next Saw. The UK release was the only official one the movie ever saw (although it got re-released in the same territory on a budget label the next year). The rights came back to us about two years ago, and I’ve never quite worked out what to do with the movie. There are certainly people out there who absolutely love the flick and we still get nice emails about it to this day. Apparently, there are bootleg versions of it knocking around in other territories too.
Jinx has never seen a single penny of our investment from TrashHouse back, and it would be really nice to monetise the flick in a way that works out for us this time around.
KillerKiller was shot in HD but has thus far only ever been released in SD, and in most territories it’s been released as a 4:3 pan and scan crop rather than in the original aspect ratio (this kind of madness was still happening 10 years ago. Go figure). It’s had a little cinema release in Germany, lots of festival screenings and been released in at least half a dozen different territories on DVD, sometimes under exciting different titles (as you can see below). It’s been fairly heavily pirated, but not as badly as TrashHouse was (largely because by the time KillerKiller hit the shelves, the boom in independently produced horror had started to kick in, and there was more choice of movies to nick).
Jinx has never seen a single penny of our investment from KillerKilller back, and it would be really nice to monetise the flick in a way that works out for us this time around.
Now, as you may be aware if you follow this blog, this is the one we’re concentrating on this month. Shot back-to-back with KillerKiller but released later because of a longer post-production, Hellbride was shot in HD but, as with KillerKiller, has only been released in SD prior to this year. It was released on DVD in both the US and the UK, and then licenced out by our distributor to various streaming platforms. Our best guess, judging by the figures that we have available to us, is that around a third of a million people have seen Hellbride on one platform or another by this stage.
You’ll never guess what. Jinx has never seen a single penny of our investment from Hellbride back, and it would be really nice to monetise the flick in a way that works out for us this time around.
Those were the first three movies we filmed. Hundreds of thousands of people saw the films. Many tens of thousands actually paid to see the films. Yet not a penny ever came back to the people who made them.
We’ve got wiser as the years have gone by, I hasten to add. Both of the Death Tales movies that Jinx co-produced, and indeed our fourth feature The Devil’s Music, have made money back from their investment. We’re playing the long game with House on the Witchpit, but it’ll definitely make its meagre budget back if all goes to plan.
But those first three movies, man…
Now they’re back home, we’ve had a period of taking stock and looking at the options available to us. We decided a few blog entries back that we would set a re-release date for our fourth film The Devil’s Music of October 21st, and get it out in as many different platforms and territories as possible. It’s our most critically acclaimed movie, and we want to make sure that we do it right in terms of the rerelease.
As for Hellbride, KillerKiller and TrashHouse, that gives us an opportunity to try new things.
The first one up to bat is Hellbride, of course.
We uploaded it to Vimeo on Demand and made it available in HD for purchase or rental a few days ago. We used the functionality of Vimeo on Demand to send out review screeners to review websites who hadn’t already reviewed the movie, and hoped for the best. On the first day that Hellbride was up on Vimeo on Demand, we made six sales totalling about $20. That might sound like a laughably small amount for a movie that still represents a hole in the company’s bank account to the tune of thousands and thousands of pounds, but let’s not forget that out of the 300,000 or so people who’ve seen the movie, that $20 represents the first money that will actually come back to Jinx from Hellbride.
Ten years after the movie filmed.
So, with the Vimeo experiment just getting underway, Amazon throws its hat into the ring with Amazon Video Direct. We’ve already got a nice HD version of the film sitting ready to rock that we prepped for Vimeo, so it looks like we might as well take a punt and upload it to that platform too. Looking over the details, though, it seems to be the usual trade off; increased exposure via Amazon’s collossal reach, in exchange for a reduced cut of the money (50% on Amazon’s platform vs 90% on Vimeo on Demand).
Well, since we managed 6 sales on our first day with Vimeo on Demand, let’s see how we fare on Amazon.
Another chunk from the 2014 live show “Fake Blood, Real Guts” from Horror-on-Sea. This is a four minute breakdown of how and why I made the choices that I did, starting with our low-fi cult flick TrashHouse and ending up fading out discreetly at around the point I wrote Strippers vs Werewolves. I’m speaking on behalf of nobody but myself, I’m not representing the views of Jinx Media, etc. etc.