Gratwick Productions was formed to be a safe haven for the modern artist to flourish without being preyed upon.
After the explosion of the #MeToo and #TimesUp movements within Hollywood, the need for a safe environment for artists to exercise their talents without fear of being physically or financially preyed upon was obvious. Gratwick Productions believes who better to lead the way into a new era of accountability in Hollywood than a transparent audience driven studio?
As filmmakers ourselves, we also believe there are more artists and storytellers who feel as we do that our responsibility to our work does not begin and end with production. The business side is an extension of the products we create, and we want to be involved with how they are packaged, presented and distributed. Gratwick Productions exists to provide a transparent vertical infrastructure for the modern artist. A home where they can have a hands on involvement in the marketing and distribution of their work.
With our first film (The Perfect House) we had no idea about the business side of making a movie. We foolishly thought if we made something good, the business side would take care of itself. We convinced ourselves inevitably someone would come along who could help us exploit and monetize our film. Indeed, someone did come along, several someones.
First was a sleazy producer that ran around town using our rough cut to open doors for himself with the hope he could land a deal that allowed him to double back and deliver on his empty promises to us.
Second was a sales agency that took our film to Cannes, then called us up to say, “We have a bunch of deals on the table, but before we close those deals we want a higher percentage than we agreed to in our contract.” They refused to disclose any details of the potential deals until we bowed to their uncontracted demands. When we refused to be blackmailed, they dropped our film and killed all the deals.
Finally there were the aggregators and low level distributors that “did their jobs”. They got the movie on digital platforms and in stores, but supported the release with a minimal, one-size-fits-all “marketing plan” that amounted to new poster art. Once in distribution, getting quarterly reports and royalty checks required constant calls and emails to remind them of their responsibilities as sales agents. The reports finally arrived with huge expense sheets that ensured any sales were gobbled up by their “costs”. Don’t believe them? You need an attorney and an accountant to demand access to their books. Can’t afford it? Guess you just have to trust them.
In summary, there were no strategic or efficient, let alone custom, marketing plans, nor was there accountability or transparency in the distribution. We believe there is a better way.
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