To support their Sundance Film Festival premiere, the film team uses nearly $30,000 from their contingency budget to cover PR (publicist and pre-screenings for press), condos for filmmakers and talent, film team travel, ground transportation, and poster printing, bringing their total budget to $730,000.īy the end of the Sundance Film Festival run, Columbus has been seen by nearly every distribution company. The film was financed entirely through equity for $700,000. Their preference is to secure a theatrical release in North America, since the team is committed to Kogonada’s cinematic vision, but they are willing to consider foregoing a theatrical release if they receive an offer that recoups the film’s budget (e.g., a big Netflix buyout). For international sales, the Columbus team hires Visit Films in case they only receive domestic all-rights deals. Going into the Festival, the filmmakers hope for a worldwide all-rights deal with an advance in the range of high six figures to $1,000,000, which is not uncommon for an American fiction film premiering at the Sundance Film Festival. Having garnered a cult following through his captivating visual essays, buzz circulates around Kogonada and Columbus leading up to the Festival, and the producers, along with their domestic sales team led by Cinetic Media, are optimistic. It is an exciting time for the entire team, especially for Kogonada, making his feature-length debut. Their film-a lyrical drama by first-time feature writer/director Kogonada, starring John Cho, Haley Lu Richardson, and Parker Posey-premieres in the 2017 Festival’s NEXT section. Columbus producers Danielle Renfrew Behrens and Giulia Caruso approach the Sundance Film Festival like most of their peers: hoping for a distribution deal that would enable them to pay their investors back, turn a profit, and reach and inspire audiences.
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