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INDEX  INTRODUCTION  PLANNING  IMPACT IN ACTION  IMPACT DISTRIBUTION  EVALUATING
1.0 2.0 3.0 4.0 5.0

INTRODUCTION PLANNING IMPACT IMPACT EVALUATING
IN ACTION DISTRIBUTION
    
Welcome Why vision & strategy matter Equipping for impact What is impact distribution? We love evaluation
The power of film Defining your vision The role of film teams How commercial are impact films? What makes great evaluation
Analysing the story environment Developing your strategy Meet the impact producer Types of distribution deals Embracing complexity
How change happens Map the issue Consider your subjects Review distribution pathways Making your evaluation plan
The challenge for filmmakers The 4 impact dynamics Writing impact budgets Classic engagement activity Evaluation toolbox
Know thyself Draft your strategic plan Finding impact funders Impact distribution at work New tools for impact documentary
Making impact partners Sign on the dotted line Wrapping up

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A set of tools and guides designed to help

all of us who are working with film make even
greater impact than we do already.
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 1.1 WELCOME
1.2 THE POWER OF FILM
1.3 ANALYSING THE STORY ENVIRONMENT
1.4 HOW CHANGE HAPPENS
1.5 THE CHALLENGE FOR FILMMAKERS
1.6 KNOW THYSELF
1.0
INTRO-
DUCTION
 1.1 WELCOME
WELCOME
T
1.3 A
NALYSING THE STORY
ENVIRONMENT
1.4 HOW CHANGE HAPPENS he 21st century has become one
1.5 THE CHALLENGE FOR
FILMMAKERS
1.6 KNOW THYSELF
in which the power of film to
change the world is impossible
to ignore. Through the hard work
and commitment of thousands of
dedicated individuals, we’ve seen it
all: major artistic achievement, radical
experimentation and innovation, and
serious societal change.
 1.1 WELCOME This toolkit is intended to harness Our section on PLANNING guides you through developing
vision and strategy. IMPACT IN ACTION encourages you
1.2 THE POWER OF FILM some of that energy. to think about who does what and how much it will cost.
1.3 A
NALYSING THE STORY IMPACT DISTRIBUTION explores who will see your film and
ENVIRONMENT might experience the impact. EVALUATING completes the
1.4 HOW CHANGE HAPPENS Not to control it or pretend that there’s circle with methods that tie directly to your goals.
1.5 THE CHALLENGE FOR only one way to do this work – nothing The toolkit isn’t definitive, but it’s meant to get your
FILMMAKERS
1.6 KNOW THYSELF could be further from the truth. We started on your journey. That’s also true culturally – the key
case studies are largely from American or European teams
offer ideas and approaches so you don’t although the subjects range from Palestine to Guatemala,
have to solve a problem that someone Burma to the DRC. We are actively looking for more
culturally diverse stories of change to incorporate in the
else has already cracked, and you can future.
focus on the unique challenges of your What we want most is to hear from you. Tell us what you
own project. think works for you and what doesn’t. Help us to create a
better resource for all.
We’ve drawn on all our collaborations, conversations, Most of all, we’re excited to discover what tomorrow’s
agreements and disagreements with incredibly smart film filmmakers are going to do with their films. The possibilities
teams, funders and partners from all over the world. are endless.
In this Introduction we offer theoretical and practical Thank you

foundations to get the wheels turning. Spend a few The BRITDOC Team
moments reflecting on how art inspires change. Get to know
several in-depth case studies featured throughout the guide.
We can direct you to a great many more, all in our library.
We recommend you read as many as possible – particularly
for films or campaigns closest to your own work.
1.1 WELCOME
 1.2 THE POWER OF FILM
1.6 KNOW THYSELF
1.1 WELCOME
THE POWER OF FILM
1.3 A
NALYSING THE STORY
W
ENVIRONMENT
e designed this chapter to It is a given that films have the capacity
1.5 THE CHALLENGE FOR give you a chance to reflect to influence people and lead them to
FILMMAKERS on how you got to the new perspectives. That is the power,
1.6 KNOW THYSELF
point of embarking on a social impact the experience, of cinema. But what is
documentary – before we deep dive it about documentary in particular that
into planning on your current project. can cause change?
We’ll explore the environments that We found three big reasons sprung
allow for social change as well as the out of the literature...
challenges of marrying art and impact.
“Stories can We’ll take you through an exercise
conquer fear to discover more about your own
you know. They motivations and needs. But first some
can make questions on the particular property
the heart larger” of documentary film.
Ben Okri, Artist
1.1 WELCOME
One.
1.3 A
NALYSING THE STORY
ENVIRONMENT Documentary makers rock at storytelling
1.5 THE CHALLENGE FOR and storytelling inspires change.
FILMMAKERS
1.6 KNOW THYSELF
Unlike shorter forms such as news and social media, long form
documentary takes the time to build empathy more deeply, involving
audiences directly and immersing them fully in the situation of others,
prompting them to engage and act.
“Stories are powerful because
Neuroeconomist Paul Zak has demonstrated the effect of storytelling
they transport us into other
on the brain’s chemistry, increasing levels of cortisol and oxytocin
people’s worlds but, in doing
respectively making us more likely to take action.
that, they change the way
our brains work.”
Want to dig a little deeper into this one?
Paul Zak, Professor of Economics
and founding Director of the Center
for Neuroeconomics Here a couple of great free resources - there’ll be more to come in the Library
as we release more modules, and we’d love to hear your suggestions too.
GEEK OUT
IDEAS FOR FURTHER READING
1.1 WELCOME
Two.
1.3 A
NALYSING THE STORY
ENVIRONMENT Documentaries help create culture,
1.5 THE CHALLENGE FOR and culture leads change.
FILMMAKERS
1.6 KNOW THYSELF
In working with film, we don’t write policy recommendations, we create
cultural moments. And that opens the space for change to happen - for more stories
to be told and heard, and for people who have the will to seize the moment.
US-based organisation The Culture Group’s Making Waves report is a powerful

argument for this model of change, drawing evidence from such social issues
“Politics rise out of culture, as marriage equality, civil rights, and the DREAMer movement to show how
and you can change some cultural moments – from the first black player in US major league baseball to
particular consequences
through legislation and Ellen DeGeneres coming out on live television – anticipated and created the
opposition but to change
the causes is cultural work”
opportunity for many of the political and legal changes that followed later.
Rebecca Solnit
Writer (From an interview
in The Believer) GEEK OUT
1.1 WELCOME
Three.
1.3 A
NALYSING THE STORY
ENVIRONMENT As catalysts from outside, we can bring
1.5 THE CHALLENGE FOR new energy to an issue.
FILMMAKERS
1.6 KNOW THYSELF
Because filmmakers see the story in an issue in a new way, we can sometimes
see what others can’t, provide much needed focal points and bring together
coalitions and partnerships that never previously existed.
That doesn’t give us the right to bulldoze, because the communities we work
with will still have to do the hard work themselves. But offered in the right spirit,
“Film is incredibly
films can be a great gift.
democratic and
accessible, it’s
probably the best GEEK OUT
option if you actually
want to change the
world, not just re-
decorate it”
Banksy, Artist
1.1 WELCOME
Geek out Psychology Tim Kasser, the artist Ellie Harrison,
playwright Mike Van Graan, campaigner Tom
Crompton, designer (Dan Russell), a director
files/downloads/paper-bergdall.pdf
Get the development movement perspective
on the right role for outsiders with Terry
1.3 A
NALYSING THE STORY
ENVIRONMENT Further reading of a cultural organisation (Donald Smith), and
two academics from very different disciplines
Bergdall’s paper reflecting on Asset Based
Community Development – an approach to
1.5 THE CHALLENGE FOR 1.2 (Eleonora Belfiore and Ed Deci).
DOCUMENTARIES HELP CREATE

development that focuses on the strengths
and capacities of local communities.
FILMMAKERS
CULTURE, AND CULTURE LEADS
1.6 KNOW THYSELF
DOCUMENTARY MAKERS ROCK AT CHANGE.
STORYTELLING AND STORYTELLING
INSPIRES CHANGE. Making Waves: A Guide
to Cultural Strategy
Paul Zak’s Blogs: Moral theculturegroup.
Molecule & Huffington Post org/2013/08/31/making-
pauljzak.com/blog waves/
Explore Paul Zak’s thinking Check out the Culture Group’s tour of
more deeply by checking culture’s leading role on social change issues
out his blogs on neuroscience and economic from civil rights to marriage equality.
behaviour.
Art of the Possible
The Art of Life: culturaldata.org/
Understanding how conversations/
participation in arts and artofthepossible/
culture can affect our values Expand your horizons with
valuesandframes.org/ these scenarios for the future of social
download/reports/The%20Art%20 impact in the arts via Cultural Data Project
Of%20Life%20-%20MMM%20and%20
Common%20Cause.pdf AS CATALYSTS FROM OUTSIDE, WE CAN
A report on dialogue about how arts and BRING NEW ENERGY TO AN ISSUE.
culture impact on our values, what that might
look like in practice, and how we might foster Reflections on the Catalytic
new collaborations between artists, cultural Role of an Outsider
institutions and the third sector to create community-wealth.org/sites/
new ideas for development. By Professor of clone.community-wealth.org/
1.1 WELCOME
 1.3 ANALYSING THE STORY ENVIRONMENT
1.6 KNOW THYSELF
1.1 WELCOME
ANALYSING THE STORY ENVIRONMENT
H
 1.3 A
NALYSING THE STORY
ENVIRONMENT
1.4 HOW CHANGE HAPPENS ow do we get from the medium
FILMMAKERS
1.6 KNOW THYSELF
to the message? To understand more
deeply how a film might drive change,
it’s worth considering the environment the
film is entering.
We have found that whether an resistance, are both key in
issue is relatively known or unknown determining which kinds of films
and whether there is strong and succeed and also in defining what
organised opposition or little success looks like.
1.1 WELCOME And whilst many documentaries investigate, reveal, QUESTION 1

spotlight and humanise — they tend to have a dominant Does the film take on a relatively well known or an
emphasis. Set that against the environment into which unknown subject and issue in the country or culture of
 1.3 A
NALYSING THE STORY they are releasing and you can gain insight into the kind origin?
ENVIRONMENT of change they can hope to achieve. We can analyse
1.4 HOW CHANGE HAPPENS it like this: QUESTION 2
1.5 THE CHALLENGE FOR is there strong, well resourced opposition against the
FILMMAKERS film’s messages or weak, divided opponents?
1.6 KNOW THYSELF
WEAK OPPOSITION
FRESH : REVEAL FAMILIAR : SPOTLIGHT
UNKNOWN ISSUE
KNOWN ISSUE
HIDDEN : INVESTIGATE ENTRENCHED : HUMANISE
STRONG OPPOSITION
1.1 WELCOME In some fresh environments, where people are unaware In entrenched environments, moving the dial just 1
of a problem and no one is fighting against you, success degree is a huge achievement and worth all the effort.
is causing a sea change in public opinion, triggering new Rome isn’t always built in a day. We will go into this in
 1.3 A
NALYSING THE STORY laws to be written, compelling companies to publicly more detail in a minute.
ENVIRONMENT apologise. But this isn’t always possible given the external
1.4 HOW CHANGE HAPPENS restraints, no matter how brilliant the film and campaign.
FILMMAKERS
1.6 KNOW THYSELF
WEAK OPPOSITION
FRESH : REVEAL FAMILIAR : SPOTLIGHT

Unknown issue (to your target audience) and Known issue but still little or weak opposition
little or weak opposition. They favour films often call for films that can not to put the
UNKNOWN ISSUE
that dramatically reveal what’s going on. spotlight on a tired issue.
KNOWN ISSUE
HIDDEN : INVESTIGATE ENTRENCHED : HUMANISE
Unknown issue (to your target audience) but Known issue (and so possible fatigue from target
strong and organised oppositional forces may audience) and strong opposition to your story and
require your film to prove the case, to investigate. campaign, often need no more new facts or assertions
but simply to to humanise the affected communities.
STRONG OPPOSITION
1.1 WELCOME
This section will help you reflect on
 1.3 A
NALYSING THE STORY
ENVIRONMENT the idea that certain kinds of films work
1.5 THE CHALLENGE FOR better in certain environments than
FILMMAKERS
1.6 KNOW THYSELF others. You get you to consider what
environment you are operating in and
what that means for your definition
of success and adoption of tactics.
To unpick this further, here are four

studies to consider.
1.1 WELCOME
1.2 THE POWER OF FILM WEAK OPPOSITION
 1.3 A
NALYSING THE STORY
ENVIRONMENT
THE INVISIBLE WAR BULLY
FILMMAKERS
helped to REVEAL and start Shined a SPOTLIGHT
1.6 KNOW THYSELF a revolution on policy and attitudes on high school bullying and made
to rape in the US military (2009) it a national priority (2011)
Directedby Kirby Dick, produced by Amy Ziering Directed by Lee Hirsch
DOWNLOAD DOWNLOAD
UNKNOWN ISSUE
KNOWN ISSUE
BUDRUS
GASLAND
Helped to HUMANISE
Led many communities to INVESTIGATE the narrative on nonviolence in the
and reject fracking for shale gas (2010) Israel-Palestine conflict (2009)
Directed by Josh Fox Directed by Julia Bacha, produced by Ronit Avni
Rula Salameh & Just Vision
DOWNLOAD
DOWNLOAD
STRONG OPPOSITION
1.1 WELCOME REVEAL: THE INVISIBLE WAR SPOTLIGHT: BULLY

The Invisible War came into an issue space with almost no Bully by contrast came into a space where the issue has been
credible opposition possible. Nobody is in support of rape on the radar since formal education began – but that itself
 1.3 A
NALYSING THE STORY in the military. And beyond the victims themselves, the issue was the problem. Ingrained belief that bullying is a matter of
ENVIRONMENT was almost completely unknown in the wider public. The “kids will be kids” has allowed the issue to embed and become
1.4 HOW CHANGE HAPPENS Invisible War was able to reveal the truth in a way that it normalised: a tragically inappropriate mindset that Bully was
1.5 THE CHALLENGE FOR could no longer be ignored. Very strong facts – such as that able to spotlight in the US public eye and force people to
FILMMAKERS 1 in 4 female soldiers are sexually assaulted by their own confront. This bold approach tried to create a cultural moment
colleagues. Facts which would resonate deeply and all the across a whole nation, to unite and rally a movement of kids
1.6 KNOW THYSELF
way up the command structure of the US military. and teachers in every city and in every state.
Another example is Blackfish Another example is Bag It or The House I LIve In
INVESTIGATE: GASLAND HUMANISE: BUDRUS

Gasland explained the new technology of fracking to The Israel-Palestine conflict could not be better known
the American public and urged citizens to use the law but unlike bullying, the barriers to genuine progress run
to oppose it coming to their communities. Because the far deeper than a need for a shift in attitudes. People’s
filmmakers were taking on a powerful industry—oil and minds are often made up and their positions supported by
gas—they had to expect strong opposition and they intransigent community leaders, press and lobbyists. But
would be face counter-claims of their depiction of the Budrus has been able to achieve something by humanising
negative environmental effects. So their challenge was the issue. There are no new facts, research or and data with
to investigate and prove their case. such an approach – simply people and story – helping to
Another example is: No Fire Zone shift the dialogue.
Another example is Marc Silver’s Who Is Dayani Cristal
1.1 WELCOME What does this mean for you? As a very Now, thinking about your current project, is the issue:
1.2 THE POWER OF FILM simple first exercise think about which UNKNOWN or KNOWN (NB. to the people you want to reach)
 1.3 A
NALYSING THE STORY Is the opposition: WEAK or STRONG
ENVIRONMENT impact films do you most admire and
1.4 HOW CHANGE HAPPENS where would you place them on this axis? Go to the Library and find more case studies of films
1.5 THE CHALLENGE FOR in the same environment as you.
FILMMAKERS
1.6 KNOW THYSELF
WEAK OPPOSITION
FRESH FAMILIAR
UNKNOWN ISSUE
KNOWN ISSUE
HIDDEN ENTRENCHED
STRONG OPPOSITION
1.1 WELCOME
 1.4 HOW CHANGE HAPPENS
1.6 KNOW THYSELF
1.1 WELCOME
HOW CHANGE HAPPENS
H
1.3 A
NALYSING THE STORY
ENVIRONMENT
 1.4 HOW CHANGE HAPPENS ow change happens a huge topic
FILMMAKERS
1.6 KNOW THYSELF
and the subject of lively ongoing
debate. Our aim in this chapter is to
share core theories so we can think about
it in relation to our films and the impact
campaigns we are planning. For us, the
big question that comes up over and over
again can be summarised in five words:
Top down or bottom up?
1.1 WELCOME Top down or bottom up?

1.2 THE POWER OF FILM This refers to a critical division in
1.3 A
NALYSING THE STORY
ENVIRONMENT the theories of change that different
 1.4 HOW CHANGE HAPPENS projects, campaigns and people have
1.5 THE CHALLENGE FOR chosen in seeking to achieve change
FILMMAKERS
1.6 KNOW THYSELF in the world, both within and beyond
film projects. This section looks at the
theoretical extremes of each side (the
Top Downers and the Bottom Uppers),
pulling the two apart to make clear
“Slavery wasn’t a crisis what each has to offer; then bringing
for British and American
elites until abolitionism the two together with two key film case
turned it into one. Racial
discrimination wasn’t a
studies to ask whether this division
crisis until the civil rights is really so pronounced.
movement turned it into one.
Sex discrimination wasn’t
a crisis until feminism
turned it into one. Apartheid GEEK OUT
wasn’t a crisis until the anti- IDEAS FOR FURTHER READING
apartheid movement turned
it into one”
Naomi Klein
This Changes Everything:
Capitalism vs. The Climate
1.1 WELCOME
1.3 A
NALYSING THE STORY
ENVIRONMENT
FILMMAKERS
1.6 KNOW THYSELF
1.1 WELCOME Top down change The worldview from which top down working makes most
sense is one which sees society as a machine which broadly
1.2 THE POWER OF FILM Top down approaches have arguably works but requires fixing. Individual problems can be analysed
1.3 A
NALYSING THE STORY and understood in terms of linear cause-and-effect, and the
ENVIRONMENT dominated thinking about how change machine reprogrammed to make it work better.
 1.4 HOW CHANGE HAPPENS happens until relatively recently. A
This is not to say that widespread public awareness of
1.5 THE CHALLENGE FOR school of thought which says since the issue is not part of the work. These projects want to
FILMMAKERS
1.6 KNOW THYSELF the formal structures of society dictate mobilise public pressure in support of the structural changes
they seek – so they might try to mobilise ‘bottom up’ action,
how society works, then the goal of like petition signing for example – but fundamentally, the
change campaigns needs to be focused structural change is what matters to them.
around changing those structures. Arguably, films using such top down approaches have
“Culture does not change achieved great things on individual issues. No Fire Zone
because we desire to Targeting lawmaking and political is credited with playing a key role in the United Nations
change it. Culture changes decision makers at the local, national decision to set up an international inquiry into Sri Lankan
when the organization is war crimes. Two years after the release of Blackfish,
transformed; the culture or intergovernmental level as well as SeaWorld reported an 84% decline in profits. But at worst,
reflects the realities of
people working together
attempting to influence the CEOs, such approaches can manifest in ways that are patronising
and even disempowering.
every day” boards and stakeholders of national
Increasingly, the caricature model of an outsider coming
Frances Hesselbein, and multinational corporations. in to make a film about the plight of a disadvantaged
The Key to Cultural community, screening it to mass applause in the seat of
Transformation, government, and then striding off into the sunset weighed
Leader to Leader down with plaudits is coming under question from the
perspective of the communities themselves – even if some
substantive policy or legal change does result.
What emerges in opposition to this approach is bottom up

change. So what does that look like?
1.1 WELCOME Bottom up change In the context of bottom up working, the act
of making a film (or other media) is often as important
1.2 THE POWER OF FILM Bottom up approaches to change as who sees the film once made. Repeated studies
1.3 A
NALYSING THE STORY have found that participating in the making of a media
ENVIRONMENT are not new but they are – to some project is itself a powerful way for communities and their
 1.4 HOW CHANGE HAPPENS extent by their nature – less high profile. members to reflect on their own stories, and identify
their own power and desire for change. From a bottom
1.5 THE CHALLENGE FOR The school of thought behind such up perspective, this empowerment may well be far more
FILMMAKERS
1.6 KNOW THYSELF approaches tends to see the social important than any abstract change in a law which can
seem so distant as to be irrelevant.
context very differently.
Bottom up thinking by contrast sees society more
“If there is any hope as an organic system, in which all issues are interlinked
for the world at and which fundamentally cannot be divided up. You
might change one aspect of a system but at the end “Far too many progressives
all, it does not live
of the day the system is resilient, and absorbs this still focus on speaking
in climate-change
change without fundamental shift. This analysis might to a consensus-seeking
conference rooms
for example be applied to the question of racial equality policy elite – one that
or in cities with tall
in the United States: arguably legal rights enshrined privileges objectivity, data,
buildings. It lives low
in law have come a very long way and continue to head and argument – instead
down on the ground,
broadly in the right direction but the practical reality in of pushing their ideas
with its arms around
the lives of real people lags far behind, and the direction out to a divided public
the people who go
of travel may even be heading in the wrong direction. that responds to values,
to battle everyday to
images, and stories”
protect their forests,
Instead of seeking to change structures at the elite Jeff Chang
their mountains
level of policy, the fullest version of bottom up change Journalist & Author
and their rivers
because they know seeks instead to work at the level of relationships
that the forests, the between the very people and communities most
mountains and the affected by the issue in question. The cause-and-effect
rivers protect them” pathway to real change is less clearly articulated but
Arundhati Roy, Writer the fundamental belief is that without these communities
& Activist becoming stronger and understanding themselves better
in their own right, no real change will ever be possible.
1.1 WELCOME Opposing or complementary? Capitol Hill, and sought directly to influence the policy
In some ways, then, there is a major divide between these environment for black male achievement. The approach
two headline approaches to the question of how change was to focus primarily on building the community
1.3 A
NALYSING THE STORY happens in the world. But when the rubber hits the road, from within as the single most important intervention
ENVIRONMENT is there really a conflict between them? The short answer in the complex system of factors inhibiting black male
 1.4 HOW CHANGE HAPPENS is that we don’t think so. achievement – but with a clear understanding that the
1.5 THE CHALLENGE FOR structural context of society is another valid place for
FILMMAKERS That’s not to say that this isn’t an important distinction intervention, and an important one at that.
to be aware of — it is hugely important, and the work
1.6 KNOW THYSELF
you do with your film is likely to be far more effective Top down to bottom up
if you are. Similarly, at first glance The Invisible War is a classic
example of a top down approach to change. The team
But the best examples we can think of, while coming focused ruthlessly on getting key individuals, holding
more from one side than the other (as we’ll explore later key positions of power over military and government
in the module, in the context of the four key impact policy, to see the film – often with direct personal
dynamics of film that we’ve identified), actually bring contact. Raising public awareness was a major part
these two approaches together. of the campaign, but framed entirely as instrumental
to the desired political and legal changes.
Bottom up to top down
The film American Promise and the engagement But just as American Promise used top down approaches,
campaigns explored racial equality with a theory of the campaign around The Invisible War has vital bottom
change primarily rooted in bottom up working. The up elements. The film has become a key convening tool
filmmakers were the parents of one of the two subjects in the formation of a national community of survivors,
of the film and have since become significant figures the Artemis Rising Invisible War Recovery Program, and
in the ongoing debate around the issue of black male over $1m has been raised to support the development of
achievement and a locus of grassroots organising. programmes supporting and empowering this community
The primary focus of the campaign around the film to tell their own stories. Legal and political changes have
was partner screenings, working deeply with partner been achieved, but it is this work that will develop the
organisations across the United States to raise the community that ensures that change will continue to
volume of debate, but more importantly to build push forward.
the capacity, profile and community of the partner
organisations.
But to depict American Promise purely as a bottom up

project would clearly be false. The film also screened on
1.1 WELCOME Our conclusion

1.2 THE POWER OF FILM We think these two case studies hint at “When you look at
1.3 A
NALYSING THE STORY
ENVIRONMENT the big truth here – that there are many potential shifts like
 1.4 HOW CHANGE HAPPENS different ways of working for change, the desperate need
1.5 THE CHALLENGE FOR and which are appropriate to a film to democratise the
FILMMAKERS
1.6 KNOW THYSELF project is less a question of right and world’s governments,
wrong, and more a question of which the work takes much,
and when. The important thing is to be much longer. Great
aware of these issues; and to approach perseverance is
all this work with both humility and needed. So the culture
commitment. of thinking that good
environmental or
social intervention
can happen in short
cycles and the current
obsession with
wanting organisations
to prove they are
having an immediate
impact, is misleading”
Kumi Naidoo,
International Executive Director,
Greenpeace
1.1 WELCOME
Geek out Liam’s introductory video from when the
book was in crowdfunding.
1.3 A
NALYSING THE STORY
ENVIRONMENT Further reading The Leaderless Revolution:
How Ordinary People Will
1.5 THE CHALLENGE FOR 1.4 Take Power and Change
Politics in the 21st Century
amazon.com/The-
FILMMAKERS
Leaderless-Revolution-Ordinary-Politics/
1.6 KNOW THYSELF
TOP DOWN OR BOTTOM UP? dp/0452298946
Carne Ross explores the future of
Living Without Enemies politics from the perspective of a senior
amazon.com/Living- Foreign Office diplomat who resigned
Without-Enemies- in the aftermath of the Iraq invasion. His
Resources-Reconciliation/ belief? That the Occupy movement, and
dp/0830834567 others like it, will come to be seen as the
Samuel Wells and Marcia A Owen provide beginning of a new way of doing politics.
a compelling exploration of how change Watch him talking through his 9 principles
happens from the perspective of a visiting for action in this new world or visit his
white English priest and a member of his Tumblr.
congregation in the community of Durham,
North Carolina – a city torn apart by deeply Sandy Storyline
rooted inequality, with all the attendant sandystoryline.com
issues of drugs and guns. This cutting edge transmedia
project which won the
Anarchists in the Tribeca Film Festival’s
Boardroom Bombay Sapphire Award in 2013. Gathering
morelikepeople.org/the- stories in a variety of different formats from
book/ people affected by Hurricane Sandy and
Liam Barrington-Bush wrote involved in the subsequent Occupy Sandy
a management book for organisation and movement, it’s a brilliant example of how
campaign strategy written from a bottom- media-making can empower and enable
up perspective – focusing explicitly on how communities, and the different forms in
we can make organisations more like people which ‘documenting’ can drive bottom up
rather than more like machines. Watch change.
1.1 WELCOME
 1.5 THE CHALLENGE FOR FILMMAKERS
1.6 KNOW THYSELF
1.1 WELCOME
THE CHALLENGE FOR FILMMAKERS
T
1.3 A
NALYSING THE STORY
ENVIRONMENT
1.4 HOW CHANGE HAPPENS he ever increasing contribution of
 1.5 THE CHALLENGE FOR
FILMMAKERS
1.6 KNOW THYSELF
film to making positive change in
society is exciting. But we shouldn’t
pretend it’s uncomplicated. Any impact
film project must constantly tread the line
between three competing imperatives of
art, impact and money in order to achieve
success and be sustainable for filmmakers.
1.1 WELCOME
1.3 A
NALYSING THE STORY
ENVIRONMENT
FILMMAKERS
ART IMPACT
1.6 KNOW THYSELF How to create a great film whilst How to deliver ambitious
recognising that artists must support impact whilst creating a great
themselves financially in order to exist film and a project that is
and balancing this against impact financially viable.
ambitions.
MONEY
How to balance the commercial
imperatives of keeping the project in
the black whilst maximising social
impact and making a great film.
1.1 WELCOME
1.3 A
NALYSING THE STORY
ENVIRONMENT
FILMMAKERS
1.6 KNOW THYSELF
1.1 WELCOME Holding the tensions The director is the creative leader
1.2 THE POWER OF FILM There is no point attempting to resolve without whom there would be no
1.3 A
NALYSING THE STORY
ENVIRONMENT these tensions simply by dispelling one film to work with but film teams also
1.4 HOW CHANGE HAPPENS or other of the three elements involved. contain producers, financiers and
 1.5 THE CHALLENGE FOR impact professionals. They may all
FILMMAKERS
1.6 KNOW THYSELF The best results and happiest lives have different visions and priorities.
are achieved by figuring out where It’s going to be key to get everyone
the best balance lies for each team on the same page with a shared vision.
on each project.
“This passion has all the

ingredients of activism,
but is charged with the
wild creations of art.
Artivism — where edges
are pushed, imagination
is freed, and a new
language emerges
altogether.”
Eve Ensler, Playwright “Like all art, nonfiction film should invite,
seduce, or force us to confront the most
painful, mysterious or frightening aspects
of what we are. This makes activism
possible, but it is not the same as either
activist journalism or activism itself.”
Joshua Oppenheimer,
Filmmaker, The Act of Killing
1.1 WELCOME
 1.6 KNOW THYSELF
1.1 WELCOME
KNOW THYSELF
R
1.3 A
NALYSING THE STORY
ENVIRONMENT
1.4 HOW CHANGE HAPPENS ecognising priorities: know thyself.
FILMMAKERS
 1.6 KNOW THYSELF
Now that you’ve had a chance
to explore the intersection of
documentary and social change, it’s a
good time to evaluate what matters most
to you. Your priorities and passion may
evolve over time, but understanding both
will help you to know where to focus
energy as you get started.
Explore for yourself but also with your collaborators Then, when the pressure does come on, you’ll have the
as you start to build a team. It is important to recognise foundation you need to work through it – a reminder of
and respect each other’s priorities, and chart a course where and why you got started...
of action that best suits the goals for you as individuals
and for the project. Of course, we all want all the good things all of the time.
It would be awesome to have a box office hit and the
awards and change communities and and and... but:
1.1 WELCOME What does success look like for you? Remember, no stance on this is wrong.
1.2 THE POWER OF FILM It’s time to face your priorities — get The vital thing is to be honest.
1.3 A
NALYSING THE STORY
ENVIRONMENT the back of an envelope and write the
1.4 HOW CHANGE HAPPENS items below into your personal order.
1.5 THE CHALLENGE FOR Get everyone in the team to do it.
FILMMAKERS
 1.6 KNOW THYSELF Then share your top 3s — and discuss.
There are no wrong answers.
MAKING CONCRETE CHANGE
Film helps on policy, law, public opinion, investigation,
boycott etc
1.
TOUCHING LIVES
Want my film to be super meaningful if only to a few people
2.
AUDIENCE SIZE
Films seen by as many people as possible, no matter how
3. they see them
4. MAKING CINEMA Getting wide theatrical distribution,

so people can experience my film as cinema
5. NEW OPPORTUNITIES
Each film needs to enable the next bigger and better film
6. COMMERCIAL SUCCESS
“Be yourself; everyone This is the film business after all
else is already taken” 7. ACKNOWLEDGEMENT

Oscar Wilde, Writer Films get props they deserve from peers and industry
(awards, reviews)
 2.1 WHY VISION AND STRATEGY MATTER

2.2 DEFINING YOUR VISION
2.3 DEVELOPING YOUR STRATEGY
2.4 MAP THE ISSUE
2.5 THE 4 IMPACT DYNAMICS
2.6 DRAFT YOUR STRATEGIC PLAN
2.0
PLANNING
 2.1 WHY VISION AND

STRATEGY MATTER WHY VISION AND STRATEGY MATTER
I
2.3 DEVELOPING YOUR
STRATEGY
2.4 MAP THE ISSUE
n taking on any great challenge,
2.6 DRAFT YOUR
defining the vision is the critical first
STRATEGIC PLAN
step. It’s always there to remind you
why you started this crazy project
“Vision without action is only
in the first place.
dreaming, action without
vision is only passing time,
vision with action can change But vision alone is not enough. You need a damn good VISION is an expression of the future you’re heading for.
the world” strategy to guide your action too. Otherwise the dream will It’s the ultimate destination. You’ll come back to the Vision
Nelson Mandela, former President remain just that: a dream. for inspiration and guidance, because it doesn’t change.
of South Africa
The Planning chapter will guide you through defining STRATEGY is the plan of action that guides the journey.
your vision and strategy, mapping an issue, identifying the It will inevitably shift and change as you go. You’ll come
type(s) of change you want to pursue, and drafting your back to the strategy again and again to tinker, evolve and
plan with the help of our Strategic Plan worksheet. First, we perhaps even overhaul it as learning becomes clear and
need to be very clear on the difference between these two new challenges emerge.
closely related concepts:
To get the most out of this section, we suggest you
explore the following four case studies from the Library.
We’d like you to understand how...
 2.1 WHY VISION AND

STRATEGY MATTER
2.3 DEVELOPING YOUR
STRATEGY BAG IT THE ACT OF KILLING
2.4 MAP THE ISSUE Inspired the plastic-free movement across America, Made the Indonesian genocide of the 1960s
2.5 THE 4 IMPACT DYNAMICS community by community (2010) impossible to ignore (2012)
2.6 DRAFT YOUR
Directed by Suzan Beraza Directed by Joshua Oppenheimer,
STRATEGIC PLAN
co-directed by Christine Cynn and Anonymous
DOWNLOAD
DOWNLOAD
THE END OF THE LINE THE AGE OF STUPID

Put the decline of fish stocks on the global agenda for business, Triggered mass environmental behaviour change
politics and the man on the street (2009) in the UK and beyond (2009)
Directed by Rupert Murray, produced by Directed by Franny Armstrong,

George Duffield & Christo Hird produced by Lizzie Gillett
DOWNLOAD DOWNLOAD
2.1 WHY VISION AND STRATEGY MATTER

 2.2 DEFINING YOUR VISION
2.4 MAP THE ISSUE
2.1 WHY VISION AND

STRATEGY MATTER DEFINING YOUR VISION
2.3 DEVELOPING YOUR
STRATEGY
2.4 MAP THE ISSUE
As impact film teams we are always
2.6 DRAFT YOUR
holding a vision with two elements.
STRATEGIC PLAN
The Art Vision: the intrinsic vision for the film and how it will be
The Impact Vision: the extrinsic vision for what the film will do
The Art Vision must be understood and acknowledged As individuals you need to know yourselves and your
as key to the success of the project as a whole — priorities. You also need to know where other colleagues
because without a great film, there is no impact. This is are coming from — you may be more different than
the director’s domain, along with their chosen creative you realise.
collaborators.
The Impact Vision is an expression of the big change

in the world that everyone involved can unite around —
to sit alongside the Film Vision. It should be arrived
at as a team.
2.1 WHY VISION AND THE ART VISION on as a reminder of where you are going. However it’s
STRATEGY MATTER There is no fixed template — but it’s helpful expressed, what you’re looking for is a vision that is:
if it’s under 30 words.
• Clear requiring little or no further explanation
2.3 DEVELOPING YOUR Joshua Oppenheimer has said this of his approach
STRATEGY to The Act of Killing: •C
ompelling inspiring in and of its own right, without
2.4 MAP THE ISSUE “The Act of Killing is a film about the dangers of needing to know you as a team
2.5 THE 4 IMPACT DYNAMICS denial, but in the escapist fantasy of the cinema...
exploring the way our seemingly factual realities •O
utside the comfort zone not something that is
2.6 DRAFT YOUR
are impregnated by fiction.” immediately and obviously possible, but yet something
STRATEGIC PLAN
that the team believes in at a stretch and with luck
Every director will have a different way of expressing on your side
it. Our advice is simply to take the time to ensure this
comes first. •A
vailable it must be in a format you can refer to easily
and quickly at whatever stage in the process you come to
Every single person who joins the team needs to
understand the Art Vision – the director’s vision for Use the conversation starters below to spark discussion
the film she is trying to make. Once you’ve done that, with your film team. Vision is about bigger picture
you’re ready to define an Impact Vision to hold thinking. Following sections will help you to work out
alongside it. This is much more of a team exercise. the details of the specific changes you might want to
campaign for.
THE IMPACT VISION
This is about making the time and space to have Examples to inspire:
a big conversation as a team. Making a film might —Budrus
revolve around a director, but making impact is Make nonviolence the strategy of choice in Israel-
definitely a team sport. Everyone involved in the Palestine
film and the impact project as a whole should be
part of this exercise. —The End of The Line
Create more sustainable fisheries
As a default output, we recommend you aim for a —Bag It
statement of 30 words or less. But if that doesn’t work Make America plastic-free, one community at a time
for you, that’s not a problem. You may wish to be more
creative: make a mood board, maybe even a short edit. —The Age of Stupid
What matters is that there is some output you can have Trigger a mass movement of environmental
at hand throughout the project, that everyone can call behaviour change
2.1 WHY VISION AND Conversation starters in your own team for your Want to dig a little deeper into this one? Here a couple
STRATEGY MATTER own project: of great free resources – there’ll be more to come in the
Library as we release more modules, and we’d love to
hear your suggestions too.
2.3 DEVELOPING YOUR
STRATEGY
Why are you involved as individuals
2.4 MAP THE ISSUE in this project, what got you engaged
GEEK OUT
2.5 THE 4 IMPACT DYNAMICS in the first place? IDEAS FOR FURTHER READING
2.6 DRAFT YOUR
STRATEGIC PLAN
What aspects of this change work
do you care most deeply about?
What would you change if you could

change literally anything?
Thinking about your film and

what you have learnt about the issue
environment, what will count as
success for you?
2.1 WHY VISION AND

STRATEGY MATTER Geek out
Further reading
2.3 DEVELOPING YOUR
STRATEGY
2.4 MAP THE ISSUE 2.2
2.6 DRAFT YOUR
DEFINING YOUR VISION
STRATEGIC PLAN
How Great Leaders
Inspire Action
ted.com/talks/simon_sinek_
how_great_leaders_inspire_
action
Simon Sinek’s TED talk is one of the most
watched of all time, with nearly 20 million
views. Guess what? It’s all about clarity of
vision.
Steve Radcliffe’s Future-

Engage-Deliver Model
futureengagedeliver.com/
fed-free-resources/
Radcliffe is one of the
simplest and most direct – as well as highly
regarded – leadership thinkers in the world.
His notion of defining the future you are
leading for has helped inform our thinking,
and there’s some great free resources on the
website.

 2.3 DEVELOPING YOUR STRATEGY
2.4 MAP THE ISSUE
2.1 WHY VISION AND

STRATEGY MATTER DEVELOPING YOUR STRATEGY
I
 2.3 DEVELOPING YOUR
STRATEGY
2.4 MAP THE ISSUE
n the first chapter, we covered why film in
2.6 DRAFT YOUR
general is such a powerful impact medium –
STRATEGIC PLAN
because it breeds empathy, because culture
change leads other change, and because films
can bring a new energy to an issue.
Now we need to make a start on how your specific project is going
to capitalise on those properties to deliver real practical impact on the
issue you’re facing. We’ll do it using what we call the Strategic Plan
worksheet: effectively a roadmap-builder to take you from your film
to the Impact Vision you defined.
2.1 WHY VISION AND

STRATEGY MATTER

STRATEGY
2.4 MAP THE ISSUE
2.6 DRAFT YOUR
STRATEGIC PLAN MY STRATEGIC PLAN NAME OF FILM:
MY STRATEGIC PLAN
MY STRATEGIC PLAN IMPACT
NAME OV F ISION:
FILM: NAME OF FILM:
IMPACT VISION: IMPACT VISION:
FILM’S MESSAGES IMPACT GOAL KEY AGENTS IMPACT DYNAMIC IMPACT TASKS
FILM’S
That audiences take away from
FILM’S MESSAGES MESSAGES
the film Concrete solution that your pIMPACT
IMPACT GOAL GOAL
roject could Who can make this happen? KEY AGENTS • Changing minds
KEY AGENTS IMPACT DYNAMIC IMPACT DYNAMIC
What needs to happen with yIMPACT
IMPACT TASKS our TASKS
audiences take away from
That That audiences
the film
aim
take faor
way solution
Concrete from the film
that your pConcrete
roject could Who
solution that your
can project
make ould Who can make t•
this hcappen?
Changing
• his
behaviours
happen?
Changing minds
film/campaign
• Changing minds needs to happen with yWhat
What our needs to happen with your

aim for aim f or

• Building communities
• Changing behaviours
• Changing structures
to m
• Changing behaviours ake
film/campaign
t he a gent d eliver film/campaign
• Building communities • Building communities

to make the agent deliver to make the agent deliver
Changing structures
•
• Changing structures

DOWNLOAD
STRATEGIC WORKSHEET
2.1 WHY VISION AND

STRATEGY MATTER

STRATEGY
2.4 MAP THE ISSUE
2.6 DRAFT YOUR
STRATEGIC PLAN MY EVALUATION PLAN NAME OF FILM:
IMPACT VISION:

IMPACT GOAL IMPACT INDICATOR TOOL/TECHNIQUE BASE LINE DATE 1/2/3/4
From your Strategic Plan above evidence you have been successful For capturing the evidence Any relevant data from before release Evidence collected over time to reveal
you can measure against patterns of change

DOWNLOAD
STRATEGIC WORKSHEET
2.1 WHY VISION AND

STRATEGY MATTER

STRATEGY
2.4 MAP THE ISSUE
2.6 DRAFT YOUR CHANGING STRUCTURES: THE END OF THE LINE
STRATEGIC PLAN IMPACT VISION: SUSTAINABLE GLOBAL FISHING

PRIMARY IMPACT DYNAMIC: CHANGING STRUCTURES
The core insight is that change will come when businesses can bring this issue to the attention of people, by choice editing and making public claims about the
shifts they undertake.
IMPACT PLAN (Actual, but tailored slightly)

Other Films: Give Up Tomorrow, Invisible War, The Reckoning
Large companies are Change corporate policies – CEOs, restaurant and shop Changing structures Develop corporate partnerships
making profit at natures from big corporate owners with responsible retailers (e.g.
expense, and restaurants suppliers to small Waitrose as distribution partner)
are irresponsible restaurants Get high profile CEOs to make
public commitment to sustainable
fish sourcing (e.g. Pret a Manger)
You can ask for sustainable Get everyone asking for Shoppers, restaurant goers Changing behaviours Create tools and lists of sustainable fish
fish and help solve the sustainable fish Create a ‘buy sustainable fish’ pledge
problem Integrate pledge into content of film
There is global overfishing Raise awareness of Mass public Changing minds Maximise press coverage of issue (not
but no one knows overfishing necessarily driving people to film – issue
awareness matters more than audience
numbers) Liaise with production
companies and campaigners to trigger
further content and mobilisation
campaigns
European fishery policy Drive policy innovation UK/EU politicians, wealthy Changing structures Get politicians and wealthy
is a mess including creation of marine individuals individuals to see the film
reserves
DOWNLOAD
STRATEGIC WORKSHEET
2.1 WHY VISION AND

STRATEGY MATTER

STRATEGY
2.4 MAP THE ISSUE
2.6 DRAFT YOUR
STRATEGIC PLAN SAMPLE EVALUATION PLAN

THE END OF THE LINE

Change in policy towards Number of relevant corporates who *Press releases from corporates.
sustainable fish in corporates from have seen the film
global suppliers to small restaurants *Quotes from speeches.
Qualitative response of corporates
*Commentary in Annual Reviews.
Number of corporates taken action
*Monitoring Budget changes

*Monitoring release of new data

* Change in purchasing behavior *Commission press evaluation &
Get the general public asking for associated with the films campaign sentiment analysis to show frame
sustainable fish change in the media
*Claimed likelihood to demand
sustainable fish amongst viewers of * For behavioural change in your
the film as well as the general public target groups, commission
qualitative surveying with focus
*Social media/press discussion of groups and repeat with same
problem of overfishing sample after 12 months to track
longitudinal behaviour change
*Increase in requests for
information or for referrals to * For evidence of population change
services associated with the film commission a quantative survey
campaign before films release and repeat after
a period for comparison
DOWNLOAD
STRATEGIC WORKSHEET
2.1 WHY VISION AND Worksheet Now we need to make a start on how your specific
STRATEGY MATTER project is going to capitalise on those properties
Now is a good time to download your to deliver real practical impact on the issue you’re
facing. We’ll do it using what we call the Strategic Plan
 2.3 DEVELOPING YOUR own Strategic Plan worksheet. worksheet: effectively a roadmap-builder to take you
STRATEGY from your film to the Impact Vision you defined.
The worksheet is designed to help you reflect on whether
2.4 MAP THE ISSUE
your work is contributing towards the impact you want to
2.5 THE 4 IMPACT DYNAMICS • Map the Issue
make, and if there are other things you need to consider.
• Introducing the Four Impact Dynamics
2.6 DRAFT YOUR We’ve created it on the basis of conversations with
• Drafting your Impact Plan: a how to guide
STRATEGIC PLAN people who’ve had to learn the hard way, and by looking
out at what other people trying to make impact in the
world use.
Your Strategic Plan, as the encapsulation of your strategy,

will change and evolve throughout the process - but you
need to start somewhere. We’ll walk you through the
process of developing your first working draft: In the first
chapter, we covered why film in general is such a powerful
impact medium – because it breeds empathy, because
culture change leads other change, and because films can
bring a new energy to an issue.
GEEK OUT
2.1 WHY VISION AND

STRATEGY MATTER Geek out Harmony Institute – StoryPilot
storypilot.org/home
Further reading
Get to know the landscape of films relating
 2.3 DEVELOPING YOUR to your particular issue before reinventing
STRATEGY
2.4 MAP THE ISSUE 2.3 the wheel. StoryPilot provides an online
interactive solar system linking the orbits for
hundreds of films and their social impact.
Visit the web app
2.6 DRAFT YOUR
DEVELOPING YOUR STRATEGY
STRATEGIC PLAN
Center for Theory of Change
theoryofchange.org
Developing your strategy is fundamentally
about figuring out how you think the causal
chain from your film to change in the
world could work. The Center for Theory
of Change is a US non-profit founded to
support this sort of work – there’s some
great resources on their website.
Theory of Change DIY Toolkit

diytoolkit.org/tools/theory-of-change
The Development Impact & You (DIY)
Toolkit has been an inspiration for us in
preparing the modules. The context is
development-specific, but their theory
of change tool, and particularly the film
explaining it, is a great resource.

 2.4 MAP THE ISSUE
2.1 WHY VISION AND

STRATEGY MATTER MAP THE ISSUE
F
2.3 DEVELOPING YOUR
STRATEGY
irst step is to map the issue,
2.6 DRAFT YOUR
to get to know the key organisations
STRATEGIC PLAN
in your issue environment.
You’ll probably have done this already as a natural part of the
filmmaking process. But if not, take the time now to brainstorm the
key voices on the issue you’re involved in and find out what their key
ambitions and strategic priorities are.The value of investing in research
and relationship building to inform the filmmaking and impact planning
process cannot be underestimated.
This is vital precisely because film is such a powerful medium for

change. That power brings responsibility. And when we don’t recognise
it, things can go wrong.
That’s not to say you have to go along with the conventional wisdom.
Film can bring new energy to an issue, and you may decide a different
strategy – but only after you’ve learnt who is who in your issue
environment, and considered their viewpoints and plans.
2.1 WHY VISION AND Map the issue landscape: There are all sorts of ways to do this work,
STRATEGY MATTER but our favourites are:
2.3 DEVELOPING YOUR
EXPERTS AND ACADEMICS • Find an insider and make friends – relationships are hugely
important in change work, so starting one on the inside of
STRATEGY BRANDS AND COMPANIES an issue before you’ve even really got going on the film is
CAMPAIGNERS AND ADVOCATES a very smart thing to do
2.6 DRAFT YOUR
FUNDERS AND PHILANTHROPISTS • Hit the conferences and events – think tanks and
universities across the world hold public events all the
STRATEGIC PLAN POLITICIANS AND POLICY MAKERS time, and there’s more than likely to be events that are at
PRESS AND MEDIA (established and least relevant to the issue you’re digging into – get yourself
there
digital)
NGOs SMALL (highly aligned) • Review similar films—to see what there is out there
that’s related to what you’re trying to do—and find out
NGOs LARGE (with resources) everything you can about the projects. Other film teams
will probably let you stand on their shoulders. Ask them.
PUBLIC FIGURES
TIP: Create a database now that tracks everyone

in your film / campaign world and code by organization
type and issue interest:
“Mediamakers often think they
are starting a movement but (L) – already a sympathetic Leader in the issue
haven’t checked to see if there (T) – they are a Target of engagement
already is a movement”
Sasha Costanza-Chock, Share it with your team and then brain storm some
Academic & Activist more. On the next page you’ll find an example from
The End of the Line, with some questions to help
prompt you.
2.1 WHY VISION AND

STRATEGY MATTER
EXISTING CAMPAIGNERS FOOD BRANDS INTERESTED
2.3 DEVELOPING YOUR
ON THE ISSUE IN SUSTAINABILITY
STRATEGY
What are the existing What campaigns are
 2.4 MAP THE ISSUE campaigns and initiatives? they planning?
2.5 THE 4 IMPACT DYNAMICS WWF Waitrose
2.6 DRAFT YOUR Marine Stewardship Council Marks and Spencer
STRATEGIC PLAN Marine Conservation Society Pret a Manger
MarViva McDonalds (surprisingly)
Oceana
Greenpeace
POSSIBLE ADVOCATES
Who can we reach?
Celebrity chefs MAPPING THE ISSUE: POLITICIANS
Existing allies?
e.g. Hugh Fernley-Whittingstall OVERFISHING Planned legislation?
Round-the-world sailors
TV wildlife presenters Sympathetic politicians
Wildlife loving celebs in UK and Europe
Sustainability spokespeople
e.g. Prince Charles
SCIENTISTS AND
ACADEMICS
New reach or studies?
FUNDERS
Many leaders in the film WRITIERS AND JOUNRALISTS
Foundations for
already — who are the Who has written on the topic?
sustainability/oceans, Individual
best spokespeople? Charles Clover part of the film but
donors, Film outreach funders,
Brands, Public funds other journos needed

2.4 MAP THE ISSUE
 2.5 THE 4 IMPACT DYNAMICS
2.1 WHY VISION AND

STRATEGY MATTER THE 4 IMPACT DYNAMICS
N
2.3 DEVELOPING YOUR
STRATEGY
2.4 MAP THE ISSUE
ow let’s look at the kinds of change
2.6 DRAFT YOUR
that film can drive: what we call Impact
STRATEGIC PLAN
Dynamics. These are based on extensive
analysis of the films we’ve worked with, but also
by working with a variety of NGOs and activists
to understand the different kinds of change
efforts they work with.
Here are the four Impact Dynamics,

with links to example Impact Plans to help you.
2.1 WHY VISION AND CHANGING MINDS: It’s important to note that you won’t just use one dynamic.
STRATEGY MATTER Mass awareness and understanding – creating a shift As you can see from the sample Strategic Plans, every
in public attitudes. What attitudes and beliefs are you project we know has used at least two.
trying to create or change?
2.3 DEVELOPING YOUR The Act Of Killing was primarily a changing minds impact So you should consider all these dynamics as you plan your
STRATEGY project: driving a radical reappraisal of the Indonesian impact. But you should also think about what your primary
2.4 MAP THE ISSUE nation’s attitudes and beliefs regarding the genocide of dynamic might be – there is likely to be one that stands out,
 2.5 THE 4 IMPACT DYNAMICS 1965-66. and that the others support.
2.6 DRAFT YOUR
CHANGING BEHAVIOURS:
STRATEGIC PLAN GEEK OUT
Actively mobilising people to do different not just think
different, whether that’s to buy or boycott, donate or IDEAS FOR FURTHER READING
volunteer. What specific actions could you promote?
The Age of Stupid and the 10:10 campaign sought to change
behaviours, seeking to trigger a mass public movement of
small environmental actions in everyday life.
BUILDING COMMUNITIES:
Grassroots organising – providing the focal point around
which people come together. What communities could you
serve or support?
Bag It focused primarily on building communities,
positioning the film as a key tool around which individuals
and organisations across America could campaign for
voluntary or legislative plastic bag bans
CHANGING STRUCTURES:
Top down change – whether in politics or business, directly
influencing law and policy to change the context. What laws
or policies embed the problem you are trying to solve?
The End of the Line became primarily a changing structures
film, focusing on influencing corporate leaders to make
changes, and create a new context for their customers.
2.1 WHY VISION AND

STRATEGY MATTER
2.3 DEVELOPING YOUR

STRATEGY
2.4 MAP THE ISSUE
2.6 DRAFT YOUR CHANGING MINDS: THE ACT OF KILLING
STRATEGIC PLAN IMPACT VISION: A FRESH START FOR INDONESIA
PRIMARY IMPACT DYNAMIC: CHANGE MINDS
The team hoped to catalyse a fundamental change in how the 1965-66 genocide is understood in Indonesia and internationally, exposing how the
present day climate of impunity and corruption is built on the celebration of mass murder by victorious perpetrators.
IMPACT PLAN (Hypothetical)

Other Films: Bully, Gasland
The accepted story is false - Generate nationwide critical The Indonesian public Changing minds Ensure film widely seen despite
genocide was real, and the discussion inevitable political censorship -
perpetrators are in power partner with civil society
organisations to arrange invite only
screenings across country
The international Generate critical discussion US and other Western Changing minds Ensure film not seen just as external
community has been around the world about role publics criticism of Indonesia - highlight
complicit of own countries implicit support of World Bank etc
Indonesian politics is still Support movement for truth Indonesian government and Changing structures Partner with Indonesia’s National
deeply tainted and reconciliation processes international community Human Rights Commission to
support creation of full report into
genocide in parallel with film
release Support wider civil society
movement Create channels for
international pressure on
Indonesian government
2.1 WHY VISION AND

STRATEGY MATTER
2.3 DEVELOPING YOUR

STRATEGY
2.4 MAP THE ISSUE
2.6 DRAFT YOUR CHANGING BEHAVIOURS: THE AGE OF STUPID
STRATEGIC PLAN IMPACT VISION: TRIGGER A MASS MOVEMENT OF ENVIRONMENTAL BEHAVIOUR CHANGE
PRIMARY IMPACT DYNAMIC: CHANGE BEHAVIOURS
The aim was to turn 250 million viewers into climate activists - changing their own behaviour first and foremost and making a public commitment to do so.

Other Films: Weapon of War
Every individual can do Mobilise 250m viewers as Everyone - but with a focus Changing behaviours • Partner with NGOs to provide
something against climate climate activists on influential individuals in guidance on individual actions via
change personal capacity Not Stupid and then 10:10
campaigns (Greenpeace, Friends of
the Earth, Global Campaign on
Climate Action)
• Provide public commitment
process (10:10) so people can show
what they are doing Recruit
influential individuals - Colin Firth,
Vivienne Westwood, political party
leaders
It’s more effective if we do Mobilise in existing groups All groups - but focus on Building communities • Partner with NGO (ActionAid) to
it together (schools, businesses, etc) schools and influential create schools pack
groups who will be copied • Get influential organisations to
lead the way and communicate on
to their
competitors/supporters/customers
- Tottenham Hotspur FC, UK
Government, Science Museum
2.1 WHY VISION AND

STRATEGY MATTER
2.3 DEVELOPING YOUR

STRATEGY
2.4 MAP THE ISSUE
2.6 DRAFT YOUR BUILDING COMMUNITIES: BAG IT
STRATEGIC PLAN IMPACT VISION: A PLASTIC-FREE AMERICA
PRIMARY IMPACT DYNAMIC: BUILD COMMUNITIES
Identify communities interested in working towards voluntary or legislative bans on plastic bags, and support them.

Other Films: Budrus, The Interrupters
The removal of single use Enable and focus Community leaders Building Communities • Recruit established environmental
plastic bags will happen one communities across the US policy expert as Policy Director at
town at a time on banning plastic bags outset
• Focus organising efforts on ‘Bag It
Town Campaign’
• Prioritise community screenings
over cinematic release • Focus on
schools as key route into
communities
Only established Get public awareness of the Mass public Changing Minds • Focus filmmaking on an
environmentalists problems caused by plastic ‘everyman’ story - not a usual
understand the problem - beyond the choir suspect
but this is something for • Stay fun, accessible and
everyone empowering throughout film and
impact campaign
•Bag Monsters as one way to do
this
Everyone can do something Give individuals a clear Mass public Changing Behaviours Provide public pledge mechanic
by using less plastic action: reduce single- use
plastics
2.1 WHY VISION AND

STRATEGY MATTER
2.3 DEVELOPING YOUR

STRATEGY
2.4 MAP THE ISSUE
2.6 DRAFT YOUR CHANGING STRUCTURES: THE END OF THE LINE
STRATEGIC PLAN IMPACT VISION: SUSTAINABLE GLOBAL FISHING
PRIMARY IMPACT DYNAMIC: CHANGING STRUCTURES
The core insight is that change will come when businesses can bring this issue to the attention of people, by choice editing and making public claims about the
shifts they undertake.
IMPACT PLAN (Actual, but tailored slightly)

Other Films: Give Up Tomorrow, Invisible War, The Reckoning
Large companies are Change corporate policies – CEOs, restaurant and shop Changing structures Develop corporate partnerships
making profit at natures from big corporate owners with responsible retailers (e.g.
expense, and restaurants suppliers to small Waitrose as distribution partner)
are irresponsible restaurants Get high profile CEOs to make
public commitment to sustainable
fish sourcing (e.g. Pret a Manger)
You can ask for sustainable Get everyone asking for Shoppers, restaurant goers Changing behaviours Create tools and lists of sustainable fish
fish and help solve the sustainable fish Create a ‘buy sustainable fish’ pledge
problem Integrate pledge into content of film
There is global overfishing Raise awareness of Mass public Changing minds Maximise press coverage of issue (not
but no one knows overfishing necessarily driving people to film – issue
awareness matters more than audience
numbers) Liaise with production
companies and campaigners to trigger
further content and mobilisation
campaigns
European fishery policy Drive policy innovation UK/EU politicians, wealthy Changing structures Get politicians and wealthy
is a mess including creation of marine individuals individuals to see the film
reserves
2.1 WHY VISION AND

STRATEGY MATTER Geek out
Further reading
2.3 DEVELOPING YOUR
STRATEGY
2.4 MAP THE ISSUE 2.5
2.6 DRAFT YOUR
Nine Ways to Change The Mobilisation Reader
STRATEGIC PLAN
the World mobilisationlab.org/the-mobilisation-reader-
corelab.co 12-must-reads/#readlist
CoreLab’s report is a big The Greenpeace Mobilisation Lab
broad typology of ways to crowdsourced their reading list ahead
make change in the world. It’s one of the key of a major mobilisation training course
resources we’ve adapted to define our Four earlier this year. If it’s good enough for
Impact Dynamics – so if you want to go to them...
the source, this is it.
The Common Cause

Handbook
valuesandframes.org/
download/reports/
Common%20Cause%20
Handbook(2).pdf
This is a big deep theory of change piece,
exploring the role of human values across
all sorts of issues, and with lessons for
everyone who wants to make change in the
world. We love it.

2.4 MAP THE ISSUE
 2.6 DRAFT YOUR STRATEGIC PLAN
2.1 WHY VISION AND

STRATEGY MATTER DRAFT YOUR STRATEGIC PLAN
T
2.3 DEVELOPING YOUR
STRATEGY
2.4 MAP THE ISSUE
he strategic plan is designed to be a live
 2.6 DRAFT YOUR
document, a work in progress. You’ll keep
STRATEGIC PLAN
iterating all the way through the project –
perhaps for years to come. The important
thing is to make a start.
If you haven’t already, download the

Strategic Plan worksheet to get going.
STRATEGIC PLAN
WORKSHEET
2.1 WHY VISION AND

STRATEGY MATTER 1. • Impact Dynamic: What kind of impact would this be?
• Tasks: What do you need to do within your project (either

Plug in your Impact Vision at the top. with the film or within the film) to make the agent deliver
2.3 DEVELOPING YOUR the impact goal?
STRATEGY
2.4 MAP THE ISSUE
2. 4.
 2.6 DRAFT YOUR Using the four Impact Dynamics we have identified as
STRATEGIC PLAN prompts, brainstorm all the possible parts of the problem Finally, have a first stab at identifying your primary Impact
your film project could potentially address in the first Dynamic. Once you’ve got down and fleshed out as many
column. Try to identify as many as possible, even if some problems and impact goals as you can, prioritise them by
feel like a real stretch – it’s better to delete them later. asking yourself two questions:
• Which of these would do most to deliver the

3. Impact Vision?
• Which of these is our film best suited to?

Use the headings to break down what your contribution
to each one of these problems could be. In particular, try
Think about an order which reflects this – whatever comes
to come up with one or two first tasks against each. If you
out top is your primary Impact Dynamic, at least for now.
can’t, or it just feels wrong, then you might want to delete
This will help you think about what film projects you could
that line. The questions you need to ask yourself are:
best learn from.
• Film Messages: What are the specific problems you
identify in the film? (if you can, start with the headline
problem which has defined your primary dynamic)
• Goal: What would a concrete solution/reversal of each

problem be that your project could aim for?
• Key Agents: Who could make this happen? What

audiences can you speak to and mobilise through your
film or the campaign around it? Can you get beyond the
choir?
2.1 WHY VISION AND

STRATEGY MATTER
2.3 DEVELOPING YOUR

STRATEGY
2.4 MAP THE ISSUE
 2.6 DRAFT YOUR CHANGING STRUCTURES: THE INVISIBLE WAR
STRATEGIC PLAN IMPACT VISION: END RAPE IN THE US MILITARY. 1 IN 4 WOMEN WILL BE SEXUALLY ASSAULTED DURING MILITARY SERVICE.
Primary Impact Dynamic: Change structures.
The one politically achievable reform that could dramatically reduce sexual assault was to remove adjudication of these crimes from the chain of command. No
bottom-up change would ever be sustainable without this shift.

Other Films: Blackfish, No Fire Zone
Rape cases are judged from Bring in specific legislation High level political elites – Changing Structures • Get the President, Secretary of
within a chain of command to remove adjudication Pentagon, Joint Chiefs of Defense and Joint Chiefs of Staff to see
that is part from the chain of command Staff, President the film – ideally attended by filmmakers
of the cultural problem • Build relationships with key leaders
(especially Republicans in House of
Representatives) to champion cause
• Use content of film to remove any
possible loopholes for avoiding new
legislation
Rape is ignored/tacitly Create a conversation in the Senior military figures at all • Ensure film is framed as pro-military
accepted in the military military, breaking the levels • Establish film as training tool within the
silence military
There is no public pressure Dramatically raise public Journalists, other media • Achieve mass coverage of issue
on the issue awareness about the outlets (not necessarily of film) in all key
epidemic of Military Sexual media channels
Assault (MSA) • Develop and maintain personal
relationships with key journalists
• Motivate other journalists to
investigate
Survivors have nowhere Build a national community Survivors • Provide impetus for creation of
to turn and lives are often of active survivors community
ruined • Facilitate funding for national
community
STRATEGIC PLAN
WORKSHEET
2.1 WHY VISION AND Your strategic plan is in its Evaluation starts now
STRATEGY MATTER What you’ve done is created a first idea of how you think
first iteration. Don’t hesitate to revisit, your film can drive change in the world. Everything that
2.3 DEVELOPING YOUR and we strongly suggest that you do, happens from here on is data that will tell you either that
STRATEGY you’re on the right track, or that you’re not, or that there’s
as your project moves forward. The plan another pathway to change that you hadn’t thought of. By
2.4 MAP THE ISSUE
is a great way to introduce new team developing a Strategic Plan you’re already taken the first
step toward evaluation. Now you can:
 2.6 DRAFT YOUR members to the process, gather new
STRATEGIC PLAN Start collecting that data. Like doing your tax return, put
ideas, and determine points of action. all the receipts in a shoe box. Collect every great review,
In the next chapter we dive into those list every community screening (ideally with audience
estimate), file every “your film changed my life” email and
details: the concrete workforce, tools make a note of every local politician who referenced your
and resources you’ll need to see your film in a speech. Everything. Like receipts they add up. They
add up to a textured picture of your film’s journey through
plan come to fruition. the world. And starting to collect them now is much
smarter than trying to go back and evidence it later.
Second, keep thinking and reflecting on your Strategic

“Documentarians can take Plan. Is the data you’re getting telling you to plough on? Is
inspiration from successful it suggesting another pathway, another audience that you
efforts by other types of hadn’t thought of who are finding value and meaning in
creators to incorporate your work? What more could you do for them? Everything
evaluation into the lifecycle that happens is an opportunity to reflect on your strategy –
of production – and to to evaluate your approach, and improve it while it’s live, not
reconceptualize production just once it’s all over.
as ongoing and iterative
service rather than one-time Third, don’t leave the data in the shoe box! All this
creation” information will help you make the case for how the story
Social Justice Documentary: embeds in the culture to make measurable, recognizable,
Designing for Impact (2011) or some kind of perceptible and sustaining change happen.
Center for Media & Social You’ll find more on methods in the chapter on Evaluation.
Impact, American University
 3.1 EQUIPPING FOR IMPACT

3.2 THE ROLE OF FILM TEAMS
3.3 MEET THE IMPACT PRODUCER
3.4 CONSIDER YOUR SUBJECTS
3.5 WRITING IMPACT BUDGETS
3.6 FINDING IMPACT FUNDERS
3.0
3.7 MAKING IMPACT PARTNERS
IMPACT
IN ACTION
 3.1 EQUIPPING FOR IMPACT

EQUIPPING FOR IMPACT
N
3.3 MEET THE IMPACT
PRODUCER
3.4 CONSIDER YOUR
SUBJECTS
ow you’ve got your vision expressed,
3.5 WRITING IMPACT
BUDGETS
and working Strategic Plan (call it
3.7 MAKING IMPACT
version 0.1), it’s time to really get
PARTNERS
cracking on figuring out the delivery –
where the rubber hits the road – how much
work is this? Who is going to do it? How
much will it cost and how can
that be funded?
 3.1 EQUIPPING FOR IMPACT One thing that will be all too clear WHAT DO FILMMAKERS SAY?
We surveyed over 250 filmmakers who’ve been there and
3.2 THE ROLE OF FILM TEAMS to you already is that when a film done it – 94% of respondents to the question about their
3.3 MEET THE IMPACT experiences of running an actual campaign said they felt
PRODUCER becomes an impact film, the size of the it worked out “great,” “good” or “OK.”
3.4 CONSIDER YOUR project becomes something far greater
SUBJECTS However the vast majority of filmmakers do not want to
than you ever imagined. Back when do impact campaign work by themselves. Neither do they
3.5 WRITING IMPACT
BUDGETS kangaroos were fish, filmmakers could want to give up control completely. Instead 80% said that
they would be looking to develop a dream team of inhouse,
3.6 FINDING IMPACT FUNDERS just focus on making the film, sell the agencies and partners working together to deliver their
3.7 MAKING IMPACT next impact project.
PARTNERS rights to the distributors, at most give
a nod to a few campaigners in the field,
and away you went to the next project.
Now, with new distribution options coming online (and
offline for that matter) almost every day, and an ever more
demanding campaigning environment, there’s a lot more
work to be done.
In our experience, the reality is that the passion of film

teams and their desire to create impact usually far outweigh
the resources and time available to them to do the job. But
the aim of this chapter is to guide film teams to navigate
through the thorny issues of team dynamics, the role of
subjects, budgets, funders and partners.
WHAT YOU NEED TO DO IS DECIDE HOW MUCH YOU’RE

GOING TO DO – AND HOW MUCH YOU WANT TO LEAVE
TO EVERYONE ELSE.
 3.1 EQUIPPING FOR IMPACT THE DIFFERENCES BETWEEN FILMMAKING If the answers are that you have a lot to give in each
AND IMPACT CAMPAIGNING case, you may well be ready to take on the step into the
As a film team, there’s a time when you’ll need to be single- leadership role of the impact campaign as well as the
3.3 MEET THE IMPACT mindedly committed to the goal of making a great film, filmmaking. If not, you probably need to review the skills
PRODUCER giving full attention and focus to every detail in order you do/don’t have, and then consider bringing in help to
3.4 CONSIDER YOUR to deliver on the art on which the impact campaign will bolster the team. Don’t feel at all bad if you or your team
SUBJECTS depend. don’t have all the desired skills or energy; the impact will
3.5 WRITING IMPACT be best served by people doing what they’re good at, not
BUDGETS It also often involves flying by the seat of your pants, breaking themselves and the project in the process.
being responsive to the ebb and flow of the documentary We’ve seen it happen!
narrative over time. Slowing down sometimes to wait for the
3.7 MAKING IMPACT right talent to join the project. Accelerating away when you Extra help might be in the form of agencies or
PARTNERS have cracked a new source of funding. freelancers to help you fulfill some of the skillsets
required. It might also be the recruitment of an Impact
Campaigning leadership requires equal levels of Producer to join your core team.
commitment and focus, but is generally much more
facilitative – and much more process-driven, though the It’s also crucial to remember that your film is often part
capacity to be reactive still matters. It usually requires you of a broader movement ecosystem; don’t operate in a
to build a project team to execute different aspects of the vacuum. You’re not the only one working on this issue,
campaign, with a leader to coordinate and manage the so develop relationships whether as team members or
team. Although some filmmakers are keen to take control partners, that integrate your impact campaign into the
of the impact work as well as the filmmaking, we wouldn’t existing movement.
want you to underestimate the scale of this task. A good
way to think about is to ask yourself yourselves these three This section helps identify roles and expertise you may
questions. Take a moment to write down your thoughts: need and builds towards helping you put together team
organization charts: organograms. The decisions you’ll make
1. How much time do I we want to commit? Full time might mean you have to link off to other sections and come
or part time – over how many years? back, but it’s a good place to start.
2. Where are we in the process of making the film

itself and how much energy/time do we have for
the campaign work?
3. What resources do I/we bring to this as an impact

campaign?
3.1 EQUIPPING FOR IMPACT

 3.2 THE ROLE OF FILM TEAMS

THE ROLE OF THE FILM TEAMS
I
3.3 MEET THE IMPACT
PRODUCER
3.4 CONSIDER YOUR
SUBJECTS
t would be brilliant in this section if we
3.5 WRITING IMPACT
BUDGETS
could present you with a one size fits
3.7 MAKING IMPACT
all template, indicating which roles and
PARTNERS
team members you’ll need to make the
greatest impact with your film. But the
truth is, different film teams have different
goals, different change strategies and
therefore need different expertise.
3.1 EQUIPPING FOR IMPACT Crucially, most of the filmmakers we spoke to said that they Have a look at this snapshot of a few of the films from the
started their campaign with a pretty small group of people library — all with very different levels of resources for their
and as funding and momentum gathered, were able to hire campaign & numbers of people involved.
3.3 MEET THE IMPACT in additional help and support on a contract basis.
PRODUCER
3.4 CONSIDER YOUR
SUBJECTS
3.5 WRITING IMPACT
BUDGETS
3.7 MAKING IMPACT FILM CAMPAIGN BUDGET SIZE OF CORE TEAM DURATION OF CAMPAIGN
PARTNERS
Bully $2.6M 6 2011-ongoing
Bag It $102,700 3 2010-ongoing
Age of Stupid £110,000 8 2008-2010
Give Up Tomorrow $125,000 2 2011-ongoing
Weapon of War $834,930 3 2011-ongoing
Invisible War $450,000 3 at beginning, 4-6 at 2012-ongoing

height of campaign
American Promise $1.3M 5 2010-ongoing

3.1 EQUIPPING FOR IMPACT LET’S LOOK A BIT MORE CLOSELY AT TWO direction, brokering partnerships and being the lead
OF THE FILMS IN OUR LIBRARY. spokesperson for the campaign as well as the film.
The Bully Project’s permanent team of six keep the
3.3 MEET THE IMPACT Through fundraising activities and as a result of Bully’s campaign running, but it’s interesting to also note the
PRODUCER success at the box office, Lee Hirsch has been able to additional consultants and organisations who have helped
3.4 CONSIDER YOUR recruit a full time staff of six to work with him on the activate the campaign - from its distribution partners
SUBJECTS campaign since its launch in 2011. Lee decided to take to social impact strategists, and other partners who
3.5 WRITING IMPACT a very hands on role in the impact campaign as well as came on board to extend the reach and impact of
BUDGETS the filmmaking - deciding on the campaign’s strategic the campaign over time:
3.7 MAKING IMPACT
PARTNERS
IF L M D I S T R I B U T I ON I M PAC T C A M PA I GN
LEE HIRSCH
DIRECTOR
+ Fundraising
+ Partner relations
SARAH FOUDI
CAMPAIGN DIRECTOR
CYNTHIA LOWEN
PRODUCER
Early strategy & in the lead
up to theatrical premiere
TRICIA FINNERAN HOUSTON KING
WEINSTEIN PR MACHINE CAMPAIGN DIRECTOR CAMPAIGN DIRECTOR
“We’re a core staff Sunshine Sacks PICTURE MOTION
Purpose
Susan Norget Social Impact Strategists
of six, with one to two Fenton Communications STRATEGY CONSULTANT
2 months
interns. In a sense, we’ve Fitzgibbon Media
MELISSA RYAN
COMMUNITY ENGAGEMENT COMMUNITY ENGAGEMENT
built an NGO – a pretty & SOCIAL MEDIA & SOCIAL MEDIA (2 years)
MEREDITH BLAKE
effective organisation CAUSE + EFFECT
that serves a need that’s Strategy Consultant
2 months SIMEON RACHEL
currently under served” OPERATIONS MANAGER / CUSTOMER SERVICES
BOOK KEEPER / DESIGN & LEE’S PA
Lee Hirsch PARTNERS WHO ACTIVATE:
FACING HISTORY
Filmmaker, Bully & OURSELVES
CONFERENCE OF MAYORS UP TO 2 INTERNS
CHANGE.ORG
3.1 EQUIPPING FOR IMPACT The Bag It team had a comparatively smaller campaign The following team organogram gives a snapshot of all
budget to play with, and so kept things pretty lean, the people who worked with Suzan and Michelle during
with Suzan and Michelle taking on much of the the campaign. The dotted lines depict those who were
3.3 MEET THE IMPACT Impact Producer’s responsibilities (including project brought in temporarily. It’s also worth adding that whilst
PRODUCER management, fundraising & publicity), and then hiring Suzan and Michelle led the team, the rest of the team are
3.4 CONSIDER YOUR in additional support as and when funds allowed them not arranged in hierarchical order!
SUBJECTS to do so.
3.5 WRITING IMPACT
BUDGETS
3.7 MAKING IMPACT
PARTNERS
Four years on, the

filmmakers talk about how IF L M D I S T R I B U T I ON I M PAC T C A M PA I GN
they are able to transition
projects over to some of
their partners:
“The campaign is still PETER BRODERICK

DISTRIBUTION
SUZAN
DIRECTOR
MICHELLE
PRODUCER
STEPHANIE BLEYER LAURA KOLBERT
SCHOOL PROJECT
STRATEGY CONSULTANT
going strong, although CONSULTANT + Fundraising + Publicity + Fundraising + Publicity 2 months MANAGER
1 day of consultancy + Project Management + Project Management On a rolling basis
the campaign for
‘Becoming a Bag It CASEY AMY LAUBENSTEIN &
CAITLIN BOYLE
Town’ has now moved ART DIRECTOR / SCREENINGS
LAURA KUDO EDUCATION
DESIGNER / WEBSITE CURRICULUM TEAM
more into a place of 6 months
4 months at the early stage
resources available on
our website.” CORMAC EMILY UTTER UP TO 2 HIGH SCHOOL /
Michelle Maughan WEBSITE POLICY
1 year, came on later
COLLEGE SUMMER
INTERNS
Producer, Bag It
3.1 EQUIPPING FOR IMPACT In total contrast, the Blackfish team didn’t set out to Team dynamics
campaign with their film, initially their main goal was to raise Momentum on a film project with an ambitious impact
mass public understanding of a previously unrecognised campaign can lead to rapid expansion of team. Without
3.3 MEET THE IMPACT issue. But due to the swell in public sentiment, the film was a traditional institutional structure, team dynamics are
PRODUCER brought to the attention of animal advocacy groups who often overlooked in favor of production distribution
3.4 CONSIDER YOUR subsequently brought attention to the issues the film raises deadlines. Our thoughts are a brief tangent that could
SUBJECTS through their own campaign work, rather than the it being be much elaborated on, to remind you that filmmaking -
3.5 WRITING IMPACT initiated and driven by the film team. It was an unexpected and impact production - is a lot about managing people.
BUDGETS turn of events in terms of the trajectory of the film, but And happy people do good work.
ultimately resulted in an extraordinary and organic and
unprecedented outcome in terms of its impact, known as There’s plenty of theory about how to understand your own
3.7 MAKING IMPACT ‘The Blackfish Effect’. behaviour and those of your colleagues - whether they are
PARTNERS senior, junior or on the same level. It’s quite possible you’ll
If you’re interested in seeing the team organograms from have different working styles, and that as a multi-disciplinary
more films, you can find them in our library. team comes together, you’ll have to tackle differences.
We love the Honey & Mumford Questionnaire to work out

what kind of learners you are. It puts every member of
your team into one of four learning types: activist, theorist,
reflector and pragmatist. Figuring out your impact strategy
and being self-aware about how each team member
processes and contributes is very helpful to understanding
your team’s dynamics.
If you’re interested to find out more, click on the

geek out section below.
GEEK OUT

Geek out
3.3 MEET THE IMPACT
PRODUCER Further reading
3.4 CONSIDER YOUR
SUBJECTS 3.2
3.5 WRITING IMPACT
BUDGETS
The Management Center Forming, Storming, Norming, and
3.7 MAKING IMPACT Resource Library Performing: Understanding the Stages
PARTNERS managementcenter.org/resources of Team Formation
The Management Center have resources mindtools.com/pages/article/
for teams, with download guides and newLDR_86.htm
worksheets under the following topics: Learn how to use Bruce Tuckman’s simple
Delegation, Roles and Goals, Culture, model to help your new team become
Hiring, Developing People, Managing Time, effective quickly.
Addressing Problems.
Belbin Reports
belbin.com/rte.asp?id=416
The Belbin test is used by business schools
around the world. It identifies 9 roles that
must be performed for a team to come up
with good ideas and execute them well.
Each person will naturally gravitate into a
number of them - but not all. That’s why
it takes a team. It’s not free but it’s very
enlightening.

 3.3 MEET THE IMPACT PRODUCER

MEET THE IMPACT PRODUCER
W
 3.3 MEET THE IMPACT
PRODUCER
3.4 CONSIDER YOUR
SUBJECTS
hether it’s you or an external
3.5 WRITING IMPACT
BUDGETS
hire, to successfully deliver an
3.7 MAKING IMPACT
impact campaign an individual
PARTNERS
or a team needs to devise strategy,
fundraise for the campaign work, secure
key partners, execute or oversee the
“I think it worked particularly
harmoniously because
execution of the campaign, and evaluate
the producer and director
were totally on board with the change campaign top to bottom.
campaign aims. It’s incredibly
difficult if there are goals
that are too divergent.”
Joanna Natasegara
Impact Producer, No Fire Zone
3.1 EQUIPPING FOR IMPACT For BRITDOC and others in the field, In response to the growing scale and ambition of impact
campaigns in the past few years, we have seen the
3.2 THE ROLE OF FILM TEAMS this is the role of a dedicated Impact rise of this new professional group. Some operate as
 3.3 MEET THE IMPACT freelancers (see Impact Producers Group), others are part
PRODUCER Producer. Just as films have producers of organisations (Active Voice, Working Films, Film Sprout,
3.4 CONSIDER YOUR to manage the creative and financial Borderline Media, Firelight Media, etc). Some come from a
SUBJECTS film background, others are activists, strategists, lobbyists
process from script to screen, they also and even marketeers.
3.5 WRITING IMPACT
BUDGETS need Impact Producers to take the film
Some filmmakers will be lucky enough to be able to
3.6 FINDING IMPACT FUNDERS campaign from production to impact. hire a top notch Impact Producer—or even a whole team
3.7 MAKING IMPACT of people—for a period, helping them to figure out the
PARTNERS smartest campaign strategy and funding opportunities.
For smaller scale projects and budgets, this may not be
realistic, but impact producers can be consulted on a short-
term basis to help develop and refine strategy.
“Because the film was so In other teams, someone inside the film team (often the
personal to us, we didn’t director and producer) will share the role of the Impact
want to pass it to someone Producer, switching hats to deliver on campaign goals.
else, because we realised no “The job of an impact
one could do this stuff better producer is one part
than we could. Looking back, sociologist, one part
it could have been so much behavioral psychologist,
more if we weren’t doing it one part historian, one part
so reactively.” activist, one part publicist,
Marty Syjuco & Michael one part fundraiser, one
Collins, Filmmakers, Give Up part program evaluator, etc.
Tomorrow Clearly, no one person can
encompass all these skills,
but a great impact producer
knows how to put together
and lead a team that does.”
Jennifer MacArthur, Impact
Producer , From Impact
Producer: What’s in A Name
3.1 EQUIPPING FOR IMPACT Impact Campaign Skillset FUNDRAISING

More on the best approach to this in the next few sections
3.2 THE ROLE OF FILM TEAMS Of course there are a lot of skillsets of this chapter, but needless to say someone in the team
 3.3 MEET THE IMPACT needs to take charge of fundraising: grants, donations,
PRODUCER needed for those who are embarking and crowdfunding, which will be ongoing throughout the
3.4 CONSIDER YOUR on an impact campaign - and we’re life of the campaign.
SUBJECTS
sure this list isn’t the final word. It’s DISTRIBUTION
3.5 WRITING IMPACT
BUDGETS important to remember these skillsets Time must be invested in understanding how film
distribution works, whether you are going it alone or
3.6 FINDING IMPACT FUNDERS may be combined into two or three working with traditional partners. They need to be able
3.7 MAKING IMPACT to collaborate and negotiate an optimal position that
PARTNERS roles, or even fewer if necessary. You works for the film and for the campaign, i.e. devise the
may concentrate all of them in the impact distribution strategy.
hands of a dedicated Impact Producer PARTNERSHIPS MANAGEMENT
(more on that below). It all depends As the campaign builds and more and more partners get
on board, including but not limited to funders, advocates,
on resources and what you are trying VIPs and sponsors it’s helpful to allocate responsibility for
to achieve. this to someone in the team.
EVALUATION & ASSESSMENT

DEVISING STRATEGY, OBJECTIVES & ACTIVITY As soon as the strategy is in place, the team needs to
Someone needs to focus on the central message of the start to thinking about how the narrative of this project
film and the impact it will have on audiences, and the can be captured and evaluated. It will be essential, not
steps to get there. Identifying the current needs of the just at the end but as you go along if you are going to be
movement is essential along with assessing what role the successful at fundraising and building more partnerships.
film can play in supporting the movement and figuring
out the appropriate timeline and ideal partnerships. COMMUNITY ORGANISING
If building communities, including education and
BUDGETING outreach is your primary dynamic, or even part of your
Take the above strategy and iterate it into a budget plan, you’ll want to consider who will take this on – it may
and a cash flow. (More on budget coming up). be led by a member of the team, an advocacy partner
or other contributor.
3.1 EQUIPPING FOR IMPACT LOBBYING

Influencing government officials and law making is a
specialized skills set where who you know can make
 3.3 MEET THE IMPACT all the difference. You may want to find someone who
PRODUCER has some practice in this art form, and might consider
3.4 CONSIDER YOUR combining it with spokesperson.
SUBJECTS
3.5 WRITING IMPACT PUBLICITY (INC PR & PRESS, FULFILMENT)
BUDGETS If changing minds, behaviours or structures is your
primary impact dynamic – then publicity, including public
relations, press outreach and fulfillment this is an essential
3.7 MAKING IMPACT function of the campaign.
PARTNERS
ONLINE COMMUNITY MANAGEMENT
(INC SOCIAL MEDIA, WEB CAMPAIGNS, EMAIL ETC)
Managing the online community crosses over with a lot
of the above functions - emails to supporters, website
creation for visibility, social media for promotion, and so
much more. This could be taken on by a single person
or alternatively spread across the team. Interns are a
valuable source of support in this area. It’s also useful
to think about how you want to split film and campaign
platforms or whether they are one entity. Either way,
there needs to be coordination - this community is a
significant portion of the audience for your film.

 3.4 CONSIDER YOUR SUBJECTS

CONSIDER YOUR SUBJECTS
P
3.3 MEET THE IMPACT
PRODUCER
 3.4 CONSIDER YOUR
SUBJECTS
eople agree to be the subjects
3.5 WRITING IMPACT
BUDGETS
of documentaries for many
3.7 MAKING IMPACT
different reasons. Their emotional
PARTNERS
involvement can go from just giving an
expert interview to allowing cameras into
their private lives and sharing raw and
painful experiences. So while there
is no template for the appropriate
relationship between subject and
filmmaker, there is a legacy of ethical
considerations that guides the field.
3.1 EQUIPPING FOR IMPACT That said, many of the films that have You need to unpack the opportunities and the risks
for them. How long will this go on for? Will they be
3.2 THE ROLE OF FILM TEAMS created deep change have relied compensated? What are the implications for their
3.3 MEET THE IMPACT dependents if they are going to be out on the road with
PRODUCER on the participation and courage the film? Are their expectations of what the film might do
 3.4 CONSIDER YOUR of their subjects that goes way for them too low? Or are they too high?
SUBJECTS
beyond appearing on screen. They CONSIDER THE IMPACT ON THE SUBJECTS FROM BULLY:
3.5 WRITING IMPACT
BUDGETS can become partners in change, in Alex Libby went from a silent victim in the film Bully to
an advocate and spokesperson for the cause which has
3.6 FINDING IMPACT FUNDERS some cases having a longer lasting taken him all the way to the The White House.
3.7 MAKING IMPACT
PARTNERS commitment to the work than the
filmmaker themselves. But this can
also come at a price.
It is part of your strategic planning to figure out if it’s
useful and appropriate to your film and plans to involve
your subjects.
It is part of your responsibility as a filmmaker or impact

producer, to help figure out what level of involvement is
useful and appropriate to your subjects and their lives.
We recommend that, once your film is complete, you sit

down and fully brief your subjects, on the merry-go-round
that is a film’s launch from festival premiere to cinema
screenings, press, social media etc. The conversation
should also cover the longitudinal commitments available
on the impact campaign - regional schools tours,
speaking at state legislatures, etc. And once you’ve laid it
out, ask them, what do they want and not want. Are they
prepared for the attention and commitment by agreeing
to be both in the film and part of the campaign?
3.1 EQUIPPING FOR IMPACT An article in the Des Moines Register reads: As Jackie traveled with Alex to so many
“Supporters tell [Alex’s mother Jackie] she and her anti-bullying appearances with feverish intensity,
family don’t have to attend so many rallies; they don’t she eventually lost her warehouse job. Depending
3.3 MEET THE IMPACT have to grant so many interviews; they don’t have to who your subject is, the following might help frame
PRODUCER counsel so many strangers. Jackie supposes that’s true, your conversation & planning next steps:
 3.4 CONSIDER YOUR but then she thinks about what might have happened
SUBJECTS to Alex if the moviemakers hadn’t spotlighted his This diagram asks you to consider if your subjects want
3.5 WRITING IMPACT plight. She noted that a national group has counted to play a leadership role and also whether they are
BUDGETS nearly 2,000 suicides of bullied children. “That’s 2,000 vulnerable or might be made vulnerable by the process
families that have lost their children, and they’re never of being in the film or appearing publicly with it.
going to get them back,” she said. “We got that gift,
3.7 MAKING IMPACT and we’ll never be able to repay it.”
PARTNERS
SUBJECT WANTS
TO BE LEADER
FILM ENABLES FILM PROMOTES

If you know the subjects wants and Have an upfront discussion: how can the
VERY VURNERABLE
needs, then how can the film contribute subject and the film manage possibly
appropriately? conflicting needs?
SUBJECT ISN’T
VURNERABLE
SUBJECT IS
FILM PROTECTS FILM PROVIDES

You should prepare for the effects of the The subject gave to your film. How can
film on the subjects’ lives. How can the the film give back to them in ways they
film empower and not disrupt? can enjoy?
SUBJECT DOESN’T WANT

TO BE LEADER
3.1 EQUIPPING FOR IMPACT Additional considerations How can you protect your subjects from exposure that
feels uncomfortable? Empower them but make sure that
IF YOUR SUBJECT IS ALREADY IN A LEADERSHIP ROLE the whirlwind of the film doesn’t turn their lives upside
3.3 MEET THE IMPACT down.
How can the film help to propel them and their work
PRODUCER
further? Note that the focus on one individual leader,
 3.4 CONSIDER YOUR and the attention they will get from the media and YOU HAVE A RESPONSIBILITY TO VULNERABLE
SUBJECTS audiences may cause tensions within their organisation or AUDIENCES TOO.
3.5 WRITING IMPACT community. Your film may touch a very raw nerve for some people -
BUDGETS perhaps because it tells the story of an experience they
Note also that where the film team have different (as well have recently gone through, or went through a long
as similar) goals from the subject of the film, this can time ago. What have you put in place to help and guide
3.7 MAKING IMPACT people?
cause tensions over who owns the film and its message.
PARTNERS
Worth thinking through. Some filmmakers have had trained counsellors at
screenings, others have provided a leaflet on every chair
IF YOUR SUBJECT IS AN EMERGING LEADER with connections to local or national resources. If the film
Many people find the experience of becoming plays on television, work with the broadcaster on either
a spokesperson for the film propels them to become an announcement or card afterwards or on the film’s
a community leader. website. Think it over.
They discover a new role and gravitate to it. The Private Violence team provided leaflets at screenings
of their film, encouraging people to volunteer to donate
Can you help to enable this journey for them alongside items for their local refuge or shelter, as well as providing
the journey of the film? tips on what to say/not to say to those who had
experienced domestic violence.
What kind of practical and emotional help do they need
to do this?
GEEK OUT
Resources so that they can take the time off work or IDEAS FOR FURTHER READING
connection to organisations that they can team up with?
IF YOUR SUBJECT IS VULNERABLE

Trusting a filmmaker and letting them in your life is
one thing, the moment that is shared with hundreds
of people at the premiere can be an overwhelming.

3.2 THE ROLE OF FILM TEAMS “Documentary is about subjects sharing their
3.3 MEET THE IMPACT lives. Yet we have not really examined this part
PRODUCER of the impact campaign puzzle. For Trembling
Before G-d, Rabbi Steve Greenberg, the first
openly gay Orthodox rabbi and I went on a
SUBJECTS
global organizing tour with the film.
3.5 WRITING IMPACT
BUDGETS Could the subject become more of a partner
3.6 FINDING IMPACT FUNDERS in impact work? Can you ensure there is
3.7 MAKING IMPACT a budget in the impact work for subjects’
PARTNERS travel, hotel, food for festivals, theatrical, non-
theatrical tour. Are there speaking honorariums
for them at universities or other non-theatrical
screenings? How do they balance their work
lives with this?
Some subjects can be great as part of the

ensemble of the film, but not as effective
for messaging in the campaign. How can you
create different tiers of participation where,
let’s say, a subject goes to the premiere and
does Q&A in their city, but does not come
on the road. These relationships of money,
press, ego and touring change after the film
is finished and can be become very delicate”
Sandi DuBowski, Filmmaker

Geek out Hoop Dreams, Prisoner of Her Past, and
The Interrupters to illustrate how filmmakers
navigate the murky waters.
3.3 MEET THE IMPACT
PRODUCER Further reading True Life Fund
SUBJECTS 3.4 truefalse.org/program/true-life-fund
The annual True/False Film Festival in
Columbia, Missouri, has a fund, which
3.5 WRITING IMPACT
BUDGETS every year acknowledge the subjects of a
A Question of Ethics: The Relationship film and raises money to ensure they get
between Filmmaker and Subject some material benefit for their generosity
3.7 MAKING IMPACT documentary.org/feature/question-ethics- to the audience. The violence Interrupters
PARTNERS relationship-between-filmmaker-and-subject of The Interrupters documentary have
Wanda Bershen wrote on the subject for received this award.
Documentary Magazine, a publication of the
International Documentary Association.
Honest Truths: Documentary Filmmakers

on Ethical Challenges in Their Work
cmsimpact.org/making-your-media-matter/
documents/best-practices/honest-truths-
documentary-filmmakers-ethical-chall
The Center for Media & Social Impact
(formerly the Center for Social Media)
interviewed filmmakers to aggregate
the most common ethical challenges
encountered in documentary and how they
have been addressed.
Ethics Behind the Lens

chicagohumanities.org/events/2013/animal/
ethics-behind-the-lens#.Ui3moGRgbZZ
Kartemquin co-founder and Artistic
Director Gordon Quinn kartemquin.com/
about/gordon-quinn delivers examples from

 3.5 WRITING IMPACT BUDGETS

WRITING IMPACT BUDGETS
Y
3.3 MEET THE IMPACT
PRODUCER
3.4 CONSIDER YOUR
SUBJECTS
ou’re making a brilliant film,
 3.5 WRITING IMPACT
BUDGETS
figuring out a really clever and
3.7 MAKING IMPACT
effective impact campaign. You’ve
PARTNERS
got commitment from your team. Now
it’s time to turn to the thorniest issue
of them all: how you’re going to finance
your campaign.
3.1 EQUIPPING FOR IMPACT We need to start by acknowledging Of the filmmakers we surveyed, 90% say raising money
for impact campaigns is a major challenge and most said
3.2 THE ROLE OF FILM TEAMS here that much of what you’ll eventually they wanted to learn more about costing out campaigns.
3.3 MEET THE IMPACT
PRODUCER be able to do is obviously going to be Fortunately, it’s not all doom and gloom. As the field
3.4 CONSIDER YOUR reliant on the funds you have available continues to prove itself with ever more successful
SUBJECTS campaigns, we are seeing an increase in the funds
to do it. And that despite the frankly allocated towards this type of work. Which of course,
 3.5 WRITING IMPACT
BUDGETS heroic efforts of filmmakers to bring leads to more brilliant impact campaigns. Which leads to
more funds being set aside…etc…etc…
3.6 FINDING IMPACT FUNDERS change to the world, for many teams
3.7 MAKING IMPACT Across the case studies in our Library, you’ll see that the
PARTNERS resources are frustratingly scarce. The budgets spanned $53,000 to $2.6M, and with a mean
reality is that many impact campaigns campaign budget of $507,200. That’s not to say that
those with comparatively tiny budgets didn’t also do
run out of funds well before the team an amazing job. You can still do a lot with a little bit of
has run out of steam. money and a cracking strategy, so don’t be put off.
We recommend filmmakers developing impact plans

and corresponding budgets as early-on as possible. The
stronger the early visioning, the more traction the funding
will have later on. A well-articulated impact plan can even
help secure production dollars.
This section of the module will hopefully guide you

through the process of budgeting to turn your ‘ideal’
impact campaign into a real live entity.
3.1 EQUIPPING FOR IMPACT DEVELOPING YOUR ‘IDEAL’ IMPACT BUDGET STEPS TO TAKE:
Before we get down to actually putting the figures in the 1. Write down everything you want to do - with estimated
cells, let’s take a moment to consider this great advice costs attached to each item. Don’t worry about being
3.3 MEET THE IMPACT from Tricia Finneran, an impact producer and president of realistic; just begin.
PRODUCER Story Matters, who has worked on the impact distribution
3.4 CONSIDER YOUR of countless films including Bully, How to Survive a Plague 2. Ask colleagues for their budgets as a reference. (Hint:
SUBJECTS and The Revolutionary Optimists. She previously worked tell them to strip out salary specifics and they will likely
 3.5 WRITING IMPACT with the Sundance Institute Documentary Film Program be happy to help.) While projects vary widely, the core
BUDGETS and is a member of the Good Pitch team. elements are similar. These will prod you to include
expenses you may not have considered.
3.6 FINDING IMPACT FUNDERS “Money, money, money…”
3.7 MAKING IMPACT 3. Assess how much time it would take you and your core
PARTNERS Yes, you can access all kinds of non-financial resources to
team to accomplish your plan. What’s the best use of your
ensure your movie makes a difference, but you will need
time? Would it be better to hire others to do certain things?
some money to make it happen. First up put together an
impact budget to support the outreach and engagement
4. What resources do you already have and what can
work that is separate from the film production budget.
partner organizations offer you for free? For example,
WHY? would a non-profit partner host a launch event or
Some funders, in particular public broadcasters, prohibit contribute to a screening guide?
spending on impact related activities. Other public media
funders simply will require separate budgets. 5. Assess the funding landscape. In a best-case scenario
how much could you raise to support your campaign?
Conversely, some funders, such as the Fledgling Fund,
exclusively fund outreach and engagement work. The budget will evolve as you assess the time and resources
you have on hand, the likelihood of raising funds, and the
If you have equity financing in your film, your production resources and opportunities that partnerships will bring to
budget should only include the cost of delivering the film. your campaign.
Your campaign has a social change goal and may meet To help you get started, here’s a rewritable budget that will
the requirement of a non-profit. That means you can help prompt your thinking. It is set up to a maximum of
access philanthropic support that was not available to your £250,00 but can be scaled up or down depending on how
production! In the US, if you are applying for foundation much financial and in-kind support you are able to secure.
funds and are not a non-profit, you will need a fiscal sponsor
such as Fractured Atlas or the International Documentary DOWNLOAD
Association in order to accept certain philanthropic funds. CLICK TO DOWNLOAD
3.1 EQUIPPING FOR IMPACT Think about preparing a few different versions of your BEEN THERE, DONE THAT:
budget based on different scenarios. This gives you a way to SOME ‘WATCH OUTS’ FROM FILMMAKERS
think big (and prepare for the worst!) without tempting fate.
3.3 MEET THE IMPACT “In the initial stage of the campaign, we had some valuable
PRODUCER Remember, as with everything in this process, budgeting strategic and policy advice from one of our funders,
3.4 CONSIDER YOUR is not something you do once and leave to one side. You’ll who ended up introducing us to other consultants who
SUBJECTS need to constantly revisit your budget in the light of the eventually became part of our campaign team.”
 3.5 WRITING IMPACT campaign’s organic development - including dropping out Michelle Maughan
BUDGETS things that aren’t working for you - and upweighting the Bag It
elements that are doing well.
“Don’t forget to budget for things like additional printing
3.7 MAKING IMPACT PRO TIP: don’t forget to build in compensation for time costs. Things like badges and other campaign collateral
PARTNERS and effort, whether it’s for yourself, to hire the people can catch you out”
to execute the impact plan, or both. Often this is the last Marty Syjuco & Michael Collins
thing filmmakers will include - but funders want to know Give Up Tomorrow
you will actually have the capacity to do the work funded
by those other line items! “For Weapon of War, we actually made six entirely
different additional edits of
the film for the campaign -
in order to respond to the
interests and educational
“For people who are not familiar needs of the local communities.”
with the costs of running an impact Ilse Van Velzen
campaign, it can be surprising when Weapon of War
filmmakers keep raising money for
a film that is “already finished.” “Ensure there is budget in the impact work for subjects’
Having an open, honest and early travel, hotel, food at festivals, the theatrical run &
conversation with your film crew, screening tour.”
protagonists, and partnering Sandi DuBowski
organizations about the need to Trembling Before G-d
continue fundraising after
the film is released will serve you
well when you are successful and
the money starts coming in.”
Julia Bacha, Just Vision

 3.6 FINDING IMPACT FUNDERS

FINDING IMPACT FUNDERS
O
3.3 MEET THE IMPACT
PRODUCER
3.4 CONSIDER YOUR
SUBJECTS
ur community is pretty familiar with
3.5 WRITING IMPACT
BUDGETS
the small group of funders, whose core
3.7 MAKING IMPACT
purpose is funding documentary film:
PARTNERS
Sundance Institute, BRITDOC, The Fledgling
Fund, Tribeca Film Institute, Chicken & Egg,
Influence Film Fund, Catapult Film Fund to
name but a few – as well as the national film
funds—Danish Film Institute, British Film
Institute—as well as broadcasters who are still
enthusiastic production partners for feature
docs – POV Independent Lens, ITVS, BBC
Storyville, HBO, Arte/ZDF, NHK, etc.
3.1 EQUIPPING FOR IMPACT There is also a broader and growing group of funders impact campaigns (not necessarily as their core purpose
including: from large institutional Foundations such as but because it furthers their aims and priorities). Some
Ford or MacArthur, to smaller family Foundations such have film funds allocated within their organisation. Others
3.3 MEET THE IMPACT as Bertha, to issue specific funders such as Wellcome may only fund film in exceptional circumstances, on a
PRODUCER Trust (biomedical projects), Arcus Foundation (LGBT and case by case basis. Have a look at three very different
3.4 CONSIDER YOUR environmental projects) or Hartley Film Foundation (on examples to get an idea of the range of funders out there.
SUBJECTS world religions and spirituality), individual philanthropists
3.5 WRITING IMPACT and even brands such as Patagonia, who also fund film
BUDGETS
3.7 MAKING IMPACT AMERICAN PROMISE GIVE UP TOMORROW ESCAPE FIRE
PARTNERS
PRODUCTION FUNDING PRODUCTION FUNDING PRODUCTION FUNDING

ITVS ITVS IndieGoGo
POV POV Sundance Institute’s
Sundance Documentary Fund BBC Documentary Fund
San Francisco Film Society Sundance Documentary Film Valerie Beth Schwartz Foundation
Tribeca Gucci Documentary Fund Program Private investor
Jerome Foundation CAAM (Center for Asian American
National Black Programming Media) OUTREACH AND ENGAGEMENT
Consortium The Fledgling Fund FUNDING
New York State Council on the Arts NYSCA Christy and John Mack Foundation
“[Funders & Partners] bring Jerome Foundation The California Endowment
tremendous knowledge, OUTREACH AND ENGAGEMENT DR Denmark The Fledgling Fund
networks, analytical skills, FUNDING Gucci Tribeca Valerie Beth Schwartz Foundation
money and other resources Open Society Foundations Producer’s Contributions Fair Winds Foundation
to social change efforts; they Kellogg Foundation SHOUTAmerica
need these films to put human The Fledgling Fund OUTREACH AND ENGAGEMENT Robert Wood Johnson Foundation
faces on the issues they deal Ford Foundation FUNDING (RWJF)
with, because doing so helps Corporation for Public Broadcasting Bertha BRITDOC Connect Fund
them build public awareness / American Graduate Initiative The Fledgling Fund
and influence public will.” (through POV) POV
Active Voice IndieGoGo
3.1 EQUIPPING FOR IMPACT WHAT ARE THE REASONS THAT FUNDERS SUPPORT if you don’t know the exact date, so you can still plan
IMPACT CAMPAIGNS? ahead).
Funders who have supported a feature length
3.3 MEET THE IMPACT documentary will do so for a variety of reasons, including But don’t limit yourself to the MacArthur and Ford
PRODUCER of course artistic merit. But the most common reason foundations of the world. Small family foundations are
3.4 CONSIDER YOUR funders cite for supporting impact campaigns is that it often overlooked. They don’t have fancy websites or
SUBJECTS is a good way to fulfil the funder’s objectives in terms of visibility, or even formal application processes, but they
3.5 WRITING IMPACT the change they want to see in the world – from changing can be approached individually, can turn around funding
BUDGETS minds, structures, communities or behaviours. on a shorter timelines and may be excited to fund an
out of the box project about a local issue. In the United
So identifying funders who share your impact goals is States, The Foundation Center is an excellent place to
3.7 MAKING IMPACT key, and will help you secure funding against the criteria look for family foundations in your area.
PARTNERS that funders set out. Your Strategic Plan will help you with
this. Head back to the planning session to refresh your Whether large or small, some Impact funders are
memory. very experienced working with filmmakers. Others have
only recently begun supporting documentary films
REALITY CHECK and are still testing the water. These are the individuals
Across all the funders we surveyed, the majority of making the case internally for the support of film and
grants given for production and for impact campaigns so are under real pressure to deliver. It’s just worth
are under $75k. This is a useful reality check against acknowledging the differences between these kinds
the budget you have laid out in the previous section. of funders, to be mindful of their level of knowledge
Certainly, it’s an indication of the numbers of partners and internal needs.
you may need to support the work, and the imperative
to create multi-year partnerships. Finally some food for thought. The most common
frustrations funders experience dealing with our
Funding through many foundations requires real planning. community were: lack of clear campaign strategy, lack
Given most grant cycles take several months between of funds to deliver the promised campaign, and ultimately
the initial proposal and the actual grant award. Many not having the right team in place to run the campaign.
applications have multiple rounds where additional
material is requested and funders may contact you for A timely reminder to read the Team and Budget sections
revisions, clarification or other questions in the interim. of this module to get your thinking straight before
Funders may only have one or two call for proposals per applying and to be very realistic about what you promise!
year, so map out on a calendar the upcoming dates for
proposals you want to submit (hint: deadlines in future
years will generally occur around the same time even
3.1 EQUIPPING FOR IMPACT WHAT FUNDERS EXPECT IN RETURN Send good news but also alert them to a change in
Getting a funder to commit to your project can take direction or a slip in timeframe. Of course there is also
months of work, but in the experience of many producers, likely to be formal reporting required. Your funders will
3.3 MEET THE IMPACT once they do provide initial funding, they are often want to know what has happened with their resources,
PRODUCER willing to continue adding resources to the project as will expect you to demonstrate how your campaign has
3.4 CONSIDER YOUR its impact campaign progresses. It’s important that you fulfilled its objectives. We’ll tackle this in more detail in
SUBJECTS continue to maintain a process of updating them on the the Evaluation chapter. How to report effectively and
3.5 WRITING IMPACT film and campaign’s progress, and to keep them aware appropriately.
BUDGETS of your evolving needs. If you take the time to make your
partners and funders feel like part of the inner circle, you Funders are way more than a cheque book. They are
never know what rewards you could reap down the line. partners who may become major allies to you and to
3.7 MAKING IMPACT the movement. They can unlock way more important
PARTNERS To quote our very own BRITDOC partnership guru, resources than just money. So now let’s focus more
Mr. Sandi DuBowski: deeply on how to identify and make great partnerships.
“Be truly grateful and generous. Take your lead

supporters to dinner. Send hand-written thank
you notes. Give flowers. Thank supporters publicly
at screenings, in printed and online materials.
It seems so basic, yet people forget.”

 3.7 MAKING IMPACT PARTNERS

MAKING IMPACT PARTNERS
I
3.3 MEET THE IMPACT
PRODUCER
3.4 CONSIDER YOUR
SUBJECTS
n addition to impact campaign funders
3.5 WRITING IMPACT
BUDGETS
there is a whole constellation of
 3.7 MAKING IMPACT
partners who would be keen to learn
PARTNERS
about your film. The reason they are
most likely be interested in partnership
because of their shared interest in the
issue you are trying to highlight.
3.1 EQUIPPING FOR IMPACT We think of them as sitting outside In the case of American Promise, the film team spent
considerable time getting organisations and foundations
3.2 THE ROLE OF FILM TEAMS the documentary film ecosystem – invested in the film, mobilising a total of 66 national
3.3 MEET THE IMPACT partner organisations and 118 community organisations
PRODUCER campaigners, philanthropists, brands, around the release. This advanced engagement proved
3.4 CONSIDER YOUR media, policymakers, foundations or invaluable when it came to spreading the word about the
SUBJECTS theatrical release, rolling out the community screening
NGOs. These partners can enrich the programme and engaging audiences around the
3.5 WRITING IMPACT
BUDGETS campaign in a plethora of different campaign.
3.6 FINDING IMPACT FUNDERS ways outside of monetary support, Likewise, No Fire Zone worked closely with national and
 3.7 MAKING IMPACT international partners including Amnesty International,
PARTNERS from arranging meetings with key Human Rights Watch, International Crisis Group and many
stakeholders, to setting up non Tamil organisations who played a huge contribution in
organising high level influencer screenings in a number of
theatrical screenings, or lobbying the key territories pivotal to the campaign strategy.
media. Through their own knowledge,
Let’s look for a second at when educational charity
“We have to contacts and experiences, they can Facing History and Ourselves (an educational nonprofit
acknowledge the role get the team access to decision that engages students in an examination of racism,
of partners - Facing prejudice, and anti-semitism) attended Good Pitch.
History and Ourselves, makers and audiences which extend They were so taken with the Bully documentary that
they offered to create a free downloadable learning guide
the Conference of
Mayors and Change.
the campaign’s reach, and amplify and online training resource to accompany the film, as
org all brought so its voice. In short, what they can well as introducing the film to 3500 educators as part of
much to the Bully One Million Kids. As well as that they introduced the Bully
Project.”
offer is priceless. team to their own funder, the Einhorn Family Charitable
Lee Hirsch Trust who ended up becoming a major funder for the
Bully project.
3.1 EQUIPPING FOR IMPACT Or perhaps when The Innocence Project were so moved The Escape Fire filmmakers approached the healthcare
by Give Up Tomorrow that they set up a new organisation foundations, but then also started to think about how
called the Philippines Innocence Project to work on the campaign would play with the military. They met
3.3 MEET THE IMPACT reforming the nation’s criminal justice system. Here’s the head of the US Army pain management task force
PRODUCER what the filmmakers had to say about securing the and the Department of Veteran Affairs at Good Pitch,
3.4 CONSIDER YOUR partnership: who helped arrange screenings for military personnel
SUBJECTS and the team also managed to secure screenings at
3.5 WRITING IMPACT “With Give Up Tomorrow we really really wanted The Pentagon, Capitol Hill, and the Department of
BUDGETS to work with the Innocence Project. Defense, hosted by the Surgeon General of the US Army.
We are big fans of their work and what they’ve
 3.7 MAKING IMPACT accomplished: exonerating hundreds of wrongfully
PARTNERS convicted prisoners, many of them from death row.
They are such a perfect fit for our campaign, as they

champion others victims just like our main character
Paco. We tried desperately to reach out to them,
but they didn’t know us, and as you can imagine are
extremely busy saving lives.
We were invited to do a screening with Philanthropy

NY hosted by Ford Foundation’s JustFilms.
JustFilms asked us who would be good candidates
to join the panel discussion afterwards. Here was
a great opportunity to invite the Innocence Project.
JustFilms sent them an invitation, and they accepted!
Finally they had a chance to see the film on the
big screen at the Paley Center for Media with a sold
out audience, and that’s all it took. They recognized
that our issues were aligned and our film was able
to convey the same message they do. A few days
after the screening, we were invited to their offices
in downtown New York to brainstorm how to
work together.”
3.1 EQUIPPING FOR IMPACT FINDING PERFECT PARTNERS For some, it may have been a waste of their time, resources
So now here’s an exercise and a practical tool to help you and organisational energy.
identify partners, organise and manage these relationships
3.3 MEET THE IMPACT STUDY the field of the issue itself not just the films.
effectively. Although various contacts databases exist,
PRODUCER See where there is collaboration among organizations
and these do all sorts of whizzy things, our own version
and funders and where there are turf wars between
3.4 CONSIDER YOUR is a simple spreadsheet which we hope can be used by
organisations.
SUBJECTS everybody, regardless of budget or technical ability.
3.5 WRITING IMPACT COLLABORATE with films on a similar subject where
BUDGETS This picks up from your issue map – but now it’s time to do possible. Working Films institutionalized this practice with
the job a little more systematically, and to keep a record the Reel Engagement initiative: thematic collections of
while you’re doing it. There are six steps to building and documentary media that turn competition into collaboration
 3.7 MAKING IMPACT maintaining the Partnership Contact Log: and show how groups of films on the same issue can make
PARTNERS a stronger impact together than they can apart (Reel Aging,
Reel Energy, Reel Education).
1.
Let’s go back to our issue map, where we scanned
the issue thoroughly and mapped the issue landscape
2.
(if you skipped this section, go back to it here). From Once you have a list, it’s worth carrying out some basic analysis
this, you can start to develop a long list of organisations of these potential partners, to understand their strengths:
(and wherever possible named individuals in those a. Type of organisation — International, National
organisations) to add to your partnership contact log. or local. Size of organisation.
You might find the following useful as a research prompt: b. Constituency — ie: Youth, Business leaders, Latino,
Women, Rural, paid memberships, mailing list signup,
RESEARCH the history of distribution and impact website visitors, facebook/twitter followers
campaigns of previous films in the field. Look at film credit c. Experience in film partnership - first time or veteran.
lists, study films campaigns’ websites, social media, press. Resistant to film or embracing.
d. Likelihood of partnership — aligned with the issue, outlier,
LEARN who were the key stakeholders and funders. Study unexpected.
which organizations sponsored screenings, who sat on e. Partner power assessment — issue field leader or less
post-screening panels and led Q & A’s. Read final campaign influential?
reports, and funder reports. f. How or where does partner deploy power — lobbying,
ASK whether the campaign achieved its goals and how grassroots campaign, support services, elite influencers,
those goals evolved and changed over time. Learn if the publications, cause fundraising, social media, conferences,
stakeholders found it a positive and effective experience. offline or online partnership (ie: Avaaz, Change.org, AllOut.
org etc)

3. 4.
3.3 MEET THE IMPACT Think about and then list what you might in an ideal world Prioritise.
PRODUCER get from each. Usually funding is close to the top of the list. Order the list into where you want to start, and be realistic
3.4 CONSIDER YOUR But there are lots of other potential asks including: about how much capacity you’ve got to do it.
SUBJECTS
3.5 WRITING IMPACT DURING PRODUCTION: AFTER FILM IS COMPLETED:
BUDGETS
•S haring research materials
& access to experts
• Promote the film to mailing
lists/memberships. 5.
 3.7 MAKING IMPACT • Access to photographic or • Drive donors to give to a cause
film archive • Use the film as a training tool Update constantly.
PARTNERS
• Access to local operations • Use the film as a lobbying tool Keep using it and update after every conversation,
which can help logistics * Use the film as a teaching tool or at least make a note to update as a team on a regular
• Access to stories/ • Create a study guide/ basis.Put alarms in your calendar to make sure you do.
contributors for your film discussion guide for the film It’s vital you keep on top of this – it’ll give you a really clear
• Introductions to • Integrate the film into idea of where you’re at, and what other opportunities exist.
prospective funders ongoing campaign work
• Promote the film to mailing • Organise membership DOWNLOAD
lists/memberships screenings or high level PARTNERSHIP CONTACT LOG
• Promote crowdsourcing influencer screenings.
campaigns • Show the film at annual
• Give feedback on rough events/conferences.
cuts • Fund press and PR work
• Help you develop your around the film.
Impact Goals and Strategy • Introductions to prospective
funders
• Share or create web resources
to amplify the film’s impact
• Sell the DVD to members
and others
3.1 EQUIPPING FOR IMPACT So we’ve got a list. But how to start. to get involved in a film project, don’t; and organisations
whose link is less obvious, do. It’s all down to the
3.2 THE ROLE OF FILM TEAMS These people are not film people. individual. Find the right person, and if you don’t see
3.3 MEET THE IMPACT the spark in their eye, ask yourself whether you’re ever
PRODUCER Will they understand how we work going to.
3.4 CONSIDER YOUR as artists? Will they value us as change
SUBJECTS START SMALL
makers? Will they overvalue us? Small asks can go along way. Deliver results and build
3.5 WRITING IMPACT
BUDGETS from there. A small ask lets you test the waters and get
Our top tips are: a better understanding of each other’s value. Partners
(or funders) can see the direct impact in the shorter
 3.7 MAKING IMPACT PICK UP THE PHONE AND START! term, and get more deeply engaged in the project
PARTNERS For all the advice we can give, there’s no substitute and it’s potential.
for getting on the phone (far better than email or social
media, though twitter can be great for making contact, MAKE A GOOD DEAL
and for finding the right individuals). Call people. Once you have figured out what your partnership might
A lot of people. It works for us. look like, it’s time to make a deal. It might be a good
idea here to read Active Voice’s excellent The Prenups
INSPIRE FIRST, CONVERT LATER Guide, which you’ll also find in our Library. Although it is
This can take the pressure off you as well – feeling like written from the point of view of the relationship between
every conversation has to directly lead to something funders and filmmakers, much of its advice is relevant to
will put you on edge, and that in turn will put your nurturing good partner relationships too.
prospective partner on edge.
Don’t forget to think about mutual benefit. Partnerships
Start by finding common ground and by sharing your aren’t just about what and individual or organization
passion for the issue. can do for you, it’s also about what you can provide
for the partner. This is often a tipping point for NGOs
Your impact vision might come in handy here. and others when they see in clear terms how the film
adds to their exposure, thought leadership, social
You’ll find people want to talk to you if you start from capital and more.
this level and ask them to respond, rather than asking
for money or support right off. Here’s our five bullet point summary of the Prenups Guide
to whet your appetite:
LOOK FOR THE RIGHT INDIVIDUALS • Figure out what role is right for partners to play.
Often we’ve found that organisations that really ought • Define needs and expectations on both sides at the
3.1 EQUIPPING FOR IMPACT outset (don’t forget to include data, we’ll come back •F
LEXIBILITY AND WILLINGNESS TO READJUST
to that in the chapter on Evaluation).
3.2 THE ROLE OF FILM TEAMS •T
RUST
• Ask whether goals overlap, differ, or conflict.
3.3 MEET THE IMPACT • Identify the risks of partnering – there will be some ie: •R
ESPECT
PRODUCER drifting time lines in film production and distribution •L
OVE
3.4 CONSIDER YOUR vs fixed campaign schedules.
SUBJECTS • Make it explicit – sign something! And finally:
3.5 WRITING IMPACT
BUDGETS With that last bullet point in mind, and once you’ve “As you go about working on your films
forged the terms of your partnership together with and campaigns, remember to always keep
shared expectations and goals, you might find it useful a positive attitude. An attitude of gratitude”
 3.7 MAKING IMPACT to have a look at this excellent sample Memorandum Marty Syjuco & Michael Collins
PARTNERS of Understanding (MOU) between filmmakers and Filmmakers, Give Up Tomorrow
nonprofits, which could be a useful template
for other types of partnership agreement too. Putting your Strategic Plan into action is about
assembling people and parts. The configuration
Thanks to Molly Murphy, Co-Director of Working Films, of your team is entirely dependent on and should be
for sharing it for use in the Field Guide. proportional to the scale of your project and available
resources. As with your motivations and vision, there’s
In that same spirit we love Gillian Caldwell’s super ultimately no wrong answer - just what you decide it
smart checklist for what it takes to maintain successful takes to get the job done. Thinking ahead about each
partnerships, as shared at Working Films’ & The Fledgling of these pieces of the puzzle will help you to develop
Fund’s REEL CHANGE training. Its tough to go wrong a timeline for production, engagement and distribution.
if you have: Up next, we figure out what distribution looks like for
your unique plan.
•S
HARED VISION
•C
LEAR EXPECTATIONS REGARDING ROLES
AND RESPONSIBILITIES GEEK OUT
SYSTEM FOR COMMUNICATIONS WITH CLEAR
POINTS OF CONTACT
•A
CTIVE HONESTY
•A
WARENESS OF POWER
•W
ILLINGNESS TO SUBMERGE IDENTITY/SHARE CREDIT

Geek out
3.3 MEET THE IMPACT
PRODUCER Further reading
3.4 CONSIDER YOUR
SUBJECTS 3.7
3.5 WRITING IMPACT
BUDGETS
The Prenups
activevoice.net/avlab/tools/
 3.7 MAKING IMPACT prenups/
PARTNERS Active Voice provides
a guide on everything
that film teams and funders should know
about working together. Get tips on
communicating about complex issues
to forge more productive relationships.
Simon Sinek: How great

leaders inspire action
ted.com/talks/simon_sinek_
how_great_leaders_inspire_
action
Simon Sinek starts with the golden
question in this viral talk about inspirational
leadership filmed at TedxPugetSound.
 4.1 WHAT IS IMPACT DISTRIBUTION?

4.2 H
OW COMMERCIAL ARE IMPACT FILMS?
4.3 TYPES OF DISTRIBUTION DEALS
4.4 R
EVIEW DISTRIBUTION PATHWAYS
4.5 CLASSIC ENGAGEMENT ACTIVITY
4.6 IMPACT DISTRIBUTION AT WORK
4.0
4.7 SIGN ON THE DOTTED LINE
IMPACT
DISTRIBUTION
 4.1 WHAT IS IMPACT

DISTRIBUTION?
WHAT IS IMPACT DISTRIBUTION?
Y
4.2 H OW COMMERCIAL
ARE IMPACT FILMS?
4.3 TYPES OF DISTRIBUTION
DEALS
our film is ready to go out into
4.4 R EVIEW DISTRIBUTION
PATHWAYS
the world. There are many paths
4.5 C LASSIC ENGAGEMENT
ACTIVITY to audiences, but which is right
4.6 IMPACT DISTRIBUTION
AT WORK for you? Possibly a launch at a festival,
4.7 S IGN ON THE DOTTED LINE
perhaps a theatrical run. Maybe you’re
hoping for international TV sales,
wondering which platforms you should
be using online?
 4.1 WHAT IS IMPACT Maybe you’ll hand your film over We’ll look at some different ways of doing it – sketching
DISTRIBUTION? out a spectrum from keeping it simple and handing over
to a distributor. Maybe you won’t completely to a distributor at one extreme, to doing it all
4.2 H OW COMMERCIAL
yourself at the other, and using case studies to illustrate
ARE IMPACT FILMS? get any decent distribution offers. the points along it.
4.3 TYPES OF DISTRIBUTION Or given the possibilities of the digital
DEALS We’ll break down some of the key Impact Distribution
4.4 R EVIEW DISTRIBUTION age, maybe you’ll decide to self activities, like lobbying or online campaigning, and get
PATHWAYS distribute. Maybe you’ll do a bit you some ‘been there, done that’ advice from the experts.
ACTIVITY
of both. Maybe, maybe, maybe. And finally, we’ll help you draw up a quick checklist
for your film – in case you get a distribution offer and
need to make a fast decision.
AT WORK
The fact that this is an impact project adds even more
4.7 S IGN ON THE DOTTED LINE opportunity and even more complexity. Given your Distribution vs Impact
impact goals and your partnerships, your priority may Until recently, Distribution and Impact were pretty much
be working with community organisers to equip them separate issues – and they came in that order. You made
in their changemaking. Or perhaps you are focused a film, you sold it to a distributor or a broadcaster
on effective political lobbying around the release. and then separately you organised some impact work
Any one of these outcomes could spell success, there (probably calling it ‘outreach’).
are no wrong answers, just what makes sense for your
film and issue. There were two separate questions:
This chapter is intended to help you figure out what kind Distribution asked ‘How can we sell the film to as many
of distribution is right for you. To get the film seen as people as possible, making as much money as possible?’
widely as possible AND to get it seen by the right people
in the right way to achieve the right results. Impact asked ‘How can we get the film to the people
who really need to see it, so that we can make the
We call this Impact Distribution. most impact?’
In this chapter: The answers led to two separate spheres of activity,

We’ll start by calling out some of the big changes that distribution and impact, usually by separate teams,
have happened in distribution over the past few years, which at best is highly inefficient and at worst leads
and defining Impact Distribution in a little more detail. to outright conflict.

DISTRIBUTION?
4.2 H OW COMMERCIAL
ARE IMPACT FILMS?
DEALS
PATHWAYS LOBBYING ADVERTISING
4.5 C LASSIC ENGAGEMENT CAMPAIGN FILM & DM
ACTIVITY PRESS & PR PRESS & PR
AT WORK EDUCATION MERCHANDISE
4.7 S IGN ON THE DOTTED LINE & SCHOOLS & LICENSING
CAMPAIGN WEBSITE FILM WEBSITE
& SOCIAL MEDIA & SOCIAL MEDIA
ADVOCATES/ INTERNET
CELEBRITIES VIEWING,
INFLUENCER & EVENTS & DVD & TV
COMMUNITY NON-THEATRICAL
EQUIPING SCREENINGS THEATRICAL /
COMMUNITY CINEMA
IMPACT VS DISTRIBUTION
Uncoordinated, Competitive, Inefficient
 4.1 WHAT IS IMPACT At worst a distributor worries that the impact work will MESSAGING
DISTRIBUTION? undermine their marketing of the film, associating it Who gets to place stories about the film in the media and
with social issues which they believe will make the film speak for the film? Harvey Weinstein famously forbade
4.2 H OW COMMERCIAL
less attractive to general audiences and giving the film Errol Morris from using the word documentary when
ARE IMPACT FILMS?
away to people that they would like to sell the film to. talking about his film to press because the mogul thought
4.3 TYPES OF DISTRIBUTION Some of these worries may be justified. audiences would be put off. What about the partners and
DEALS film team talking about the issues behind the film and
4.4 R EVIEW DISTRIBUTION At worst the impact team worries that the distributor capitalising on the release to do so? Will they be allowed?
PATHWAYS doesn’t care about the social goals, and will treat the
4.5 C LASSIC ENGAGEMENT people who need to see the film as simply a market to WEBSITE, FACEBOOK AND TWITTER
ACTIVITY be sold to, not a community to be engaged and helped Who owns these channels and are they for selling the
and will market the film in a way that’s cheesy or off- film, running the engagement or both?
putting to the experts or the affected communities
AT WORK
they want to work with. Some of these worries may CHANNELS OF DISTRIBUTION
4.7 S IGN ON THE DOTTED LINE be justified. Where is your film going to be seen and is that right for
your strategic audience? The platform that offers the
Some of the common points of conflict are: most money might not be one that the people you want
to see your film use.
TIMING
The distributor will put the film out when it’s most The good news is, we think there’s a better way....
commercially advantageous but the impact team may
have timelines based around what’s happening socially
or politically.
FREE SCREENINGS
Sometimes distributors will resist these or only
allow them much later - so be prepared to negotiate.
This can mean missing screening at key conferences
or meetings, or not being able to engage audiences
who won’t or can’t see the film when it comes out
(they may not have HBO for instance or be able to
go to or afford cinema tickets).

DISTRIBUTION?
4.2 H OW COMMERCIAL
ARE IMPACT FILMS?
4.3 TYPES OF DISTRIBUTION LOBBYING ADVERTISING
DEALS
FILM & DM
PATHWAYS PRESS & PR
ACTIVITY EDUCATION MERCHANDISE
AT WORK
& SCHOOLS & LICENSING
ONLINE
PRESENCE
ADVOCATES/ INTERNET
CELEBRITIES VIEWING,
EVENTS & DVD & TV
EQUIPING SCREENINGS
THEATRICAL /
COMMUNITY CINEMA
IMPACT VS DISTRIBUTION
Mutually beneficial, Cost effective and Efficient
 4.1 WHAT IS IMPACT With the advent of the web, the overturning of Conflicts must be negotiated – there will be trade-offs,
DISTRIBUTION? traditional distribution windows, with more sophisticated but there will be win-win situations too. Fundamentally,
4.2 H OW COMMERCIAL approaches to impact strategy, we think the new question experience shows that Impact and Distribution aren’t
ARE IMPACT FILMS? is this: separate and these activities need to be planned and
strategised together!
How can we optimise both impact and commercial return
DEALS
by getting the film to the right people in the right ways? They’re best thought of as one thing. Not Impact and
4.4 R EVIEW DISTRIBUTION This way of thinking recognises that there are overlaps Distribution but Impact Distribution.
PATHWAYS between Impact and Distribution, and seeks to get the
4.5 C LASSIC ENGAGEMENT best of both worlds - with each activity driving the other. Which takes priority over the other, should be your
ACTIVITY choice and should reflect the priorities that you had
4.6 IMPACT DISTRIBUTION going into the process. Remember the Know Thyself
AT WORK Section? If you haven’t sorted out your priorities yet,
use the tool and do it now.
“The first question I’d ask of

yourself is what is your goal
in distribution? Is it to make
money? Is it to get accolades?
Is it to get the film the widest
possible audience? These
things occasionally coincide,
but I wouldn’t expect it. I’d also
think about who your audience
is. Is it easily identifiable (and
reachable)? What are you
looking for a distributor to bring
to the table?”
Morgan Neville, Director
20 Feet from Stardom
4.1 WHAT IS IMPACT DISTRIBUTION?

 4.2 H
4.4 R
4.1 WHAT IS IMPACT

DISTRIBUTION?
HOW COMMERCIAL ARE IMPACT FILMS?
A
 4.2 H OW COMMERCIAL
ARE IMPACT FILMS?
DEALS
nalysis of the US box office
PATHWAYS
(the strongest market for
ACTIVITY documentaries across the world)
AT WORK indicates that impact docs perform on
a par with non-impact independent docs.
Every year some of them take over
$1 million. This is probably why every
year distributors take an interest
in a few of them.
4.1 WHAT IS IMPACT The vast majority of great The next graphic demonstrates two things:
DISTRIBUTION?
documentaries don’t reach these • that impact films can be very commercially successful
• but they don’t need to be huge moneymakers
ARE IMPACT FILMS? numbers though. Most don’t have to have huge impact
4.3 TYPES OF DISTRIBUTION a full theatrical release but go
DEALS
4.4 R EVIEW DISTRIBUTION straight to non-theatrical, TV and Impact Award Finalists Lifetime Theatrical Gross
PATHWAYS online. There are many ways for Taken from Box Office Mojo
ACTIVITY
films to reach the right audiences. American Promise $146,702
4.6 IMPACT DISTRIBUTION Ping Pong — which followed a group Blackfish $2,073,582
AT WORK
of over-80s table tennis champions Granito $43,942
and challenged the expectation that The House I Live In $210,752
the elderly would live sedentary
No Fire Zone $0
lifestyles — never had a theatrical
Bully $3,495,043
release, but it did manage to reach
The Act of Killing $486,919
an important audience through
DVD screenings in over 2,000 The Interrupters $282,448
care homes. The Invisible War $71,968
Give up Tomorrow $0
4.1 WHAT IS IMPACT Each of these Impact Award Finalists had an This is not a new problem. The truth is it’s always been
DISTRIBUTION? extraordinary impact, was deeply loved by fans and tough to get an independent film to market. Documentary
honoured by film industry peers and society leaders. filmmakers have always been at the vanguard -
But commercial success is fickle and filmmakers are reinventing distribution models, determined to reach
ARE IMPACT FILMS?
advised to make robust plans and partnerships for getting audiences no matter what the gatekeepers say.
4.3 TYPES OF DISTRIBUTION their films into the world, whether or not lady luck strikes.
DEALS US distributor New Day Films was formed 40 years ago
4.4 R EVIEW DISTRIBUTION As this beautiful graphic from Chris Tosic reminds us — because the women’s movement had arrived and a group
PATHWAYS not everything beautiful and worthwhile will make of independent filmmakers couldn’t find distribution for
4.5 C LASSIC ENGAGEMENT money. Our mission is to find ways to make sure the their feminist films:
ACTIVITY best work can reach the right audience and be
a sustainable practice for artist filmmakers. “We met at the 1971 Flaherty Seminar, where some
of our films were programmed,” recalled founding
AT WORK
member Amalie Rothschild. “I was in production with
4.7 S IGN ON THE DOTTED LINE It Happens to Us. I’d been trying to get distribution
for Woo Who? May Wilson. I’d take it to non-theatrical
distribution companies and they’d say ‘It’s wonderful,
dear, we really like it. But there’s no audience...’”
Sound familiar?
Artist: Chris Tosic
GEEK OUT
4.1 WHAT IS IMPACT

DISTRIBUTION? Geek out
ARE IMPACT FILMS? Further reading
DEALS 4.2
PATHWAYS
4.5 C LASSIC ENGAGEMENT Distribution Transparency
ACTIVITY filmmakermagazine.com/94034-
distribution-transparency-four-filmmakers-
reveal-their-distribution-numbers-part-
AT WORK
one/#.VhXZ5qIyIQ1
4.7 S IGN ON THE DOTTED LINE Here is a rare read. Some facts and figures
on distribution set out in an excellent article:
Distribution Transparency: Four Filmmakers
Reveal Their Distribution Numbers in
Filmmaker Magazine: Part 1 and Part 2

4.2 H
 4.3 TYPES OF DISTRIBUTION DEALS
4.4 R
4.1 WHAT IS IMPACT

DISTRIBUTION?
TYPES OF DISTRIBUTION DEALS
T
4.2 H OW COMMERCIAL
ARE IMPACT FILMS?
 4.3 TYPES OF DISTRIBUTION
DEALS
hese days, distribution deals vary
PATHWAYS
about as much as snowflakes, no
ACTIVITY two seem to be the same. But there
AT WORK are still some general categories that
help frame the big decisions ahead.
In this section we look at the pros and

cons of all-rights distribution deal, hybrid
distribution and self distribution.
4.1 WHAT IS IMPACT But here’s one major caveat marketing spend and expertise that makes your film
DISTRIBUTION? a recognised title, and they can help with winning major
before you get stuck in. As this awards (which typically distributors enter).
4.2 H OW COMMERCIAL
ARE IMPACT FILMS? guide develops it will eventually But in some cases, these deals also cause problems.
 4.3 TYPES OF DISTRIBUTION have regional-specific advice and If the film doesn’t perform well initially, distributors can
DEALS lose interest and move on to their next title rather than
4.4 R EVIEW DISTRIBUTION guidance but for now we are largely squeeze the rest of the juice from the lemon. Even if it
PATHWAYS focussing on describing a model of does perform well, much of the control is now with the
4.5 C LASSIC ENGAGEMENT distributor, and the film team may be very restricted -
ACTIVITY
distribution which applies mostly even prevented - in executing their impact work.
4.6 IMPACT DISTRIBUTION to North America, Western Europe And if you do get that all-rights deal, it’s still quite a lot
AT WORK
and Australasia, and to parts of Latin of work for the filmmaker anyway. Dirty Wars signed to
4.7 S IGN ON THE DOTTED LINE IFC but because the film team was passionate about their
America and Asia. Thank you for film; they still did hundreds of hours of work contacting
your patience. people and partners, organising panels, etc.
THE ALL-RIGHTS DISTRIBUTION DEAL The tough reality for many documentary teams is that
In the ‘old world’ of distribution, filmmakers went to you may not be of interest to distributors, even the
festivals and hoped to get an all-rights distribution deal, smaller ones. If that’s true for you, feel reassured that
which had the benefit of being able to hand over the film you are in great company! Some of our favourite films
to a specialist team who did all the legwork for them - put and ones which created huge social impact are in this
“If a company has never boat too. The great news is that, whether you didn’t get
distributed a documentary the film in cinemas, on TV, in shops and online.
a distribution deal or whether you did and it wasn’t worth
before, think twice about signing, these days there are lots of other options.
being the first” For some film teams like Bully, who did an all-rights
Thom Powers, from deal with The Weinstein Company (after winning the
audience award at the Tribeca Film Festival), these This raises the question - are you going to seek an all
Distribution Advice for 2014 rights distribution deal at all?
major distribution deals work perfectly well and take the
pressure off having to deal with the complexities of the
distribution minefield. In these deals, you get a lump sum
of money up-front (it’s unusual to see any further money
so this ‘minimum guarantee’ is usually the fee in exchange
for seven or more years of the rights). If the release works
well, you reach a bigger audience, the distributor invests
4.1 WHAT IS IMPACT HYBRID DISTRIBUTION In The House I Live In, a film about the ‘war on drugs’ in
DISTRIBUTION? Today it’s increasingly possible to ‘carve up’ the north America, there were two primary objectives for the
distribution, giving the film team an opportunity to retain distribution strategy; the first was to reach the widest
4.2 H OW COMMERCIAL
certain rights, allowing them to be responsive to the possible audience and the second was the ability to be
ARE IMPACT FILMS?
campaign and demand from audiences. It’s increasingly nimble, ensuring the film could be deployed to support
 4.3 TYPES OF DISTRIBUTION possible to negotiate separate deals for retail, home local reform in venues that may not traditionally carry it.
DEALS video, television, educational, theatrical, non theatrical As a result, the team chose a hybrid model of distribution,
4.4 R EVIEW DISTRIBUTION and video on demand, as well as splitting all the digital self-releasing the film theatrically and partnering with
PATHWAYS rights for the film. Film Buff to make the film widely available on VoD and
4.5 C LASSIC ENGAGEMENT SVoD platforms.
ACTIVITY You can give away some parts, and retain others, all
to suit you. This ‘hybrid’ approach has the benefit of Similarly, Granito, Pamela Yates’ powerful film about
allowing film teams the chance to tailor their distribution bringing a South American dictator to justice employed
AT WORK
plan to their exact strategic aims. an alternative distribution model whereby campaign
4.7 S IGN ON THE DOTTED LINE goals were given more weight than commercial goals.
The Invisible War did a deal that gave theatrical, DVD The objective was to ensure a widespread distribution
and online rights jointly to Cinedigm and New Video. of the documentary to audiences who need it most
PBS took TV rights. Ro*Co Films did educational using PoV, VoD and DVD purchasing. But to really ensure
distribution and international sales and Film Sprout the film permeated Guatemalan society, the team gave
did non-theatrical distribution as part of the film team’s master DVDs to the country’s lead bootlegger so he could
Invisible No More movement. make quality pirate versions for his customers under the
name of ‘The Greatest Story Never Told’, which were
distributed to all of the street markets in the country,
retailing at $1.25 a time!
“I wanted to make a film, but I couldn’t
reconcile the film I wanted to make with the
As we’ve seen in earlier parts of the Guide, your choices
industry. No one was putting out the kinds of
will depend on the energy and capacity of the film team.
films that I wanted to make. As a person who
Negotiating and managing all the different distribution
has an entrepreneurial spirit, I couldn’t figure
options takes time, and can be a slog, particularly if you’re
out how to make that movie and not know
new to it all.
where it would end up... I had to figure out
the endgame for the film for myself.”
There are loads of new resources to guide you through
Ava DuVernay
the brave new world of what’s increasingly called ‘hybrid
distribution’.
4.1 WHAT IS IMPACT SELF DISTRIBUTION

DISTRIBUTION? Some teams take a hybrid approach and then take it to
the max. They don’t just negotiate the theatrical rights
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separately, they ring the cinemas themselves, or in the
ARE IMPACT FILMS?
case of Weapon of War, they create a mobile cinema to “The prevailing theory is that
 4.3 TYPES OF DISTRIBUTION screen their film where cinemas don’t exist. the days of theatrical releases
DEALS for independent films are in
4.4 R EVIEW DISTRIBUTION The Age of Stupid team organised a solar powered their last slow throes... We
PATHWAYS ‘cinema tent’ premiere in London’s Leicester Square and disagree because we just
4.5 C LASSIC ENGAGEMENT linked it by satellite to 62 cinemas around the UK in 2009. spent the last year filling
ACTIVITY They took £100,000 at the box office over 13 weeks and 300- to 2,000-seat theaters in
then took another £100,000 in non-theatrical bookings 170 cities with the firefighter
and cycle-powered green screenings. documentary Burn. We did it
AT WORK
with no distributor, no P&A
4.7 S IGN ON THE DOTTED LINE It can be a lot of work, but many filmmakers believe that budget and no experience.
they made more money cutting out the middle man and And the film has grossed
of course they retained total control of how the film was more than $1 million to date
handled. in the box office alone. Along
the way, we learned that with
the right film and approach,
theatrical can still be a major
- and profitable - part of a
winning release strategy”
Tom Putnam and Brenna
Sanchez, Filmmakers

4.2 H
 4.4 R
4.1 WHAT IS IMPACT

DISTRIBUTION?
REVIEW DISTRIBUTION PATHWAYS
E
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ARE IMPACT FILMS?
DEALS
ven if you have made and released
 4.4 R EVIEW DISTRIBUTION
PATHWAYS
multiple films, take the time to read
ACTIVITY through the options as a refresher.
AT WORK This time round, think foremost about
who are your target audience and how
they consume their media. It’s going
to be critical in selecting the right
distribution pathway for your project.
4.1 WHAT IS IMPACT No doubt by tomorrow there will The most common method for securing a cinema release
DISTRIBUTION? is to sell your film’s rights to a distributor. They may
be some new platform or device offer an advance, perhaps guarantee some P&A spend.
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Remember, distributors will want to hoover up as many
ARE IMPACT FILMS? for consuming media that will have rights as possible at this point, since theatrical is often
4.3 TYPES OF DISTRIBUTION created new verbs and lamentable understood to be a loss-leader or promotional tool for
DEALS ancillary rights but it may or may not be in your best
 4.4 R EVIEW DISTRIBUTION jargon. But for now we’ll stick to interest to give these away.
PATHWAYS a review of distribution channels
4.5 C LASSIC ENGAGEMENT But if you end up with no deal, it is not the end of
ACTIVITY
that have stood some test of time the world. These days it is possible for a film team to
including: cinema/theatrical, non- self release into art house/independent cinemas, or
even negotiate with a large chain. But you’ll need to
AT WORK
theatrical, VOD, DVD/Blu-ray, and raise significant funds to support theatrical bookings,
4.7 S IGN ON THE DOTTED LINE marketing and publicity. Many filmmakers are using
television. crowdfunding to directly support theatrical runs, with
successful campaigns raising between $15,000 and
CINEMA/THEATRICAL $100,000. Others are experimenting with the newer
A major incentive to go the theatrical route is that this theatrical-on-demand model, which amounts to individual
is the only way that your film will be eligible for certain crowd-sourced theater screenings, through companies
prestigious prizes, therefore remaining in the spotlight like Tugg and Gathr. But the verdict on revenue from
“Domestic Sales agency for longer. For example in the United States, a feature these new models is still out.
deals should be limited length documentary must screen in both New York City
to 6 months. In this day, and Los Angeles for at least one week in a commercial NON-THEATRICAL SCREENINGS
if you can’t sell a film within run, in order to qualify for an Academy Award. From town halls to pop up mobile cinema units on the
that time, filmmakers should back of a truck, non-theatrical screenings have proven to
have full ability to do what Theatrical films are more likely get newspaper reviews be one of the most important tools for film teams wanting
they like without involving and are more likely to translate out of the arts pages into to create impact. Offering flexibility across a campaign,
(or having a revenue stream features around the issue. If raising press awareness is an access to hard to reach audiences, and potential sources
towards) their sales agent.” important part of your strategy, like it was for American of revenue, many distributors are prepared to negotiate
Chris Horton, Promise, who used an ambitious theatrical release in or even waive these rights as they are deemed a low
Sundance Artist Services over 60 cities in the US to build awareness, dialogue and priority or too time consuming to administer. This can
action around issues of black male achievement, then give filmmakers a great opportunity to reach relevant
theatrical was strategic. audiences in wonderfully innovative and creative ways.
4.1 WHAT IS IMPACT Look at The Age of Stupid - where the team retained successfully toured films including The Invisible War &
DISTRIBUTION? non-theatrical rights and sold screening licenses direct The End of The Line — and Active Voice who worked with
from their website, allowing anyone anywhere to hold Food, Inc and Who is Dayani Cristal?.
4.2 H OW COMMERCIAL
a screening of the film. Crucially, the organiser of the
ARE IMPACT FILMS?
non-theatrical screening was encouraged to keep a slice VOD (CABLE / INTERNET VIEWING)
4.3 TYPES OF DISTRIBUTION of the profits for themselves or their campaign. Which The opportunities online are changing all the time and
DEALS empowered and engaged organisers and audiences negotiating different types of internet rights can be fairly
 4.4 R EVIEW DISTRIBUTION before they had even seen the film. bewildering. We will try to keep this section updated with
PATHWAYS new innovations as and when they come up, and in the
4.5 C LASSIC ENGAGEMENT meantime, here are the essentials to get your head round:
ACTIVITY
VIDEO ON DEMAND
Is a service provided by online platforms that allow
AT WORK
consumers to view content instantly through internet
4.7 S IGN ON THE DOTTED LINE connected devices such as; laptops/PC, internet
connected televisions, console/over-the-top box
connected TV’s, tablets and smartphones. For filmmakers
there can be some confusion in the breakdown of rights
models, but there are three categories to consider when
negotiating contracts or revenue streams.
TRANSACTIONAL VOD (TVOD)

Includes electronic sell through (EST) / Download
to Own (DTO
• Includes download to rent (DTR)
• With transactional VOD the customer pays for each
individual video on demand program. Examples

The Age of Stupid Screening in the Bar Carriage of the include: iTunes, Film4oD, Vimeo on Demand
UN train bound for Copenhagen
SUBSCRIPTION VOD (SVOD)
There are now specialised organisations who have the Allows for a digital access of the content in which
networks and relationships to deliver highly effective consumers are charged monthly fees in return for
community screenings programmes. This includes accessing the platform’s full library. Examples include:
organisations such as Film Sprout in the US, who have Netflix, Lovefilm
4.1 WHAT IS IMPACT ADVERTISEMENT SUPPORTED VOD (AVOD) licensing SVOD and/or AVOD during the Broadcast Term
DISTRIBUTION? Viewers are allowed to watch content for free, however - put simply, you may not be able to screen your film on
they must watch advertisements at various points any internet platforms until you’re out of the contracted
4.2 H OW COMMERCIAL
throughout the film. A portion of the ad revenue is then term with a TV broadcaster. And further to that, there
ARE IMPACT FILMS?
returned to the content provider. Example: Youtube, Hulu may be very specific windows where the film team
4.3 TYPES OF DISTRIBUTION (US), Snagfilm may exploit TVOD. This may prove very significant, and
DEALS knowing your stuff can help you manage the complexities
 4.4 R EVIEW DISTRIBUTION These digital rights can be described differently of these deals properly.
PATHWAYS depending on the territory and it’s important to
4.5 C LASSIC ENGAGEMENT understand the context of each and how they fall within DVD / BLU RAY
ACTIVITY digital release windows in order to maximise your For some time the cry has gone out that ‘DVD is dead’.
potential revenue as well as optimise reach to your target The writing has been on the wall for DVD for some time,
audiences. and the sales figures show its high-quality replacement
AT WORK
Blu Ray isn’t filling the gap in quite the same manner.
4.7 S IGN ON THE DOTTED LINE Looking at a US example, say you’re working with a As a result, the traditional ‘DVD distributor’ has all but
sales agent and sell your film to an all-rights distributor vanished. These days we see a decreasing interest from
or digitally-driven distributor, chances are they’ll take distributors in taking sole DVD rights. Most often, they’ll
all forms of Internet VOD. This means, for the sake of only take DVD rights bundled with other rights like VOD.
argument, they’ll control licensing for transactional
VOD and EST outlets like iTunes and Amazon VOD; But it’s important to remember that DVD might still
subscription VOD outlets like Netflix; and Free/Ad-based be the most appropriate platform for reaching certain
VOD which includes outlets like Hulu as well as any audiences - think older audiences or films that lend
possible direct sales from the film website. themselves to being collected or archived. In addition,
the educational market (schools, colleges, universities
Filmmakers self-distributing still need to work with and other institutions) is still dominated by DVD, though
an aggregator (like The Orchard) or a supplier (like that is changing, too. And finally, let’s not forget that
Quiver Digital) with an existing output deal for all these community screenings are generally still powered by the
digital retailers. In the US, for many impact docs in humble DVD or Blu Ray.
particular, television rights often have certain “holdbacks”
on what types of Internet VOD a filmmaker can exploit Other than educational and community screenings
outside of the Television deal. there are really only two options for DVD. You can sell
through retail channels (that’s large shops, stores and
For example, a Television broadcast deal that was done supermarkets as well as the remaining big online retailers)
prior to the film being completed (and which usually or direct from your website (and through your partners
includes a license fee) may prevent a filmmaker from or affiliates). Apart from Amazon, most retail channels are
4.1 WHAT IS IMPACT obsessively focussed on the easy-to-market blockbusters, more expensive per unit (that’s the cost per DVD). You
DISTRIBUTION? so convincing them to take a documentary can be can negotiate to purchase DVDs from your distributor at
nigh-on impossible. Usually these channels can only be a reduced rate or wholesale price. On the surface this can
4.2 H OW COMMERCIAL
accessed through a distributor, but that said, there are seem like a poor deal but if the price is right it’ll save you
ARE IMPACT FILMS?
plenty of niche smaller retailers who may take an interest the hassle of managing the process in house.
4.3 TYPES OF DISTRIBUTION in selling your DVD. Remember though that this can often
DEALS end up being a lot of work for relatively small reward. Given the rapid rise of VOD, it’s quite possible to ignore
 4.4 R EVIEW DISTRIBUTION DVD, but if educational or community screenings are an
PATHWAYS If you are making DVDs for educational or community important part of your strategy, then perhaps think about
4.5 C LASSIC ENGAGEMENT Screenings (or both) then it makes a lot of sense to getting all your DVDs made in one go - it’ll be much
ACTIVITY sell the DVD direct from your website. There’s lots of cheaper.
tools that enable you to do this like Assemble, Shopify
and even Amazon. It’s important to and plan and think TELEVISION
AT WORK
carefully about the upfront replication costs when doing With so many innovative routes to audiences, it can be
4.7 S IGN ON THE DOTTED LINE DVD direct as these can be significant. You’ll also need tempting to gloss over the role of good old TV in your
to arrange to author the DVD (which is technically quite Impact Distribution campaign. That would be a massive
tricky), create artwork for print, possibly apply for a rating mistake.
(like the MPAA in the United States or BBFC in the United
Kingdom). If you’re selling retail you’ll need a Universal According to Nielsen’s March 2014 cross-platform report,
Product Code (UPC) and a Barcode, too (make sure you overall time spent watching TV in US households was
test it before shipping). That’s before you’ve even thought 155 hours and 32 minutes per month. The average adult
about fulfilment, namely the process of ‘picking and spent 5 hours and 4 minutes per day watching TV and
packing’ - that is, shipping your order out to customers. 32 minutes per day watching time-adjusted TV via live
Specialist fulfilment houses (in the United States that streaming, VOD, DVR and mobile devices. This is massive.
includes Whiplash, Acutrack or E-fulfilment) can take this
off your hands but obviously you’ll need to factor in their TV is still the most consistent method to reach general
fees. Some filmmakers have ended up doing the fulfilment audiences both nationally and internationally, a TV
themselves for smaller quantities though this gets tedious broadcast will often create a new tide mark in public
very quickly. engagement with an issue and can be of real value to
campaign partners some months or even years after the
It’s easy to see, given the trend towards lower demand initial release at festival or theatres.
for DVD, why some filmmakers don’t bother with DVD
at all or go for a DVD-on-demand service (like Amazon’s Take a film like Bully, first released in 2011 which had
CreateSpace or Acutrack). These services are much already been seen by over 3.5 million kids before its U.S.
higher quality than they used to be, but end up being broadcast in October 2014 on Independent Lens during
4.1 WHAT IS IMPACT National Bullying Prevention Month. This platform allowed
DISTRIBUTION? the film team to reach an additional 1.2M viewers in a “POV provides an invaluable
single shot. It’s also been estimated that over the course service to educators. The
4.2 H OW COMMERCIAL content is fresh, timely, and
of a year, 86% of all U.S. television households - around
ARE IMPACT FILMS? extremely relevant to global,
211 million people - watch PBS, which is pretty impressive
4.3 TYPES OF DISTRIBUTION reach even by Bully’s standards. social, political, and
DEALS economic studies. POV
 4.4 R EVIEW DISTRIBUTION Or Blackfish, which after a successful theatrical run was programming raises relevant
PATHWAYS broadcast on CNN Films to over 24 million viewers in issues, often inspiring action
4.5 C LASSIC ENGAGEMENT the USA, the tipping point for the phenomenal public and motivation to create
ACTIVITY response to the film, and the moment when SeaWorld positive change… in
realised it was not going to go away. ourselves and in our world”
4.6 IMPACT DISTRIBUTION Deb Gaspar, Southeast
AT WORK Community College, Lincoln, NE
Let’s not forget, broadcasters can make outstanding
4.7 S IGN ON THE DOTTED LINE partners too - and can really engage with your ongoing
campaign strategy. Skip back to the partners and funders
section to find out more, but it’s worth also noting here as
an example that PBS have screened most of the Impact
Award finalists over the years and also complemented
screenings with a strong community engagement
programme.
Another great example is American Promise, which

reached around 1.5M viewers with their broadcast on POV,
but also had the benefit of working with local PBS offices
on great community engagement work. PBS SoCal, its
South California office worked on the American Graduate
campaign, organising events to help reduce school
dropout rates and keep kids in education till graduation.
Organising activities around American Graduate Day,
they ran workshops for parents, children and students of
all ages, and teachers, distributing interactive learning
games, apps and other educational materials to keep
GEEK OUT
kids engaged. You can read more about their community
activities here.
4.1 WHAT IS IMPACT

DISTRIBUTION? Geek out
4.2 H OW COMMERCIAL
ARE IMPACT FILMS? Further reading
DEALS 4.4
 4.4 R EVIEW DISTRIBUTION
PATHWAYS
4.5 C LASSIC ENGAGEMENT ADVERTISEMENT SUPPORTED TELEVISION
ACTIVITY VOD (AVOD)
4.6 IMPACT DISTRIBUTION #BlackSocialTV: How Black
Direct Distribution
AT WORK Viewers Are Dominating on
& Marketing Roundup
4.7 S IGN ON THE DOTTED LINE nofilmschool.com/2013/09/ Two Screens
direct-distribution-roundup- medium.com/theli-st-
whos-todays-digital-tools medium/blacksocialtv-how-
No Film School lays out a who’s who of black-viewers-are-dominating-on-two-
today’s digital tools. See more at: screens-7ef0afff5b66
britdoc.org/resources Sherri Williams and Lynessa Williams write
for Medium about how technology is
DVD / BLU RAY reviving TV through a key demographic.
Hustwit
hustwit.com
Use Gary Hustwit’s
documentary-linked
design-porn merchandise
as inspiration

4.2 H
4.4 R
 4.5 CLASSIC ENGAGEMENT ACTIVITY
4.1 WHAT IS IMPACT

DISTRIBUTION?
CLASSIC ENAGAGEMENT ACTIVITY
I
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ARE IMPACT FILMS?
DEALS
mpact Distribution differs from traditional
PATHWAYS
distribution in that there is a level of
 4.5 C LASSIC ENGAGEMENT
ACTIVITY engagement with audiences that goes
AT WORK beyond marketing. Connecting and engaging
with strategic audiences serves the dual
purposes of recruiting audiences and social
impact. Audience outreach both intersects
with and takes priority alongside the actual
method of distribution.
Let’s consider at a more granular level the
classic outlets and activities that you will use
to drive and augment your Impact Distribution
plan. These include events, websites, social
media, education, celebrities and lawmakers.
4.1 WHAT IS IMPACT EVENTS could watch the film with friends and colleagues, at their
DISTRIBUTION? The power of live events is huge in Impact Distribution. convenience, followed by discussion. One such screening
They are highly valued by film teams as a tool but can led to Pret A Manger founder Julian Metcalfe announcing
4.2 H OW COMMERCIAL
be a source of friction with distributors. Outside of non- publicly that the film had convinced him
ARE IMPACT FILMS?
theatrical screenings, most distributors will agree to a to go sustainable.
4.3 TYPES OF DISTRIBUTION certain number of special events or influencer screenings
DEALS organised by the film team and their partners, as long as The No Fire Zone campaign strategy to maximise the
4.4 R EVIEW DISTRIBUTION they are by invitation only and free for invited guests. But film’s impact in countries where Sri Lanka was having
PATHWAYS you may need to specially negotiate for many more. partial success portraying calls for human rights as a
 4.5 C LASSIC ENGAGEMENT ‘western’ agenda was driven by high level influencer
ACTIVITY Special event screenings can be invaluable for building screenings in key territories, working in collaboration
contacts, getting your film’s messages out to influencers, with partners. There were multiple screenings in 27
key target audiences and for extending the reach of your countries over five continents organised into short tours
AT WORK
potential funder/partnership agreements. Work with your of key regions ahead of political votes and events, often
4.7 S IGN ON THE DOTTED LINE partners to create a target list of influencers, book or including parliamentary screenings. As a result of this
borrow a screening room get the invitations out. targeted activity, many influencers of the UN Human
Rights Council were made aware of previously hidden civil
Depending on the size of your list, it can be effective war atrocities. One year later, this resulted, in a UN Inquiry
to curate a focused conversation in one community - into Sri Lankan war crimes being announced, achieving
say amongst business leaders, lawyers or civil servants. the campaign goal.
Screening in their own offices to make it easy, create an
added incentive with a notable ‘host’ or MC to conduct Out in the Silence conducted town-hall-style screening
the Q&A. Make sure you are clear ahead of time if you events, often in public libraries to discuss the effects
have an ask of the room - contacts, funds, strategy of homophobia. They reached over 1000 people in
advice. Oregon and In Pennsylvania, the film led to local anti-
discrimination ordinances.
Examples
Earlier in the guide we saw how the Ford Foundation’s These events are so focused and effective, you can often
JustFilms worked with the Give Up Tomorrow team to find an individual or organisational funder to pay for them
help arrange for them to meet with The Innocence Project - remember to budget for your organising time, wine and
— which in turn led to the filmmakers working directly snacks as well as the venue costs.
with them for part of the campaign.
The End of the Line held private screenings for the heads
of businesses involved in the fish business. Here they
4.1 WHAT IS IMPACT WEBSITES The Interrupters film team had separate film
DISTRIBUTION? Having a comprehensive web presence for the film (www.interrupters.kartemquin.com) and campaign
and the campaign is essential. A website will act as a sites (www.interruptviolence.com)
4.2 H OW COMMERCIAL
permanent home for people trying to find more about
ARE IMPACT FILMS?
the film and a central resource for people who have seen Bag It centralised all their resources in one site –
4.3 TYPES OF DISTRIBUTION the film and want to know more. It goes without saying this was the place to watch the film, download tools
DEALS but using the web and social media as an effective tool to for becoming a bag it town and shop for merchandise
4.4 R EVIEW DISTRIBUTION further impact for a film is a huge and complex subject. or arrange screenings.
PATHWAYS You’re going to encounter terms like SEO, PPC, Inbound
 4.5 C LASSIC ENGAGEMENT Marketing, Re-marketing, A/B testing and many more. Get Ask the nearest filmmaker and chances are they’ll say
ACTIVITY help from someone to navigate what you need and filter building the website was one of the most painful parts of
out what’s not necessary. Needless to say it’s important to the delivery process. There’s lots to think about. Film and
have at least one expert on your team and try to budget campaign websites have some unique challenges that can
AT WORK
for an external supplier or agency who can handle this be hard to solve and often only come to light later down
4.7 S IGN ON THE DOTTED LINE properly. Make sure you get a second opinion, as the devil the road once a web supplier has been chosen. Asking
is in the detail. the hard questions up front will mean you don’t get a
nasty surprise (or bill) later on.
Are your film and campaign websites the same? Should
they be? Think about whether the campaign is going to Think about not just who will build the website but
“Creating a website is only have a life independently from the film or be handed over who will support the site technically for the life of the
half the job, most of the work to a partner later on. film and campaign? If you’re getting a deal or a freebie
really happens once the site then think carefully about how long that will last. You
is launched as the website What happens to the campaign after the film’s don’t want to find yourself stuck with no technical
needs to support your film and initial release? support at a critical moment.
campaign possibly over years.
If you’re getting the site done There’s no easy answer or rule, but having one website Getting a free service can end up being a false economy.
as a favour that’s great, but will generally make things easier. Recruiting thousands
think carefully about how the of followers for each of your separate websites, twitter
site will be supported after and facebook feeds is time consuming. Duplicating
launch as favours are hard content across two sites can cause search engine issues
to continue over years.” as well as splitting your vital google search ranking in half.
James Franklin It can also be confusing and hard for people to navigate
Founder, Assemble between two sites. So think about whether you want
to centralise your campaign and promotion efforts or
across two channels.
4.1 WHAT IS IMPACT SOCIAL MEDIA engaging with people. If you want to use social media
DISTRIBUTION? Social media has been a revolutionary force - quite but are overwhelmed with the task of updating each
literally in some countries - and is continuing to grow feed with unique content - pick the platform you enjoy
4.2 H OW COMMERCIAL
rapidly. If you’re trying to find people to engage with and do it well. This is something you’ll probably need to
ARE IMPACT FILMS?
around a topic, chances are they are already discussing update long term - with information on the campaign,
4.3 TYPES OF DISTRIBUTION it on social media. new screenings, and news on your film. Auto updates
DEALS of the same content across many different feeds can be
4.4 R EVIEW DISTRIBUTION •C lose to 1.7 billion people have active social annoying, and it’s also impersonal. Don’t worry, you don’t
PATHWAYS media accounts have to be on them all — just the ones that matter to you
 4.5 C LASSIC ENGAGEMENT • 96% of 18-35 year olds are on a social network and your audience.
ACTIVITY • 200 million photos are uploaded per day to facebook
or around 6 billion each month Think about how you post as well as what you are going
• Twitter is adding 300,000 users a day to say. Using the right voice is hugely important on social
AT WORK
media. Look at the Facebook and Twitter feeds from
4.7 S IGN ON THE DOTTED LINE Most people think social media being Facebook and some of the films in our case study. Think about their
Twitter but it also covers things like Instagram, YouTube, tone, and how theirs relates to your film and strategy.
Vimeo, Pinterest, Google+, Tumblr, Flickr and even Bag It uses an upbeat, encouraging, conversational tone
Slideshare. See Brian Solis’s Conversation Prism in the — after all, the campaign is about building communities.
Geek Out section for a complete overview. Or read The Invisible War and No Fire Zone’s feeds are necessarily
Jeff Bullas’ blog. different, they carry gravitas, and, as they are focused on
changing structures, invite engagement in other ways. If
Contrary to perceived wisdom, Social media is not you’re looking for more inspiration, search the pages and
about getting follower numbers as a badge of honour. feeds of brands - think Innocent to British Airways. The
If you really want a lot of followers on twitter you can online email service MailChimp created a whole site just
buy thousands of fake ones for a few dollars. Genuinely talking about its tone on social media, there’s some great
engaging an audience is best achieved by providing them ideas - it’s in the Geek Out section. It can really help you
with compelling material. Blackfish is a great case in refine your own tone of voice.
point, with CNN Films Twitter following growing by
1000 the day after broadcast! Finding people to follow with similar interests can
sometimes work as they may follow you back. Either
What to post search for users, pick relevant hashtags and find users
On a personal level social media is about engagement that way or look for lists of users others have made.
– just like a real conversation (you remember when
people used to just talk to each other), it can’t be At a campaign level a social media strategy is driven by
faked. Authenticity and generosity are important when great content - the exponential power of sharing. The
4.1 WHAT IS IMPACT secret of getting your content shared by more people or take some action (like signing up to your mailing list or
DISTRIBUTION? isn’t always about making better stuff – sometimes it’s coming to a screening). During the production process of
just trying different things. Try asking for feedback from the film you’ll have created no end of written content or
4.2 H OW COMMERCIAL
partners, influencers, and anyone else in your community come in contact with people who can help you to create
ARE IMPACT FILMS?
(or who you want to be in your community). interesting written content.
DEALS As you browse Twitter and Facebook, you’re likely to see Task a savvy team member with looking after social
4.4 R EVIEW DISTRIBUTION images everywhere. There’s data behind the reason why media and website updates. But beyond that, think
PATHWAYS as Image posts get more views, clicks, shares, and likes about who needs control of the site? If your distributor
 4.5 C LASSIC ENGAGEMENT than any other type of post including video. wants to control the film website, how will this work for
ACTIVITY the campaign? If your campaign partners need control
On Facebook, photos get 53% more likes, 104% more of the site how will this work for your distributors? Will
comments and 84% more click-throughs on links than the technical solution you choose mean you are able
AT WORK
text posts. In a study Twitter found that of over two to update the site yourselves and give access to other
4.7 S IGN ON THE DOTTED LINE million tweets from verified users, photos have the parties or will you need to go through a third party
greatest effect on retweets. who might be unreliable or unavailable. What about
distribution and campaigns over multiple territories or
Managing the accounts countries - can you support these and your campaign
If you’re trying out new things and experimenting make partners.
sure you’re using analytics to record the results - test
and measure - and then ditch what doesn’t work and Remember to think about who owns the website, social
“Working on a site with keep what does. If you don’t measure you’ll never know media handles and most importantly any associated data
multiple distributors and what actually works for your audience and so you’ll never like email addresses. Sometimes distributors assume they
campaign partners across improve. own all of this - but that may not be the best thing for the
multiple territories is beyond campaign or the film long term. Agree this up front and
most technical solutions out Often it’s more effective to use your existing partners and get it included in contracts.
there like Wordpress. That’s other influencers with greater reach rather than growing
one of the reasons we felt we your own list from zero - be that on Facebook, Twitter, If the web is an important part of your strategy, think
had to create the Assemble blogs or on email. about learning HTML, or even taking a brief course in
system, to solve this issue programming basics. This will pay dividends when you
of the film website needing Think carefully about content as this also fuels two other start dealing with all those techies.
to do different things in big drivers of online traffic - guest blogging and SEO.
different countries.” Content marketing or inbound-marketing is the process
James Franklin of creating content that people find useful or interesting GEEK OUT
Founder, Assemble as a means to getting them to either share your message IDEAS FOR FURTHER READING
4.1 WHAT IS IMPACT EDUCATION Curriculum

DISTRIBUTION? For many film teams, connecting with schools and If your film deals with issues which are part of the
school aged kids is key. If that might be you, think about educational curriculum, research the relevant curriculum
4.2 H OW COMMERCIAL
whether you want to work with an Education specialist guides online and identify the key learning outcomes
ARE IMPACT FILMS?
organisation who can help you develop Education tools - you can then develop materials or resources to help
4.3 TYPES OF DISTRIBUTION to accompany your film. educators. This helpful article by Jessica Schoenbaechler
DEALS breaks down curriculum guides for US school-age kids,
4.4 R EVIEW DISTRIBUTION Lee Hirsch and the Bully team worked with a variety but contains a lot of helpful info for those outside the
PATHWAYS of education materials specialists including Facing United States, too:
 4.5 C LASSIC ENGAGEMENT History and Ourselves, Harvard Graduate School of
ACTIVITY Education and Edutopia (amongst others) to develop a Filmmakers considering a big educational component
suite of resources for the Bully toolkit - including tailored should attend educator conferences, digital media and
materials for parents, teachers, students and also for learning convenings, connect with digital educators
AT WORK
anti-bullying advocates. online, and/or attend librarian conferences -- before
4.7 S IGN ON THE DOTTED LINE creating educational content. Learn from the source what
educators are looking for, what they need so you’re not
reinventing the wheel or creating unwanted material.
Similarly, consider guides like Community Classroom by

ITVS where resources and clips are collected and lesson
plans/other resources are made available for teachers to
use free of charge. If you’d like some ideas, have a look
at the brilliant supporting materials developed for Island
President.
Cost
Creating in depth curriculum guides costs real money as
And in a similar but different example, The American it will involve asking professional teachers to do real work,
Promise team worked with Teaching Tolerance (a project of as well as design and getting clips prepared. If you want
the Southern Poverty Law Centre) to create a Professional to go this route, you will probably need to raise a grant.
Development Curriculum to help educators become more
aware of the ways schools do and don’t work for African In the US there is much more of a developed educational
American boys. With over 80% of educators in the US being market for schools and colleges. There are many
white middle-class females, it was an invaluable resource to distributors who consider the educational rights to films
help them meet the needs of their pupils. to be valuable and, like The Invisible War, you might carve
4.1 WHAT IS IMPACT those rights out and sell them separately. MIA’s involvement also helped bring other celebrity
DISTRIBUTION? advocates to the issue:
In other countries, schools may be interested in using
4.2 H OW COMMERCIAL
your film in the classroom but there are not established
ARE IMPACT FILMS?
routes to get them films, even for free. You may need to
4.3 TYPES OF DISTRIBUTION get creative. In the United Kingdom, BRITDOC started
DEALS Doc Academy, as a free website for teachers by teachers
4.4 R EVIEW DISTRIBUTION funded by grants.
PATHWAYS
 4.5 C LASSIC ENGAGEMENT CELEBRITIES
ACTIVITY It can be incredibly helpful to have an appropriate
celebrity help bring attention to your film, even if it’s
just appearing at your premiere to ensure your film gets
AT WORK
profiled by the picture editors. But you may be able to go
4.7 S IGN ON THE DOTTED LINE alot further.
Research whether any celebrities are already interested

in or sympathetic to your film’s issue. Have they spoken
about it before in the press or on TV? Have they attended
public hearings or rallies on the issue? Don’t just go for
any famous name, look for one authentically connected to
your story.
Examples
Rapper and activist MIA lent her support to the No Fire
Zone campaign - having fled Sri Lanka’s civil war with
her family when she was 11, she was keen to promote and
support the film’s messages to her followers on Twitter:
Supporting The House I Live In campaign, John Legend spoke
out on the ‘war on drugs’ on CNN and MSNBC, emphasising
the need for a more common sense approach to drug policy.
Scenes from the film were also showcased in an exclusive

music video premiering on CNN, which provided huge reach
and amplification to the campaign.
4.1 WHAT IS IMPACT Approaching celebrities without any prior contact can “The manager
DISTRIBUTION? be difficult, but may be possible through one of your of Depeche Mode
partnerships so ask around. If not, go back to basics got in touch with
4.2 H OW COMMERCIAL
- tweet them the trailer or website, invite them to a us [saying] Martin
ARE IMPACT FILMS?
screening - send them a copy of the film. had seen the docu
4.3 TYPES OF DISTRIBUTION and was outraged.
DEALS They might be prepared to issue a statement of support. To He asked how they
4.4 R EVIEW DISTRIBUTION put a quote on your film poster. To tweet about the issue to could help. We
PATHWAYS their followers. To host a special screening or Q&A. To give an pointed him to the
 4.5 C LASSIC ENGAGEMENT interview on the issue with you or the subjects of your film. ‘Free Paco Now’
ACTIVITY campaign website.
Ellen’s emotional segment with David and Tina Long, First thing Martin
subjects of Bully, reached a huge audience during its did was post a pic of himself in a ‘Free Paco Now’ T-shirt…
AT WORK
transmission and has been viewed online over a million on the band’s Facebook page, which has 7.1 million
4.7 S IGN ON THE DOTTED LINE times since: followers. We are thrilled and amazed that Martin is doing
this. On a personal level, having grown up listening to
http://www.ellentv.com/2012/03/22/ellen-talks-to- Depeche Mode’s music, I am flabbergasted.”
parents-featured-in-bully/ Marty Syjuco, Give Up Tomorrow
It’s worth also having a look at the Harmony Institute “I saw Give Up Tomorrow on PBS in the United States.
study which looked at the impact of social media I was appalled at the judicial system on view. The idea
following the release of Bully (2012). The report looks at of anyone spending a large part of his life in jail for
the massive amplification effect celebrities have on the something that he didn’t do doesn’t, and shouldn’t, sit
campaign using social media. well with me or anyone...I felt that I should do what I
could to [call attention] to it, in the hope that something
Sometimes celebrity support of your film or issue can can be done. I first wore the shirt at the Barcelona and
develop organically, or even take you by surprise - so be Madrid concerts — the first two shows after Christmas.
prepared to leverage that too. After the show, a lot of Spaniards asked me about the
T-shirt and what it was about. When I started to tell the
Having watched Give Up Tomorrow, Martin Gore of Depeche story, they stopped me in my tracks, saying that they
Mode was so moved by the film that he made an appeal to remembered hearing about the prisoner exchange but
all his fans to join the Free Paco Now movement. He also assumed that Paco was now out and free! This shows
decided to wear his Free Paco Now t-shirt for every single how easy it is to get forgotten and why I feel I need to
date of the band’s stadium tour, including two crucial dates keep reminding people”
in Madrid and Barcelona: Martin Gore, Depeche Mode
4.1 WHAT IS IMPACT LAW MAKERS

DISTRIBUTION? Newly elected politicians or those with a special
interest in the issue can often help push the campaign
4.2 H OW COMMERCIAL
forward in the right way. If you can’t get close to the
ARE IMPACT FILMS?
policymaker themselves, try and reach and engage their
4.3 TYPES OF DISTRIBUTION team of staffers. Remember, advocacy groups can also
DEALS help you reach policymakers too.
PATHWAYS Arranging policymaker screenings months ahead of
 4.5 C LASSIC ENGAGEMENT The Invisible War’s theatrical release offered government
ACTIVITY officials a window of opportunity to react, take action
and present solutions to the film’s issues. By deliberately
keeping the message bi-partisan and anti-assault rather
AT WORK
than anti-military, the team were able to reach all sides
4.7 S IGN ON THE DOTTED LINE of the political spectrum.
The result of this lobbying was the largest host

committee ever for a film screening on Capitol Hill,
and a ‘standing room only’ screening at the Library of
Congress. Leveraging their contacts to open doors at the
highest possible levels, the filmmakers showed the film
to members of the Obama administration and the State
Department. For the first time in 30 years, General Mark
A. Welsh, Chief of Staff of the Air Force, flew all AF Wing
Commanders from bases around the world back to the
Pentagon where they watched the film.
The No Fire Zone team focused their efforts on reaching

high level policy makers all over the world to expose the
truth around the genocide in Sri Lanka. Working with
Human Rights Watch and Amnesty International to launch
the film at the United Nations Human Rights Council in
Geneva. Those present included over 200 diplomats and
country missions. They documented the atmosphere and
turnout on their Facebook and Twitter feeds:
4.1 WHAT IS IMPACT Director Callum Macrae also recalls the reaction of some of the press, found himself mobbed by journalists at the media
DISTRIBUTION? those present at the screening: centre on his arrival. After watching the film Prime Minister
David Cameron made a statement about his impending trip to
4.2 H OW COMMERCIAL
“There was one African delegation who when they the meeting:
ARE IMPACT FILMS?
saw [the film] said to me afterwards ‘The Sri Lankans
4.3 TYPES OF DISTRIBUTION pulled the wool over our eyes’. There was a clear “No Fire Zone is one of the most chilling documentaries
DEALS understanding, when presented with the evidence I’ve watched. It brings home the brutal end to the civil
4.4 R EVIEW DISTRIBUTION that the Sri Lankan government cannot be trusted to war and the immense suffering of thousands of innocent
PATHWAYS investigate themselves, and that they are engaged civilians who kept hoping that they would reach safety,
 4.5 C LASSIC ENGAGEMENT in a very hypocritical exercise when they pretend that but tragically many did not. Many of the images are truly
ACTIVITY this is about Western interference. And that had an shocking… I will raise my concerns when I see President
effect on the UN vote. Just from one screening ” Rajapaksa next week in Colombo. And I will tell him that
Callum Macrae, Director, No Fire Zone if Sri Lanka doesn’t deliver an independent investigation,
AT WORK
the world will need to ensure an international investigation
4.7 S IGN ON THE DOTTED LINE “Seeing the transformative power that The Invisible War is carried out instead.”
had on legislators was exhilarating and, as far as we
know, unprecedented. During the first screening on the He also took to social media, tweeting his reaction to his
Hill, Senators and aides were transfixed and weeping. 2.5million followers, and including the Twitter handle of
Anytime after that when Kirby and I passed through the President of Sri Lanka, Mahinda Rajapaksa.
the halls of Congress we were repeatedly approached
by legislators and queried and thanked. The film and its And in perhaps the most extraordinary example of how
arguments completely dominated and changed the terms a documentary worked with law-makers, in 2005 lawyers
of the conversation around this issue overnight -- the idea prosecuting an international genocide case approached
of an epidemic of sexual assault in the military shifted filmmaker Pamela Yates to comb through old footage of
from something hypothetical and alleged to something her 1983 film to build possible evidence against General Rios
categorical and catastrophic. The issue went from being Montt who spoke to her on camera three decades before.
something persons had possibly heard about, to Thus Granito and its supporting outreach campaign tells the
something that was urgent, unconscionable and in need evolving story of working with lawyers to nail a dictator.
“We made the film of immediate legislative attention and response.”
to help change Amy Ziering, Producer, The Invisible War For more inspiration on this topic, take a look at this essay,
drawn from a panel presentation at the 2010 AFI-Discovery
policy.” The film team focused its efforts on calling the Sri Lankan Channel Silverdocs Documentary Festival. It’s written by Will
Kirby Dick government to accountability ahead of the Commonwealth Jenkins who has worked in media production, social action
Producer, The Invisible War Heads of Government Meeting (CHOGM), which took place in and political communications for the last decade and currently
2013 in the Sri Lankan capital, Colombo. Callum Macrae, who works in the United States Congress. it’s great guide to making
travelled to Colombo to cover the CHOGM as a member of an Impact on Capitol Hill with your film.
4.1 WHAT IS IMPACT

DISTRIBUTION? Geek out Buffer’s brilliant guide to SEO (for
beginners)
blog.bufferapp.com/beginners-guide-
4.2 H OW COMMERCIAL
ARE IMPACT FILMS? Further reading to-seo

DEALS 4.5 Brian Solis on authenticity online
briansolis.com/2009/08/why-
authenticity-matters
PATHWAYS
 4.5 C LASSIC ENGAGEMENT SOCIAL MEDIA STRATEGY: Hubspot’s blog post on the impact of using
ACTIVITY photos
Brian Solis’s Conversation Prism blog.hubspot.com/blog/tabid/6307/
conversationprism.com bid/33800/Photos-on-Facebook-
AT WORK
Generate-53-More-Likes-Than-the-
4.7 S IGN ON THE DOTTED LINE Hootsuite’s Social Media Strategy Guide Average-Post-NEW-DATA.aspx
socialbusiness.hootsuite.com/social-media-
strategy-guide.html All of Hubspot’s Blog
blog.hubspot.com/marketing
Neon Media’s Infographic on the use of
social media KISSMetrics on why you might consider
neonbrand.com/social-media/the-biggest- SlideShare (seriously)
shift-since-the-industrial-revolution/ blog.kissmetrics.com/marketers-guide-to-
slideshare/
MailChimp’s Voice and Tone website
voiceandtone.com
Buffer App’s best times to post

blog.bufferapp.com/best-time-to-tweet-
post-to-facebook-send-emails-publish-
blogposts
Quicksprout University on SEO, blogging

and online advertising
quicksprout.com/university/

4.2 H
4.4 R
 4.6 IMPACT DISTRIBUTION AT WORK
4.1 WHAT IS IMPACT

DISTRIBUTION?
IMPACT DISTRIBUTION AT WORK
L
4.2 H OW COMMERCIAL
ARE IMPACT FILMS?
DEALS
et’s take a closer look at how some of
PATHWAYS
the film teams featured our library took
ACTIVITY on the challenge of Impact Distribution.
Combining traditional distribution pathways
 4.6 IMPACT DISTRIBUTION
AT WORK
with more innovative routes to target and
engage audiences.
Keeping front and centre — the change goal,

the primary change dynamic at work and the
target audience that needed to see the film
the most, in order for it to make a difference.
4.1 WHAT IS IMPACT CHANGING MINDS: Starting with invitation only screenings the team avoided
DISTRIBUTION? THE ACT OF KILLING the need for the film to be reviewed formally by censors
(which could have led to a ban, making it illegal to even
4.2 H OW COMMERCIAL
own a copy of the film let alone screen it).
ARE IMPACT FILMS? The Act of Killing team hoped to
4.3 TYPES OF DISTRIBUTION catalyse a fundamental change in how Working with civil society and human rights groups
DEALS as well as a host of other partners, the film team opted
4.4 R EVIEW DISTRIBUTION the 1965-66 genocide was understood instead to run covert ‘invitation only’ screenings for key
PATHWAYS both in Indonesia and internationally. Indonesian ‘influencers’. Harnessing the power of opinion
4.5 C LASSIC ENGAGEMENT forming journalists, writers, educators and historians
ACTIVITY (In the language of Impact Dynamics, allowed them to then open up a public discourse about
the reality of the genocide for the first time in history.
 4.6 IMPACT DISTRIBUTION they needed to change minds). But As the campaign gained momentum, eventually the team
AT WORK
political censorship prevented the were able to arrange public screenings in Indonesia itself
4.7 S IGN ON THE DOTTED LINE and the film was geoblocked for free download across
distribution of the film in commercial the country.
cinemas in Indonesia. Whilst a
“Our main [publicity] is through social media since our
traditional distribution model was website is regularly DDoS-attacked from Indonesia.
Anyone in Indonesia can ask for a free DVD; all they have
deployed for the film’s international to do is [say] that they will have a screening with friends
release (including a major run of or family and give us their shipment address… We cannot
put billboard advertisement or print an advertisement
film festivals and continuing with in media, but every time there’s an open screening,
cinema releases in multiple territories, organizers print and put posters or stickers everywhere”
Anonymous, The Act of Killing
culminating in an Oscar nomination),
a different approach was taken to allow It’s worth dwelling for a moment on the range of
different ‘screenings’ the film team deployed. With
the film to reach the Indonesian public. audiences ranging from 30 to over 700 people, the team
worked with civil society groups to identify where and
how to show the film, from a remote jungle location
where locals gathered round an old tube television,
to the biggest multiplex in Jakarta, where people
crammed in and stood in the aisles.
THE ACT OF KILLING: CHANGING MINDS
IMPACT & DISTRIBUTION

4.1 WHAT IS IMPACT CHANGING MINDS:
DISTRIBUTION? THE ACT OF KILLING
4.2 H OW COMMERCIAL
Impact & Distribution
ARE IMPACT FILMS?
Say Sorry for 65
4.3 TYPES OF DISTRIBUTION campaign initiated by
DEALS TAPOL & ETAN. 5 Audience Awards, DVD Released
Change.org petition. Letter 4 Best Film awards, Autumn 2013
4.4 R EVIEW DISTRIBUTION campaign to Indonesian BAFTA winner & Oscar
PATHWAYS Ambassador in London Nominated. Over 600
4.5 C LASSIC ENGAGEMENT Indonesian press articles
reexamining the
ACTIVITY genocide Presold to
21 countries
 4.6 IMPACT DISTRIBUTION Discussion guide & DVD & in Europe, Asia, US
AT WORK lesson plans developed LOBBYING PRESS & PR MERCHANDISE & Latin America.
with POV/PBS Special documentary
4.7 S IGN ON THE DOTTED LINE produced
for the Indonesian
EVENTS & SCREENINGS market
EDUCATION Screenings by Indonesian National Commission of TV
& SCHOOLS Human Rights, Commission for the Disappeared and
Victims of Violence, Legal Aid Foundation, Alliance of
Independent Journalists, Farmers union of Jambi,
ADVOCATES/ LaborUnions, & Survivors Communities. Closed INTERNET
CELEBRITIES screenings for Indonesian media. 50 further screenings VIEWING
Tempo Magazine
in 30 Indonesian cities. 45 public screenings on
Indonesian Independence Day.
/ VOD Film geoblocked for
investigation & special free download in
issue. National Human Indonesia. Cinedigm &
Rights Commissioner EQUIPING Drafthouse VOD deal,
Stanley Prasetyo, Werner COMMUNITY ONLINE PRESENCE THEATRICAL / starting early 2014
Herzog & Errol Morris
Film website 350k unique
CINEMA
visits, Trailer has 1.3M
views. ‘say sorry for 65’
Invitation to communities petition site, Facebook Premiere at Toronto
to arrange their own page c18000 fans, Twitter International Film Festival
screenings & discuss film’s 4650 followers, Email 2012. 100 other festivals in
messages. Free DVD’s list with 6.6K views 57 countries. Distribution
available to those deal with DogWoof
arranging screenings
in Indonesia
4.1 WHAT IS IMPACT CHANGING BEHAVIOURS:

DISTRIBUTION? WEAPON OF WAR
4.2 H OW COMMERCIAL
ARE IMPACT FILMS? With a primary Impact Dynamic to
4.3 TYPES OF DISTRIBUTION change behaviours within the country -
DEALS
4.4 R EVIEW DISTRIBUTION in this case by ending the use of sexual
PATHWAYS violence against women by Congo’s
ACTIVITY National Army - the Weapon of War
 4.6 IMPACT DISTRIBUTION film team had to find a way to get the
AT WORK
film seen by the military personnel Special edits of the film were made, each addressing a
4.7 S IGN ON THE DOTTED LINE number of important topics related to human rights and
themselves. military conduct, and after each screening, a programme
of debates, discussions and other educational tools were
They worked with the Army to deliver screenings and delivered by specially trained facilitators. The film team then
educational materials at military camps throughout the went on to produce two further edits of the film, specifically
DRC. As screening options were limited within the DRC, designed for young people and couples, addressing the
the filmmakers set up their own Mobile Cinema Foundation, issue of sexual violence and working with local community
allowing them to show the film in a variety of areas of the and civil society groups to promote discussion and dialogue
country, from remote villages to military camps. Doing this, around the film’s themes.
the film team managed to reach around 35% of the entire
military population, as well as rebel fighters and other Outside of the DRC, the team opted for deals for the TV
guerrilla groups. and Cinema rights to the film, and it was also shown at a
number of relevant international film festivals, including the
International Film Festival on Human Rights. However, they
retained the right to sell DVD copies of the film itself for
educational purposes, and this allowed them to continue to
reach relevant audiences in both DRC and beyond with the
film’s message.
See impact & distribution diagram on next page.

Another example of changing behaviours is Blackfish.
WEAPON OF WAR: CHANGING BEHAVIOURS

4.1 WHAT IS IMPACT CHANGING BEHAVIOURS:
DISTRIBUTION? WEAPON OF WAR
4.2 H OW COMMERCIAL
ARE IMPACT FILMS?
Sliding scale DVD pricing
4.3 TYPES OF DISTRIBUTION from home/private use,
DEALS Best Documentary educational, NGO &
Awards at Dutch Film Government Agencies
Festival. Amnesty
PATHWAYS International Award at
4.5 C LASSIC ENGAGEMENT Warsaw International Film
Festival. Various Press
ACTIVITY articles, TV & Radio
appearances Shown in 7 European
 4.6 IMPACT DISTRIBUTION Search for Common DVD & Countries including The
AT WORK Ground facilitate LOBBYING PRESS & PR MERCHANDISE Netherlands, Belgium,
educational workshops Sweden, Poland, Estonia,
4.7 S IGN ON THE DOTTED LINE with Army at screening Portugal & Finland
events
EVENTS & SCREENINGS
EDUCATION Produced six different edits for the military, managing TV
& SCHOOLS screenings through the Mobile Cinema Foundation. Two
further edits created for Community screenings to
general population in DRC. Screenings for key influencers
ADVOCATES/ in USA, including World Bank, State Department & INTERNET
CELEBRITIES UNIFEM. Screenings in the Dutch & Swedish Parliaments’ VIEWING
Screening for the Human Rights Council in Geneva. / VOD
Support from the
Congoles Minister of
Justice and EQUIPING
Procurater-General COMMUNITY ONLINE PRESENCE THEATRICAL /
Trailer has 7K views
CINEMA
3000 sign ups to mailing
list. 37K views on film 30 festivals
website 8K likes & follows internationally, including
Whyze include local on social networks IDFA, Full Frame, Movies
groups for participaton in that Matter& International
design of educational Film Festival on Human
materials Rights. Movies That
Matter cinema tour of 12
cities in The
Netherlands
4.1 WHAT IS IMPACT CHANGING STRUCTURES: ticket to see it at a cinema. In the United States the film
DISTRIBUTION? THE INVISIBLE WAR was shown on HBO and Roco Films International took US
educational rights.
4.2 H OW COMMERCIAL
ARE IMPACT FILMS? The Invisible War film team focused
4.3 TYPES OF DISTRIBUTION their efforts on lobbying influencers,
DEALS
4.4 R EVIEW DISTRIBUTION sharing the film with them some
PATHWAYS months before the film’s full cinematic
ACTIVITY release. After the film’s world premiere
 4.6 IMPACT DISTRIBUTION at Sundance, the team went about
AT WORK
using non-theatrical screenings on
Capitol Hill to recruit advocates to the
campaign and to mobilise support
from those at the highest levels of
government for policy change. This
allowed momentum to build before the
film’s message gained traction in the
more traditional ways. Members of the Ohio Army National Guard Battalion 1-174th,
who watched the film during their annual training. Image
courtesy of notinvisible.org
Continuing their work with a sustained publicity campaign
which included speaking engagements, interviews, and See impact & distribution diagram on next page.
social media activity, by the time the film had been Another example of changing structures is Granito
nominated for an Academy Award, policymakers and or The House I Live In.
government were under significant pressure to introduce
legislation. Cinedigm took theatrical rights and whilst
the film only took $60,000 at the box office, the team’s
impact distribution strategy have meant that film’s impact
and reach extended far beyond those who had paid for a
INVISIBLE WAR: CHANGING STRUCTURES

4.1 WHAT IS IMPACT CHANGING STRUCTURES:
DISTRIBUTION? THE INVISIBLE WAR
4.2 H OW COMMERCIAL
ARE IMPACT FILMS?
Military Justice
4.3 TYPES OF DISTRIBUTION Improvement Act
DEALS Campaign. Met Over 21,000 media 17K DVD sales
Whitehouse/ Pentagon mentions. 17 wins & 11 in US /Canada
4.4 R EVIEW DISTRIBUTION officials. Rallied Senators. nominations reported
PATHWAYS Mobilized 10,000 Inspired Hollywood shows
phone calls eg) House of Cards and
Gary Trudeau’s
ACTIVITY Doonesbury cartoons
Discussion guide for
 4.6 IMPACT DISTRIBUTION colleges. Army, Air Force & DVD &
AT WORK National Guard use the film LOBBYING PRESS & PR MERCHANDISE 1.7M on PBS, HBO
as a training tool
EDUCATION EVENTS & SCREENINGS TV

& SCHOOLS
1557 screenings: incl. military,
community, campus, institutional
ADVOCATES/ Hosted by 1243 organisations
Estimated 306,000 audience
INTERNET
CELEBRITIES VIEWING
Range of actresses,
/ VOD
presenters, writers, iTunes
comedians including Katie HBO
Couric, Ellen Page, Rachel EQUIPING Milyoni
Maddow COMMUNITY ONLINE PRESENCE THEATRICAL /
Many political CINEMA
advocates – 817,000 trailer views
especially 432,000 visits to movie
Senators site 356,685 visits to
Worked with range of Premiere at
campaign site
organisations incl veterans’ Sundance Film
54,000 followers/fans
and women’s advocacy Festival. 90 film festivals
on social media
Launch of survivors in 22 countries
program. 182,000 petition 110 cities in the US
signatures. 138,000 sign and Canada
ups to
mailing list
4.1 WHAT IS IMPACT BUILDING COMMUNITIES: Non-theatrical screenings of the film were a really effective
DISTRIBUTION? BUDRUS tool for achieving their aims of reframing the conflict. The
team also wanted to equip others inspired by Budrus to
4.2 H OW COMMERCIAL
build their own non-violent movements for change, so much
ARE IMPACT FILMS? The Budrus team wanted to raise the of their Impact Distribution activities focused on inviting
4.3 TYPES OF DISTRIBUTION profile of non-violent campaigners others to arrange a screening, start a discussion group or
DEALS even travel to the region as a volunteer.
4.4 R EVIEW DISTRIBUTION working towards peace in the Middle
PATHWAYS East, by demonstrating how effective See impact & distribution diagram on next page.
4.5 C LASSIC ENGAGEMENT Another example of building communities is
ACTIVITY peaceful movements could be at American Promise.
 4.6 IMPACT DISTRIBUTION creating change. Using ‘building
AT WORK
communities’ as their primary Impact
Dynamic, the team focused on
facilitating discussion and dialogue
around the film’s messages with those
invested in the issues, both in Israel,
Palestine and abroad.
BUDRUS: BUILDING COMMUNITIES

4.1 WHAT IS IMPACT BUILDING COMMUNITIES:
DISTRIBUTION? BUDRUS
4.2 H OW COMMERCIAL
ARE IMPACT FILMS?
Worked with DVD’s for home and
4.3 TYPES OF DISTRIBUTION women’s advocacy educational use.
DEALS organisations & think TED talk. Discussion guides, t-shirts
tanks to arrange Press articles with global and posters all available
4.4 R EVIEW DISTRIBUTION screenings and mobilise from Just Vision website
reach. StrategyOne have
PATHWAYS support assessed impact of Budrus
Targeted
4.5 C LASSIC ENGAGEMENT discussion guides on shift in discourse about
created with several events in Budrus
ACTIVITY
faith-based organizations
 4.6 IMPACT DISTRIBUTION including Churches for Middle DVD &
AT WORK East Peace and Rabbis for LOBBYING PRESS & PR MERCHANDISE 11 International
Human Rights.Workshops & TV broadcasts
4.7 S IGN ON THE DOTTED LINE lesson plans. TED Talk.
Faith-based workshops,
discussion guides, EVENTS & SCREENINGS
quotes for sermons EDUCATION TV
Screenings on Capitol Hill for 200 officials
etc. & SCHOOLS followed by a panel with Congressmen and the
filmmakers. Screening at the National Security
Council.Pre-military screenings arranged for
ADVOCATES/ young Israelis, as well as University screenings. INTERNET
CELEBRITIES First documentary about the occupation ever VIEWING
Queen Noor of Jordan,
shown at the Palestinian Police Academy. / VOD
Available on iTunes,
Michael Moore. Women
Hulu, Blinkbox. Free
from Wi’am met with
women from Budrus to EQUIPING streaming via Facebook
discuss the issues after COMMUNITY ONLINE PRESENCE THEATRICAL / on International Peace
Day through Mubi
they’d seen the film
Invitations via Just CINEMA
Vision website to host a 817,000 trailer views
screening , engage your faith 432,000 visits to movie site
Premiered in Dubai,
community, start a discussion 356,685 visits to
53 festivals including
group, travel to the region. Created campaign site
a graphic novel in arabic based on
Berlin, Tribeca & Hot Docs.
54,000 followers/fans
the film which was incorporated into Distribution in UK, Germany,
on social media
the official curriculum of school Australia & USA. 185 Cities
districts across the West Bank Film Internationally including
used as recruiting tool by Israeli US, UK, Israel, Palestine
activists working against & Germany
settlements in East
Jerusalem

4.2 H
4.4 R
 4.7 SIGN ON THE DOTTED LINE
4.1 WHAT IS IMPACT

DISTRIBUTION?
SIGN ON THE DOTTED LINE
S
4.2 H OW COMMERCIAL
ARE IMPACT FILMS?
DEALS
o, you’ve considered all the advice
PATHWAYS
and decided on an Impact Distribution
ACTIVITY approach. Now you’ve got to ensure you
AT WORK make the right deal (or group of deals) that
 4.7 S IGN ON THE DOTTED LINE
works for your strategy. Before you sign on
the dotted line, consider how your Impact
Distribution plan measures up against the
following:
4.1 WHAT IS IMPACT PERSONAL Your artistic goals? What you want to How long you want to be
DISTRIBUTION? gain personally from involved?
4.2 H OW COMMERCIAL distribution?
ARE IMPACT FILMS?
PRODUCTION What are the financial Is the whole team aligned Does the team have the
needs and obligations of to the same Impact capacity to deliver on the
DEALS
the production? Distribution goals? impact distribution plans?
PATHWAYS
4.5 C LASSIC ENGAGEMENT IMPACT How far does the How far does the How far does the
ACTIVITY distribution plan serve your distribution plan serve distribution plan rely on
4.6 IMPACT DISTRIBUTION impact goal? the needs of relevant your subjects and what are
AT WORK movements? their needs?
 4.7 S IGN ON THE DOTTED LINE
STRATEGIC AUDIENCE How far does the How far do you have Does your audience have
distribution plan allow you flexibility and control needs and are they being
to connect with your most to share the film as the served by the Impact
strategic audience? campaign requires? Distribution plan?
Remember the following to ensure you get the most from to valuable information, whether it is tone of voice,
the deals you’re going to make: body language, or a pregnant pause. This additional
information will give you a better sense of where the
HAVE A PLAN BEFORE YOU START TO NEGOTIATE other side is flexible and what their bottom line is, and
Know what you’re not prepared to budge on - whether make it easier to achieve a win-win deal”
that’s direct sales rights, your campaign website or the Peter Broderick, How Not to Negotiate a Distribution
rights to community screenings. That way, whether you’re Deal
working through a sales agent or doing it yourself, you’ll
know which parts of the flower you’re not willing to give EQUIP YOURSELF WITH THE RIGHT PEOPLE
away. TO GET THE DEAL DONE
Think about working with a negotiator to get the deal
“Don’t ever negotiate by email. When you are negotiating signed. This may be a lawyer or it may be a sales agent,
on the phone, on Skype, or in person, you have access it may even be someone in your team. The key thing is to
4.1 WHAT IS IMPACT make sure they are an experienced negotiator and are on CONSIDERATIONS DEAL 1 DEAL 2
DISTRIBUTION? top of the current trends in the distribution landscape.
Your artistic goals?
4.2 H OW COMMERCIAL
APPROPRIATE TIMING
ARE IMPACT FILMS? What you want to gain personally
Does your impact campaign depend on certain timings,
4.3 TYPES OF DISTRIBUTION for example a major conference, an international from distribution?
DEALS governmental meeting or an individual doing something? How long you want to be involved?
4.4 R EVIEW DISTRIBUTION Can your distributor work to the same schedule? If they
PATHWAYS are responsible for the film’s marketing, can they work To the financial needs and
4.5 C LASSIC ENGAGEMENT with you to deliver an integrated campaign that amplifies obligations of the production?
ACTIVITY your impact work? Being clear upfront on your intentions
can help improve your deal. Co-ordinated strategy and The team’s capacity to deliver
execution are what you’re after. on the impact distribution plans?
AT WORK
 4.7 S IGN ON THE DOTTED LINE Most films don’t get signed at festivals but whenever or How far does the distribution plan
wherever you take a meeting with a distributor or sales serve your key impact goal?
agent (who sells for you to distributors) use this handy How far does the distribution
checklist to ensure you’re thinking straight before you plan serve the needs of
even think about signing a deal: relevant movements?
How do the deals on offer measure up to your priorities? How far does the distribution
Tick the boxes to compare: plan reply on your subjects
and are their needs served?
How far does the distribution

plan allow you to connect with
your most strategic audience?
How far do you have flexibility

and control to share the film
as the campaign requires?
AND WHATEVER TIME OF DAY OR NIGHT YOU SIGN,
CONGRATULATIONS! Does the audience have needs
and are they served by the
GEEK OUT Impact Distribution plan?
4.1 WHAT IS IMPACT

DISTRIBUTION? Geek out Jon Reiss
jonreiss.com/blog/
Jon Reiss’s blog helps filmmakers navigate
4.2 H OW COMMERCIAL
ARE IMPACT FILMS? Further reading the distribution and marketing landscape.

DEALS 4.7 Crowdfunding for Independence
https://s3.amazonaws.com/seedandspark-
content/sites/default/files/dowloadable_pd-
PATHWAYS f/140413+Crowdfunding+for+Independ-
4.5 C LASSIC ENGAGEMENT ence+2015+handbook_0.pdf
ACTIVITY Distribution Bulletins Seed & Spark have created a brilliant and
peterbroderick.com/distributionbulletins/ useful step-by-step guide to crowdfunding.
distributionbulletins.html
AT WORK
Peter Broderick’s website aggregates “At Sundance, the high mountain air
 4.7 S IGN ON THE DOTTED LINE his articles on distribution strategy. This – combined with jitters, lack of sleep,
page gives a good set of guidelines to possibly a hangover – can have a
consider from the outset. deleterious effect. Counter this by arriving
prepared, with 1) a well-thought out
Distribution Advice distribution strategy, 2) a solid plan to
stfdocs.com/film/distribution-advice- carry out that strategy, and 3) a team to
for-2014/ help you. ‘I want as many people to see
Thom Powers’ great piece collects the best my film as possible’ and ‘my film belongs
of the industry’s advice on distribution in in theaters’ doesn’t mean much – there’s
2014. no strategy there. ‘The distributor will
take care of that’ is not a plan. ‘How hard
How to Get Ready for That Film Festival can it be for me to do it myself’ is not
stfdocs.com/film/distribution-advice- assembling a team.”
for-2014/ Brenda Coughlin
Ted Hope tells us everything you need to Producer, Dirty Wars
know about film festivals.
 5.1 WE LOVE EVALUATION

5.2 WHAT MAKES GREAT EVALUATION
5.3 EMBRACING COMPLEXITY
5.4 MAKING YOUR EVALUATION PLAN
5.5 EVALUATION TOOLBOX
5.6 NEW TOOLS FOR IMPACT DOCUMENTARY
5.0
5.7 WRAPPING UP
EVALUAT-
ING
 5.1 WE LOVE EVALUATION

5.2 WHAT MAKES GREAT
WE LOVE EVALUATION
E
EVALUATION
5.4 MAKING YOUR
EVALUATION PLAN
valuation is one of those buzz
5.6 NEW TOOLS FOR IMPACT
kill words. It sounds pedantic,
DOCUMENTARY
5.7 WRAPPING UP
reductive, time consuming,
difficult, dangerous. As filmmakers
and storytellers, many of us have a deep-
rooted suspicion that if applied to our
creative work, it just might kill it — or
at least miss the point.
 5.1 WE LOVE EVALUATION When you consider the sheer amount
EVALUATION
of energy, passion and time that has
5.3 EMBRACING COMPLEXITY to go into making the film, devising
5.4 MAKING YOUR and executing a brilliant distribution
EVALUATION PLAN
strategy, let alone delivering the
5.6 NEW TOOLS FOR IMPACT campaign… It’s easy to see why some
DOCUMENTARY
of us might have a mental barrier with
5.7 WRAPPING UP
the concept of evaluating something as
complex and multifaceted as impact.
“Who are we, if not measured But whether we like it or not, the business of evaluation,
by our impact on others?” of metrics and measurement has arrived in documentary
Carl Sagan, Astronomer film. This is provoking anxiety not only about our individual
& Author practice but raising implications for the whole field.
Do we have the resources or the competency to

“It’s becoming clear that a rapidly evaluate? What if funders start to demand the wrong
changing technology landscape requires kind of evaluation? Will evaluation in the end stifle
human rights organizations to adapt creativity, ultimately determining and limiting which
and become more nimble. We would kind of films get made?
argue that funders also need to adapt
their approaches. Many are still asking We need to keep our nerve. Because it’s only bad evaluation Illustration by Mike McQuade
for outdated ways of measuring impact that analyses creativity to death. It’s only bad evaluation from Stanford Social Innovation Review
— with an overemphasis on numbers, that tries to break everything down into numbers. And it’s
for instance, or in holding grantees only bad evaluation that sucks up time and money that “To solve today’s complex social problems, foundations
accountable to rigid and predictive could be better spent elsewhere. need to shift from the prevailing model of strategic
multi-year outcomes (a potential philanthropy that attempts to predict outcomes to an
pitfall of Logic Frameworks)” emergent model that better fits the realities of creating
Sara Federlein, from Witness social change in a complex world”
Stanford Social Innovation Review
 5.1 WE LOVE EVALUATION This is about learning to love great evaluation: deploying Then we’ll get into helping you draw up your own Impact
techniques that can capture the properties and power of Evaluation Plan, with the help of a worksheet, basically a
your documentary film campaign, and allowing you to simple list of the essentials you want to keep track of to help
EVALUATION
communicate the extraordinary impact your film is having you maximise your impact. We’ll start by helping you refine
5.3 EMBRACING COMPLEXITY in the word. Because who will tell your story if you don’t? the goals from the Strategic Plan you made in chapter two,
5.4 MAKING YOUR then identify some Indicators, or data points, that you’ll be
EVALUATION PLAN Great evaluation will help you to secure new funders and to looking to gather, using our Indicator Matrix to find what will
5.5 EVALUATION TOOLBOX maintain existing funders. In a changing media landscape work for you. There’s also some practical help on designing
5.6 NEW TOOLS FOR IMPACT this is critical to the sustainability of our field. surveys and an overview of tools available to film teams to
DOCUMENTARY help you make the most of your evaluation work.
Great evaluation will also impress and comfort all the other
5.7 WRAPPING UP
kinds of partners we want to work with, from grass-root And once you’re done, we reckon you might love evaluation
organisers to leading campaign organisations. It can help just as much as we do.
you find collaborators and mobilize your audiences. You can
show what a film project is going to deliver that their army The solution is to be proactive. Make a plan based on the
of expert campaigners, lobbyists, and researchers cannot. goals of your campaign, and share it with funders and
partners - create it with them. Ask what matters to them,
Great evaluation can be learnt from – both within a project, why they funded the project, and consider their goals as
“The two questions we should to improve it as we go; and across impact filmmaking as a well as your own - co-create a model that helps the film
be asking are ‘how big is the whole field, so we can learn from each other and all do it team gain insight on the work while it delivers key outcomes
boulder, and how far did it better. to the stakeholders. Done right, evaluation can be revealing
move?’” whilst delivering strategy, powerful in demonstrating effect.
Ricken Patel, Avaaz Fundamentally, great evaluation is great because it makes
more change happen faster.
In this chapter, we’ll dig into great evaluation in more detail

exploring what makes evaluation great, what makes it
complex, mapping out a plan with the help of a worksheet,
“Not everything that can
and reviewing a multitude of tools to help you with
be counted counts, and not
execution. We’ll draw on a few case studies to illustrate what
everything that counts can
we mean. You should already have read most of these, but if
be counted”
you haven’t, head to the library now.
Albert Einstein, Theoretical
Physicist, Architect of the
Theory of Relativity
5.1 WE LOVE EVALUATION

 5.2 WHAT MAKES GREAT EVALUATION
5.7 WRAPPING UP

 5.2 WHAT MAKES GREAT
WHAT MAKES GREAT EVALUATION
A
EVALUATION
5.4 MAKING YOUR
EVALUATION PLAN
s with all other stages of this
process, evaluation will be
DOCUMENTARY
5.7 WRAPPING UP
unique to your film. That’s why
we emphasize learning and tracking.
Evaluation methods and conclusions
will tie back to the unique goals and
objectives you identified in your vision
and Strategic Plan. Think of evaluation
as learning about how your plan is
working and tracking the things that
are actually happening.
5.1 WE LOVE EVALUATION LEARNING: collecting some data, and learning something, right from
the beginning. Even if you just start with by asking one
EVALUATION
Great evaluation is about learning question of everyone at a rough cut screening – that’s
a start. You can always improve it next time.
5.3 EMBRACING COMPLEXITY throughout the project.
5.4 MAKING YOUR Put regular evaluation time in as a team, ideally every
EVALUATION PLAN One of the most basic mistakes is to think of evaluation as
week. Because evaluation is best as a little-and-often
a final product rather than a process. It’s an easy mistake
5.5 EVALUATION TOOLBOX process, setting aside time in your diary and sticking to
to make, because you’ll probably pull everything together
5.6 NEW TOOLS FOR IMPACT it is a super-simple but very effective way of making you
into an evaluation report at some point. But while that’s an
DOCUMENTARY keep on top of it.
important part of the process, it’s just that: a part.
5.7 WRAPPING UP
Like gathering material for your film - where you collect
The right way to think about evaluation is as a process of
lots of small interviews, stills and B-roll footage together
learning, which starts as soon as the film is put out into
in a file, collect every article about the campaign, list
the world, or even before that, as you work with potential
every community screening (ideally with audience
partners and stakeholders to prep for broadcast or
estimate), file every “your film changed my life” email and
theatrical release. And because it is ongoing, it means you
make a note of every local politician who referenced your
are in a position to react and refine your impact strategy,
film in a speech. Everything.
making the most of every opportunity.
Like the film material, this all adds up. Over a period of
Yes, time and resources are limited. But if you applied for
months and years, you’ll start to create a rich picture of your
and received funding, then some kind of reporting will be
film’s journey through the world and how it has affected
necessary - you can use those requirements as a starting
people, institutions and contributed to movements.
point for what kind evaluation to pursue, even if you do
nothing else.
Yes, this takes up time, time you might rather be spending
elsewhere. But taking on an impact project does mean
This is why we were so careful to emphasise in the Planning
committing to this process to some degree. You may decide
chapter that the Strategic Plan you came up with was
it’s not for you, but if it is, this is what we found that works.
only version 0.1. Because the unexpected will happen, and
evaluation will help you to respond to it faster.
The Norman Lear Center in collaboration with The Center
for Investigative Reporting have been testing an Offline
PRO TIP: Start early, start small... just start.
Impact Tracker for journalists in the newsroom. The aim is
to make the daily capture of evidence more simple. First
The worst thing you can do is build evaluation up
results are good - and the team are now looking to adapt
into such a big deal in your head that you don’t start
this for documentary filmmakers.
5.1 WE LOVE EVALUATION LEARNING: sourcing policy on the day the film launched. Then
another major UK grocery chain, Marks & Spencer,
EVALUATION
Case Study: The End of the Line announced a change to their tuna sourcing in the week
after opening.
5.3 EMBRACING COMPLEXITY The sample Impact Plan from The End of the Line you’ll
5.4 MAKING YOUR find in the planning chapter is a long way from where the It became clear to the team that corporate policy change
EVALUATION PLAN team thought they were going when they finished the could be directly triggered by this film, and that this could
5.5 EVALUATION TOOLBOX film. Initially, their focus was firmly on changing political make massive impact both directly on overfishing, and
structures – and specifically on achieving a ban on bluefin through corporate communication to their customers on
DOCUMENTARY tuna fishing. The role of public awareness in their working public awareness, and that in this way pressure could be
theory of change was as a conduit to this. brought for political change. They shifted strategy, and
5.7 WRAPPING UP
began deliberately to seek this kind of change – resulting
But entry and exit surveys carried out at two London in policy change from major food brands like Sodexo and
launch screenings of the film highlighted a different Compass, and restaurants and celebrity chefs including
role for the public. The film achieved the major increase Jamie Oliver, Tom Aikens, Antonio Carluccio
in awareness and perceived urgency that the team and Raymond Blanc.
hoped for, with 85% of the audience upping their sense
of urgency about the issue of overfishing. But what The film team gathered data, thought through the
they didn’t necessarily predict was the commitment to implications of early successes, reoriented their strategy,
personal behaviour change. Across the whole audience, and moved. That’s great evaluation.
commitment to buying sustainable fish almost doubled
from 43% to 84% after one screening of the film.
Although both remained important, this refocused the
team’s approach more on personal consumption than on
petition signing.
Another shift came soon after. British supermarket

Waitrose came on board as distribution partner to the film
before launch (and stopped selling swordfish in order to
do so). Changing the procurement policy of restaurants
and food retailers was part of the strategy – but relative
to the focus on political change, not the main part. But
then Pret A Manger founder Julian Metcalfe attended a
preview screening, then arranged a screening for senior
management, then announced a total change in fish
5.1 WE LOVE EVALUATION TRACKING: Audience viewing figures (whether offline from cinema
/ DVD & Digital / community screenings / schools) are
EVALUATION
Great evaluation tracks whatever relatively easy to come by. Ditto the basic online metrics like
number of web views YouTube, Vimeo, Facebook, Google
5.3 EMBRACING COMPLEXITY you need to know. Analytics, Twitter. These stats have been the standard way
5.4 MAKING YOUR that the media industry have demonstrated or defined
EVALUATION PLAN Perhaps the greatest fear around evaluation stems from the
success. The highest rating show…the number one box
idea of reducing everything to numbers. Damn right. Great
5.5 EVALUATION TOOLBOX office hit…
impact in this field depends on the power of great art, and
5.6 NEW TOOLS FOR IMPACT great art cannot be reduced to a formula. And when we
DOCUMENTARY In the business of impact evaluation, these figures are
think of evaluation as a process of learning about the impact
useful in so far as they demonstrate reach or perhaps
5.7 WRAPPING UP we’re having, it seems obvious that numbers alone aren’t
penetration into a target audience - but they do not prove
going to do it. You need qualitative data also: data that
impact. We don’t know what happened to the viewer,
is about understanding how and why your film is having
what it meant to them, what if anything changed.
impact.
So while numbers are often quicker to come by, they are

“Different projects require not necessarily the data you need. Twitter followers and
different methodological audience statistics, while they are easily available and might
approaches to impact well be important if your primary Impact Dynamic is about
assessment. Moreover, a Changing Minds, are far less relevant if your work is more
comprehensive approach to focused on Changing Structures.
impact assessment typically
requires the application of In the worst-case scenario, you’ll spend time and energy
multiple methodological gathering data; yet once gathered, they won’t tell you
approaches that address anything material about whether your strategy is working,
different levels of analysis or what you might need to change. They’ll be noise, not
that reflect the different signal.
spheres of potential impact
(e.g., on individual attitudes/ So really the headline for this page should be: ‘Great
behaviors, on media debate/ evaluation tracks whatever you need to know’ – and only
discussion, on public policy)” what you need to know.
Philip Napoli, Professor of
Journalism & Media Studies, PRO TIP: Don’t confuse reach with impact.
Rutgers University
5.1 WE LOVE EVALUATION TRACKING: about events in the village from one about chaotic riots to
one about a strategic nonviolent campaign.
EVALUATION
Case Study: Budrus
The Budrus team recognised the difficulty of gathering
5.3 EMBRACING COMPLEXITY A critical aim for the Budrus team was to shift the media data against one of their key Impact Goals, asked the
5.4 MAKING YOUR narrative to give more recognition and validation to the role experts, and found a way to get the data they needed
EVALUATION PLAN of nonviolent protest in a conflict that is too often lazily to assess and inform their unique strategy.
5.5 EVALUATION TOOLBOX depicted as universally aggressive. That’s great evaluation.
DOCUMENTARY Neither audience numbers, nor social media followers,
nor press column inches, nor even surveys would help
5.7 WRAPPING UP them understand whether they were having this impact.
No numbers would help. But nor for that matter would “With Budrus, we measured
focus groups or other traditional qualitative means of success both by soliciting
gathering data. qualitative feedback from
the range of audiences we
So instead, knowing they needed a different way to came into contact with
assess whether they were having the desired impact, (hearing, for example, from
the team partnered up with the PR firm Strategy One, a Palestinian village that was
and took on a content analysis of all the media relating so galvanized after watching
to the village of Budrus before and after, looking at the film that they had one
both quantity and quality of coverage – both whether of their most organized
coverage increased, and how the story was told. and spirited protests ever
the following day, or from
The results showed that while there had been some limited an Israeli-American for
media coverage of events in Budrus prior to the release of whom the film served as a
the film, nearly all of that coverage was conducted through central catalyst to become
a law-and-order lens, treating the protests in Budrus as more involved as an activist
disturbances of the peace. On the other hand, after the living in Jerusalem), and
release of the film, most of the media items incorporated by allowing a major public
the key message we had laid out early in the production relations firm to conduct an
process: that the people of Budrus were engaged in a independent audit on the
nonviolent struggle to save their lands and olive trees. The media impact of the film”
study showed conclusively that beyond putting Budrus on Julia Bacha, Budrus
the map, the film successfully shifted the media narrative

 5.3 EMBRACING COMPLEXITY
5.7 WRAPPING UP

EMBRACING COMPLEXITY
G
EVALUATION
 5.3 EMBRACING COMPLEXITY
5.4 MAKING YOUR
EVALUATION PLAN
reat evaluation recognises impact
is complex and this complexity has
DOCUMENTARY
5.7 WRAPPING UP
three big consequences.
First, we need to be proportionate about the role of film and Third, the complexity of impact documentary means you
of the team in the story of change. You shouldn’t expect to will never be able to design for everything. What you
or indeed try to prove direct causation of the big, end-of- can do, though, is understand that impact is inherently
chain change in the world. The most you will ever do, indeed unpredictable, so be attentive to your campaign and the
the most anyone will ever work of the movement you’re contributing to, and... brace
do, is contribute. yourself. If you gather the right data, that’s exactly what
evaluation will help you do.
Second, that part of complexity is unintended
consequences. However good and noble your intentions,
there is a chance that what you do might cause harm.
What you can and should do with evaluation is be alert
to this, devote time to identifying possible risk areas, and
gather data on those as well – for example by regularly
surveying the attitudes of the subject community to the
film as well as those you’re trying to affect. Keep asking the
question; is this impact campaign advancing the goals of
the movement, and are people on the ground are getting
what they need?
5.1 WE LOVE EVALUATION PRO TIPS: Give credit where it is due.
Thank your funders and partners. They’ve likely
Do the ‘So What?’ test. been in the trenches for years. You did this together.
EVALUATION
Once you’ve decided what data you want to gather, So pay your respects. It will mean they are more likely
 5.3 EMBRACING COMPLEXITY and indeed throughout the process, keep asking to share information and data which could be essential
5.4 MAKING YOUR yourself the ‘So What?’ question. Say you’re doing a to tracking the impact of your project. They are also
EVALUATION PLAN regular survey, and the number of people who agree more likely to value the evaluation and share it widely
5.5 EVALUATION TOOLBOX with a certain statement has changed. Do you know if they are properly credited.
5.6 NEW TOOLS FOR IMPACT what you could or would do differently as a result? Is
DOCUMENTARY there anything? If not, should you really be asking the Be proud of joining the choir.
question at all, or is it just a waste of time and money? Impact often continues after you’ve gone through
5.7 WRAPPING UP
evaluation. The life cycle of a film and impact campaign
Avoid the ‘good news’ trap. can be open and continuous -- long after the case
Once the work is over, you’ll naturally want to make the studies are published. Telling the stories of change that
best of it, so in assessing responses, you’ll only look for come to light when a film embeds in the culture has its
good news and perhaps skirt over the unexpected and own impact in the larger effort to place artists in the
unwelcome turn of events. That’s human nature. But it’s web of social change. Your film has tremendous value,
not great evaluation. but it’s not likely to be the solo voice or the final word.
Be patient – but ready to move!

The nature of complexity is that two scenarios are
possible. The first, and more likely, is that it may well
take years for the full impact of your project to be ready
for a final evaluation report. It’s more than likely that you
won’t be able to report anything truly meaningful for
two to three years or more. The second, though, is that
it all kicks off with virtually no notice. If the stars align,
you could find yourself very busy very quickly. If you’re
gathering data, you’ll stand a chance of spotting the
opportunity early.
5.1 WE LOVE EVALUATION Case Study: 2013, the team estimate that $2.4m dollars will have been
pledged to the fund, an uplift of well over 5000%.
EVALUATION
Granito vs A Small Act So because of the complexity of driving change with film,
one project found things moving very fast despite little
 5.3 EMBRACING COMPLEXITY planning, and had to run to keep up – while another had
5.4 MAKING YOUR
In many ways, these two projects could to stick with it for 30 years. For our current purposes,
EVALUATION PLAN not be more similar – even in name they though, the key point is that this resulted in a very
5.5 EVALUATION TOOLBOX different role for evaluation in the two projects.
bear a strong resemblance. ‘Granito’
DOCUMENTARY translates as ‘tiny grain of sand’, relating For the Granito team, evaluation has been about finding
more and more ways to build the story, and with it the
5.7 WRAPPING UP to the idea that every individual has Maya community’s belief in their ability to achieve justice.
their little bit to add to the achievement This evaluation, in the form of constant and committed
presence in Guatemala, and continuous dialogue with the
of social justice. community, has been the inspiration behind the creation
of the second film, and the companion radio, web and
In others, they are starkly different. The Granito participatory documentary projects. It has been a slow
“It is generally more appropriate project began back in 1982 with the making of When but continual process.
to explore how media have The Mountains Tremble, exposing the fact that the
contributed to impact, rather Guatemalan government was responsible for the murder For the team behind A Small Act, evaluation has been
than to make causal claims about of Maya civilians. But only in 2013, after 30 years, could a rather more intense experience. From the moment
impact… Generally speaking, the team really point to concrete impact – with the guilty that audience member stood up at Sundance, they were
causation cannot be established verdict against General Rios Montt on 10 May 2013. forced to respond fast, with opportunities coming at
between content and impact, them from all sides and daring to be wasted – and they
particularly with larger scale By contrast, the concrete impact of A Small Act started also had to make sure they stayed true to their own
goals such as changed policies at its first screening at Sundance in 2011. The team had ambitions for the film. After all the team’s key ambition
and conditions. Rather, look at that point barely considered the idea of an impact wasn’t necessarily to generate funds for the Hilde Back
for a correlation among the campaign, struggling even to get the film finished. Education Fund, but to reframe development narratives,
reach of your media, degree of Halfway through the screening, a member of the highlighting through the role played by Chris Mburu in
engagement, and evidence of audience stood up and pledged $5,000 to the Hilde Back the untold story that developing countries often help
impact to infer that a contribution Education Fund, the scholarship fund set up by Chris themselves.
has been made to the change” Mburu to give Kenyan children the opportunity to get
Steven LaFrance an education just as he had received from Hilde Back. In order to stay true to this, the team had to shape the
CEO, Learning for Action Another audience member followed suit, and by the end opportunities that were coming to them, carefully framing
of Sundance, $90,000 had been pledged. By the end of their ask to inspire people to do a small act of their own
5.1 WE LOVE EVALUATION relevant to them, whatever that might be. Donating to the “It is important that any evaluation methodology
fund remained a default option, and one many took, but distinguish between ’attribution’ and ‘contribution’.
this approach inspired countless other acts. All the team The vast majority of social issue documentaries and
EVALUATION
could do was keep their ears open, and try to keep inspiring their engagement campaigns are entering into a
 5.3 EMBRACING COMPLEXITY broad action – small acts everywhere rather than donations community (however small or large) of activists, leaders,
5.4 MAKING YOUR to a single fund. organizations and coalitions that have laid groundwork
EVALUATION PLAN long before the films and campaigns were conceived
5.5 EVALUATION TOOLBOX The stories they collected and told were a continual support and they will be there for many years continuing to
5.6 NEW TOOLS FOR IMPACT to them in doing this, and in fact, as the money flows start build the movement. This critical work must be
DOCUMENTARY to calm, they would argue that a major part of the impact acknowledged - just another reason an element of ‘story’
is only just beginning – in the last two years, the film has is so important in this evaluation work - so that this
5.7 WRAPPING UP
started to screen in communities in East Africa, and inspire relationship can be explained”
small acts there. The Fledgling Fund
With that in mind, it’s possible that in 30 years’ time,

we might look back and think that the stories of A Small “Finding target audiences is absolutely crucial, but one
Act and Granito were pretty similar after all. Either way, key aspect to any campaign that uses global ‘broadcast’
both are examples of great evaluation here and now. media platforms (including Twitter and YouTube, for
instance) is that you must brace yourself for exposure
to the broadest possible audience. You have to imagine
how our media content may be consumed and used
by people who fundamentally disagree with the
presumptions behind your work and the implicit value
system in your messaging”
Johanna Blakley
USC Annenberg Norman Lear Center

 5.4 MAKING YOUR EVALUATION PLAN
5.7 WRAPPING UP

MAKING YOUR EVALUATION PLAN
Y
EVALUATION
 5.4 MAKING YOUR
EVALUATION PLAN
ou’ve had a chance in the previous
sections to consider why evaluation
DOCUMENTARY
5.7 WRAPPING UP
matters and what makes it effective.
Now we want to help you articulate a plan.

EVALUATION
 5.4 MAKING YOUR
EVALUATION PLAN
DOCUMENTARY SAMPLE EVALUATION PLAN

5.7 WRAPPING UP



EVALUATION
 5.4 MAKING YOUR
EVALUATION PLAN
DOCUMENTARY SAMPLE EVALUATION PLAN

THE END OF THE LINE
5.7 WRAPPING UP


5.1 WE LOVE EVALUATION First, if you haven’t done so already, STEP 3:
Define your Impact Indicators.
EVALUATION
download the Impact Evaluation
What you’re trying to do here is identify the specific
5.3 EMBRACING COMPLEXITY Plan Template. methods of data collection you might be able to use in
 5.4 MAKING YOUR order to gather data against each of your Impact Goals –
EVALUATION PLAN STEP 1: or at least identify a first piece of data you could collect
5.5 EVALUATION TOOLBOX Take the Strategic Plan you developed in Chapter 2 — for each one.
5.6 NEW TOOLS FOR IMPACT planning, and transfer your impact goals to the
In order to do this, the main thing you’ll need to do is have a
DOCUMENTARY Evaluation Plan template.
look through the next section of this chapter, the Evaluation
5.7 WRAPPING UP Toolbox. In here we’ve got the long list of all the ways we
STEP 2:
know of to collect data. This will help you understand what’s
Challenge your Impact Goals. What you’re trying to
possible, so you can then apply it to your own challenges.
do here is make sure your Impact Goals are measurement-
ready. Ask yourself who is this goal about affecting,
A really good set of Impact Indicators will pick apart your
how they will react and engage, and what would change
Impact Goal, and find ways to measure all the different
as a result.
bits of it. Taking the better articulation above, your Impact
Indicators might include:
An example of an Impact Goal that might be difficult
to measure would be something like: “Get rape on the
• Number/proportion of soldiers who have seen film
radar of issues in the US military”.
• Number/proportion of soldiers who have heard of film
• Number/proportion of soldiers who have talked about
A better articulation might be: “Get every soldier
film on social media
in the US military to see and have an opportunity
• Number/proportion of key training facilities which
to discuss the film”.
have film in curriculum
• Number/proportion of soldiers who have taken
For more on this, refer to section #1 of the Gates and
the new training
Knight Foundation’s excellent Deepening Engagement
For Lasting Impact (pages 6-10).
As an exercise now, just take a moment see if you can think
of any more – there are plenty!
For more on this, refer to section #3 of the Deepening

Engagement report (pages 18-28).
Now let’s start collecting evidence.


 5.5 EVALUATION TOOLBOX
5.7 WRAPPING UP

EVALUATION TOOLBOX
H
EVALUATION
5.4 MAKING YOUR
EVALUATION PLAN
opefully by now you have an idea of
what you want to measure or evaluate,
DOCUMENTARY
5.7 WRAPPING UP
and now you need to figure out how
to get it done. We won’t leave you hanging.
Here you’ll find an ample list of tools you
can apply to reach your chosen indicators,
along with a deep dive into a time-honoured
tool that remains ubiquitous yet often
underestimated... the survey.
5.1 WE LOVE EVALUATION For some funders and partners, Some of these tools and techniques are free and easy
to set up. Some are expensive and require expert skills.
EVALUATION
a rich longitudinal narrative containing But don’t be deterred. Even if you are cash strapped, you
may still be able to secure pro bono support from a PR/
5.3 EMBRACING COMPLEXITY anecdotal evidence may be enough. marketing firm. You might be able to persuade a polling
5.4 MAKING YOUR This is great but we’d also love company to slip on a couple of questions for free on the
EVALUATION PLAN end of another job. You may be able to collaborate with
to share some other techniques a PhD student or social sciences department at a
5.6 NEW TOOLS FOR IMPACT borrowed from many disciplines — university. You’d be surprised how many people might
DOCUMENTARY be willing to help.
including newsrooms, marketing,
5.7 WRAPPING UP
advertising, the arts, social science — This toolbox is a work in progress. Indicators and
techniques can applied to multiple dynamics, but as
which can give a much more profound with all of this guide, we think this will give you a good
start. If you have more ideas please email us so we can
insight into the power of your film slot them in.
and provide evidence you are
CHANGING MINDS
reaching your impact goals. CHANGING BEHAVIOURS
BUILDING COMMUNITIES
To work out what might be right for your project, we’ve CHANGING STRUCTURES
drafted a toolbox of techniques broken down by the four
Impact Dynamics: Changing minds, Changing behaviours, Evaluation of changing minds: Tracking a shift in public
Building communities and Changing structures. awareness or attitudes, at the individual level or amongst
the general public, created by a film’s impact campaign.

CHANGING MINDS CHANGING BEHAVIOURS BUILDING COMMUNITIES CHANGING STRUCTURES
EVALUATION INDICATOR TOOL/TECHNIQUE
5.4 MAKING YOUR Accumulate direct feedback post screenings of the film Through unsolicited letters, emails, phone calls or
EVALUATION PLAN which illustrate the impact on the audience. conversations with the filmmaker.
Capture audience understanding, reaction quotes,
5.6 NEW TOOLS FOR IMPACT comment cards with simple entry/exit surveys at your film
DOCUMENTARY
screenings.
5.7 WRAPPING UP
Conduct entry/exit audience survey at a physical
screening: assess levels of viewer knowledge, attitudes
and behaviours on an issue before and after watching your
film. Be sure to collect emails and survey them again in 12
months to learn what has stuck.
If you have your audiences email addresses, you can always
conduct an online questionaire using a service such as
Survey Monkey which is free: surveymonkey.com
Qualtrics is an example of a pay for service: qualtrics.com
You could capture audience feedback during screenings Check out Ovee which connects audiences anytime to
of the film which demonstrate impact of the project. watch together and interact with content which is used
by ITVS ovee.itvs.org/pages/about
Try out Harvis afourthact.com/harvis a mobile web

application that empowers individuals to share their
perspectives by capturing their real-time emotional
responses to recorded or live-media.
You could commission a Qualitative survey; providing Propensity Score Matching: Assess levels of viewer
deeper analysis of the impact of the film on the audience knowledge, attitudes and behaviours on an issue.
compared to those who have not seen it. Examine and compare people who did see your film
with those who did not. Or with those who
saw a different film on a similar topic.

5.4 MAKING YOUR You may be able to demonstrate that the film and film Partner orgs might be able to share target audiences
EVALUATION PLAN campaign reached a greater % of target audience reached reached by comparative projects or comparative
 5.5 EVALUATION TOOLBOX compared to alternative strategies. investments - including publishing research or paying for
5.6 NEW TOOLS FOR IMPACT advertisements.
DOCUMENTARY
5.7 WRAPPING UP You could carry out Quantitative surveying among the Commission a survey of public opinion via independent
general population. agency such as Nielsen or Gallop around the issue, before
film’s release and repeat after a period for comparison.
Another more cost effective technique which can give you
one data point is to commission a question through an
Omnibus Poll. Some pollsters such as ComRes will offer a
charity rate for appropriate projects.
If you can’t afford an agency, try out Google Surveys
google.com/insights/consumersurveys/home
Commission an SMS poll smspoll.net
Tracking the volume of press articles linking film to issues Hire a media agency for press evaluation providing
raised (not just film reviews but analysis and discussion) Advertising Value Equivalency (AVE) and PR value — a
could provide evidence of a new trend. proxy to the number of people likely to have seen an
advert
or read an article on an issue. This is a standardised tool
but not seen as very accurate.
Run Google Alerts for press coverage or Google Trends

to show how an issue trends over time. Correlating
against release period of film and major campaign
initiatives.

5.4 MAKING YOUR Tracking the volume of press articles linking film to issues Try PageOneX which tracks, code, and visualize major
EVALUATION PLAN raised (not just film reviews but analysis and discussion) news stories based on the proportion of newspaper
 5.5 EVALUATION TOOLBOX could provide evidence of a new trend. Cont.... front pages that they take up. pageonex.com
DOCUMENTARY Online servies are available which offer global media
5.7 WRAPPING UP monitoring and analytics such
as Meltwater http://www.meltwater.com/ or
Cision cision.com/uk
Track the creation of new media content triggered by the Commission of extended news reports, specially
film and impact campaign. commissioned programming
to sit around the film.
Capture evidence of frame change within the mass media Try Sentiment Analysis. Available tools include
associated with the film and impact campaign. rankspeed.com a search tool that does a sentiment
analysis on the blogosphere / twittersphere. A service
also provided by trackur.com
Consider tools such as Media Cloud: mediacloud.org

examine how the network public sphere reflect public
debate and discourse about key issues; examine a film
in relation to the discourse around a key issue. Other
examples are Story Pilot by Harmony Institute and
ConText (please see further in the chapter) by University
of Illinois.
Monitor the update of issue, frames, language or characters Research news archive for evidence.
by thought leaders, celebrities, government officials,
academics etc.

5.4 MAKING YOUR Review the evidence of change in standing of leading Research news archive.
EVALUATION PLAN advocates in the media space or creation of new advocates
 5.5 EVALUATION TOOLBOX (including subjects of the film or filmmakers themselves).
DOCUMENTARY A rise in online traffic to your films website or campaign Use Google Analytics for detailed stats about visitors to
5.7 WRAPPING UP website may provide basic evidence of growing your campaign website.
engagement.
Analysis of the the habits of those visitors to your films Have a look at ‘action’ based analytics like Mixpanel
website or campaign website may show engaged users. mixpixel.com or KISSMetrics kissmetrics.com
For example the numbers of new visitors ( demonstrating
a growing audience) / traffic sources or referrals (which
might indicate whether you are reaching reaching target
audiences) / page views (which could be an indicator of
levels of engagement).
The growth of your email list as well as the open rate of Track within your email programme such as MailChimp
newsletters over the duration of the film impact campaign mailchimp.com, or you could use Campaign Monitor
may provide evidence of growing engagement. campaignmonitor.com or Assemble assemble.me
The activity over your films social media accounts may Try out Facebook insights. Here is a great starter guide
also show further evidence of engaged users. For example from Mashable http://mashable.com/2010/09/03/
evidence of engaged posts ie: sharing / commenting, not facebook-insights-guide/#A1QHb3tYmiq7
just liking.
For managing multiple social media accounts try
Hootsuite hootsuite.com or Quantcast quantcast.com —
providing worldwide audience and demograophic data
for websites, videos, widgets, blogs etc.

5.4 MAKING YOUR The activity over your films social media accounts may hashtracking.com can provdie real and historic hashtag
EVALUATION PLAN also show further evidence of engaged users. For example intelligence.
 5.5 EVALUATION TOOLBOX evidence of engaged posts ie: sharing / commenting, not
5.6 NEW TOOLS FOR IMPACT just liking. Cont.... Try free tool sharedcount.com to get a sample conversation.
DOCUMENTARY
5.7 WRAPPING UP Content analysis of user-generated content on social media Try a search tool that does a sentiment analysis on the
may demonstrate attitude shifts in the public associated blogosphere / twittersphere or trackur.com
with the release of the film and impact campaign.
Or a service like Crimson Hexagon which can track
conversations and measure sentiment on a variety of
social networks crimsonhexagon.com.
You may be able to capture evidence of new terms entering Try Sentiment Analysis of the blogosphere /
the vernacular as a consequence of your film and impact twittersphere. Available tools include rankspeed.com
campaign. and trackur.com

5.4 MAKING YOUR A rise in the numbers of signatures on a pledge or petition Partners may be able to share data. Or else it might
EVALUATION PLAN associated with the film campaign. be captured on Avaaz.org or 360.org. Note that
 5.5 EVALUATION TOOLBOX Google Analytics offers extensive documentation on
5.6 NEW TOOLS FOR IMPACT how to track various metrics, with easy-to-implement
DOCUMENTARY page code and relatively easy event tracking, which
5.7 WRAPPING UP can be especially useful for action KPIs such as form
completions or donations.
A surge in letter writing associated with the messages Partners may be able to share data or may be reported
of the film campaign. in the press
An increase in fundraising or donations for a given partner Partners may be able to share data. Also try Google
organisation. analytics (see above)
An Increase in membership for a given partner organisation. Partners may be able to share data.
An Increase in volunteering for a given partner organisation. Partners may be able to share data.
Attendance at live event or gathering for protest associated Partners may be able to share data. Plus evidence from
with the film campaign. news orgs.
Increase in requests for information or for referrals to Partners may be able to share data. Note: This can be an
services associated with the film campaign. affordable way to gather compelling data, but it requires
up-front preparation to identify and agree on the right
metrics and to establish baseline performance, as well
as commitment from partners to track and provide the
information.
A lawsuit is filed which is associated with the films campaign. News analysis. Court reports. Evidence from partners

5.4 MAKING YOUR Change in purchasing behaviour which is associated with Sales analytics or Survey. This could be national or
EVALUATION PLAN the films campaign targeted ie: Street intercept survey of target community
5.6 NEW TOOLS FOR IMPACT Change in voting behaviour which is associated with the Review public records or conduct a survey. This could be
DOCUMENTARY films campaign national or targeted ie: Street intercept survey of target
5.7 WRAPPING UP community
Change in social behaviour which is associated with the Review public records or Survey. This could be national
films campaign or targeted ie: Street intercept survey of target
community. Or field observation of target community
over time
Target audiences reports change in behaviour Commission Qualitative surveying. Survey targeted
focus groups and repeat with same sample after 12
months to track longitudinal behaviour change
Quantative surveying in general population. Commission

a survey of pulic behaviour via indepedendent agency
such as Neilson or Gallop around the issue, before films
release and repeat after a period for comparison. Could
also be verified in Public Records.
General population reports change in behaviour If you can’t afford an agency, try out Google Surveys
https://www.google.com/insights/consumersurveys/
home
Individual narratives of transformation Biographical / longitudinal study of how people’s lives

are transformed by participating in the film production /
outreach process.

5.4 MAKING YOUR The film is being used by grassroots organisations for Record the views for clips, trailer and/or full film
EVALUATION PLAN community screenings or influencer screenings. screened live or on websites and on social media.
5.6 NEW TOOLS FOR IMPACT Evidence of material from the film being integrated
DOCUMENTARY directly into campaigns and campaign materials
5.7 WRAPPING UP
Evidence of a rise in membership of grassroots Partners may be able to share data. Measured through
organisations and a strengthened base of support triggered enrollment and membership rosters
by the film and impact campaign
Evidence of a rise in volunteering in the community Partners may be able to share data. Measured through
triggered by the film and impact campaign enrollment and membership rosters
An increase in calls or referrals to community services Partners may be able to share data.
triggered by the film and impact campaign
Evidence of rise in attendence at organised community Partners may be able to share data. Record from news
meetings or protests due to the film or film campaign. organisations
Legal actio filed by community groups due to film and News analysis. Lawsuit analysis.
impact campaign
Surge in fundraising or donations to community Partners may be able to share data.

organisations associated with the filmor the films issues
Evidence of leadership development in the community as Demonstrated through biographical evidence.

triggered by the film: meaning those who can facilitate Testimony from campaign partners. Interviews and press.
policy change are identified, engaged, and commit to
change.

5.4 MAKING YOUR Evidence of new collaborations between community or Testimony from campaign partners. Interviews, review of
EVALUATION PLAN grassroots organisations inspired by the film and film minutes. Press releases.
 5.5 EVALUATION TOOLBOX campaign, uniting around common policy goals and
5.6 NEW TOOLS FOR IMPACT outcomes
DOCUMENTARY
5.7 WRAPPING UP Formation of cross disciplinary / cross organisation Number and frequency of meetings and information
committees. ie; strengthened coalitions within community sharing opportunities. Interviews, progress reports,
organisers meeting minutes.
Formal agreements for sharing information and

responsibilities. Partner organizations collaborate/
advocate on common policy goals and outcomes.
Evidenced through MOU / contract. Meeting minutes.
Press releases.
Try Issue Crawler, the network visualisation tool.

http://issuecrawler.net, is used by NGOs and other
researchers to answer questions about specific networks
and effective networking more generally
Evidence of a shift in organisation and strengthened Advocacy Capacity Assesment Tool / Self Assesment
organisational capacity triggered by the film and impact Spider Diagram
campaign
Awards granted to orgs/ individuals featured prominently in Partners to share details. Press releases or news
the film and campaign reporting.

5.4 MAKING YOUR Screenings in local government / national legislatures / Public record and press releases will confirm screening
EVALUATION PLAN transnational instituions such as UN or EU events and where possible also capture list of attendees
5.6 NEW TOOLS FOR IMPACT Use of the film by campaigners or advocates to lobby Make a forensic record of all infleuncer screenings
DOCUMENTARY elected officials from one on one meetings to government committees
5.7 WRAPPING UP and party political conferences. Note who attended,
who spoke out and track where this leads.
Elected official refers to the film or film campaign or quotes Review Public Record and press to capture quotes
from the film on the record by politicans / lawmakers
Evidence of the creation of new political advocates due to Review Public Record and press to capture quotes
the film and impact campaign by politicans / lawmakers
Evidence that the film has influenced Policy development / Review public record to show when film or film
adoption / amendment / implementation / enforcement campaign sited in cited in the amendment or
formation of new legislation. Check record of legistative
sessions and oversight committees. Tools such are
available for tracking political process such as
http://www.opencongress.org/
Film / campaign mentioned during court proceedings Press or Public Record
Reversal of legal action associated with the film and impact Press or Public Record
campaign
Call for hearing or an investigation is triggered due to the Press or Public Record
film and impact campaign
Fine or penalty is levied Press or Public Record


5.4 MAKING YOUR Firing/Resignation triggered Press or Public Record
EVALUATION PLAN
 5.5 EVALUATION TOOLBOX Criminal charges are brought Press or Public Record
DOCUMENTARY Screenings at major national or international conferences Press or Public Record and where possible note key
5.7 WRAPPING UP audience members
Use of the film by campaigners to lobby chief executive or Make a forensic record of all your infleuncer screenings.
board members of corporations or major institutions Note who attended, who spoke out and track where this
leads
Corporate or institutional leader refers to the film and Review Public Record and press to capture quotes
campaign
Press announcements Quotes in speeches and correspondence
Changes in internal/external marketing campaigns, CSR Press announcements. Annual Review. Budget
priorities, new purchasing or sales strategy monitoring. Institution stops or starts releasing data.
Copycat behaviour on the High Street or amongst competitive Press announcements.

instiutions due to the film and impact campaign
Changes to corporate bottom line due to the film and campaign Financial news analysis
Corporate partnerships terminated due to the film and impact Press announcements
campaign
Adoption of film and associated impact campaign tools into Reporting from film team / outreach partners - number
major institutions of programs adopting tools, reach of those programs

HOW TO CREATE A GOOD SURVEY
Whatever the nature of the impact you’re trying to track,

2.
EVALUATION REVIEW YOUR IMPACT GOALS AND UNDERSTAND
the likelihood is that somewhere along the way a survey
5.3 EMBRACING COMPLEXITY WHICH ARE RELEVANT TO THAT AUDIENCE
or poll will be a powerful tool for you. With a film, you’ve
5.4 MAKING YOUR This is where you need your Impact Evaluation Plan again.
got an audience – and whether they’re watching offline
EVALUATION PLAN Go back to it, and filter it for goals that are relevant to the
or online, it’s a relatively simple and direct task just to ask
audience.
 5.5 EVALUATION TOOLBOX them what they think. Surveys can track shifts in attitudes
5.6 NEW TOOLS FOR IMPACT or awareness, or behaviours – across a range of audiences
DOCUMENTARY and over time.
5.7 WRAPPING UP
That said, there are watch-outs. A long, badly designed
survey can confuse more than enlighten, even irritate your
3.
audience. But there’s more subtle challenges also, which BRAINSTORM A LIST OF QUESTIONS
are around good practice. Starting from each of your impact goals, generate
a first draft list of questions that you’d ideally like to
Here’s our 10 step guide to developing a great survey. ask the audience you’re working with. What would you
love to know? Don’t try to make these questions perfect
at this point – we’re coming to that...
1.
4.
DEFINE THE AUDIENCE AVAILABLE FOR SURVEY
Think about who you’re going to be talking to in
any given situation. To state the obvious, screening
The Invisible War on Capitol Hill is very different to DO THE ‘SO WHAT?’ TEST
screening Weapon of War in a remote community in Now you’ve got a first list of questions, it’s time to
the Congo; and different again to the audience who do the ‘So What?’ test. You’ve got a list of what you’d
come to your film on cinema release, or download it like to know; now what do you need to know. Remember,
from Netflix. But too often, survey writers of all shades every additional question you ask beyond the first few
forget to think about who it is they’re asking questions will get less and less thought and attention in response;
of. Write down each audience – then follow the rest of and it creates more work for you to do in analysing the
the process for each audience separately – don’t be data. Quantity and quality are in direct competition when
tempted to try to combine them right until the end, it comes to surveys, so whilst you shouldn’t give up on
because you’ll most likely miss something. information you do genuinely need and could respond
to – if you can get it down to one question, do.
5.1 WE LOVE EVALUATION they actually acted on intentions formed at the screening,
EVALUATION
5. and if they are still doing so. This takes out the ‘heat of
the moment’ factor, and is a real test of impact at this
WHAT’S THE BASELINE? level. The problem of course is that asking people for their
5.3 EMBRACING COMPLEXITY details has its own problems – you have to be very sure of
It’s all very well saying that people are likely to do, say,
5.4 MAKING YOUR or feel something after watching your film. But unless where you stand on data protection rules, and asking for
EVALUATION PLAN you know whether they were already likely to do it before data is another question that will take up their attention...
 5.5 EVALUATION TOOLBOX watching, you can’t claim any impact on that. That’s why so this is a good thing to do, but is best done sparingly.
5.6 NEW TOOLS FOR IMPACT baselines matter. There’s a few ways to achieve this:
DOCUMENTARY
5.7 WRAPPING UP •Y
ou could try contacting researchers working in the
specialist area of your film to see what data they have
6.
already collected before the release of the movie. And CHECK FOR TWO-IN-ONE
see if there is an opportunity to repeat the original What often happens when you refine a survey down like
study post impact campaign. this is that you become tempted to bring two questions into
one. The alarm words are to look out for are ‘and’ and ‘or’.
• You can try to get some idea of a comparison with a If The End of the Line survey (see case study above) had asked
broader group of which your audience is a subset. So- “How likely are you to support political action on bluefin tuna
called “omnibus” (“for everyone”) studies enable this by fishing and seek to buy sustainable fish yourself?”, they might
getting questions out to a group (usually 1000 people) have blurred their information and never have recognised the
that is representative of the nation as a whole, usually for opportunity they had. These are two questions, not one.
under $1000 per question. If the audience at your film say
something different to your baseline group, you can often
use that to point to a difference you’ve made. 7.
• More powerfully, you can do pre- and post-screening DON’T LEAD THE WITNESS
questions – asking the same question before and after, You need to be very careful to check the framing of
so the only variable in between is the experience of your your questions. In first draft, you will almost definitely
film. Of course, even that’s not perfect, because they be leading your respondents to the answer you want –
may have read about the film in order to have decided it’s human nature. Back to The End Of The Line, if they’d
to see it, so your impact may actually have begun before asked “Would you be more likely to buy sustainable fish
the screening, but it’s a good one to consider. as a result of watching the film?”, the right answer is
clearly “yes” – and people like giving the right answer.
• Even better, if you can get contact details, you can go Challenge yourself to make it possible to give the answer
back to people after a significant period, and find out if you don’t want.

8. almost everywhere if you do your research.
Online survey tools like Survey Monkey are also widely
available, and these also often have the benefit of
EVALUATION CLOSE THE QUESTIONS – MUTUALLY EXCLUSIVE,
making data collection and analysis relatively painless.
5.3 EMBRACING COMPLEXITY OTHER/DON’T KNOW
The challenge, of course, is that only people sufficiently
5.4 MAKING YOUR Now you need to make sure that your questions can be
motivated to go to the site to register their views will fill
EVALUATION PLAN answered simply, by checking a box. The bad version of
in your survey, which can create a major bias in your data
The End Of The Line question this time would be “What
 5.5 EVALUATION TOOLBOX towards people who care. If you can afford it, offering
would you be most likely to do differently?”, with an open
5.6 NEW TOOLS FOR IMPACT some sort of incentive (a downloadable voucher or
space for responses to be filled in. This is all very well in
DOCUMENTARY similar) can help overcome this.
some ways, but you’re asking a lot of people – the vast
5.7 WRAPPING UP majority of open survey questions are left blank – and
Sometimes though, you can’t actually beat an old-fashioned
even if you get a response, analysing that data is going
paper-based survey. The difficulty is analysis, since you
to be a real headache for you. The more you can provide
don’t want to spend hours going through responses, but
options, yes/no questions, and checkboxes, the more
there are relatively low-cost hard- and software solutions
likely you are to get answers, and answers you can use.
(for example autodata.com) that can take the pain out of
9.
this. Or, like the Private Violence team, you can bring your
design brain to bear on the problem…
THINK ABOUT THE BEST MEDIUM

NEED MORE HELP?
The nature of our work is that there
At this point, the actual questions should be pretty much
written. Now you need to think about how to administer
10.
are always people willing to help, and
the survey — should it be paper-based? SMS? Online? PILOT TEST IT – CHECK THE LANGUAGE
there are plenty of people who design
this kind of thing for a living – whether Whatever you do, always always always test it before you
If you can get it down to a single question, or three at go live. You will have done something that makes it not
in marketing or research agencies, or
most, SMS might well be a good option. Data gathered quite work. Whatever questions and whatever medium
in the Social Sciences departments
this way is easily analysed, and people are often very you decide on, get 10 friends to try it out first, and ideally
of universities. Often getting their
willing to text an answer quickly — you may even be able try it out at a rough cut screening before you commit to it
help (particularly the latter) can add
to follow up and gain permission to use their contact fully. The pain and cost of knowing the data that’s coming
credibility to what you do as well –
details on an ongoing basis. There are a wide variety of in won’t be usable, or of trying to change something
so ask around your friends, partners,
platforms that offer this functionality for free, with the when it’s up and running, is seriously worth avoiding.
funders and supporters, and get help.
most popular in the United States being Poll Everywhere
Even the popular MailChimp platform offers a free “text
to join email list” function, and with mobile phones now GEEK OUT
widely used across the world, there are ways of doing this IDEAS FOR FURTHER READING

Geek out art methodologies for strategic design and
evaluation of social issue documentaries.
The report’s recommendations are
EVALUATION
5.3 EMBRACING COMPLEXITY Further reading informed by lessons from case studies of
six films.
5.4 MAKING YOUR
EVALUATION PLAN 5.5 Assessing the Social Impact of Issues-
Focused Documentaries
5.6 NEW TOOLS FOR IMPACT cmsimpact.org/media-impact/related-
DOCUMENTARY materials/documents/assessing-social-
National Center for Media Engagement: impact-issues-focused-documentaries
5.7 WRAPPING UP
Assessment Tools A recent white paper from the Center for
http://ht.ly/v8nG6 Media & Social Impact outlines research
NCME provides a useful collection methods for impact evaluation.
of social impact assessment methods,
including some practical tools. Johanna Blakley — Movies for a Change
tedxtalks.ted.com/video/TEDxPhoenix-
A Handbook of Data Collection Tools: Johanna-Blakley-Mov
Companion to “A Guide to Measuring For a masterclass on survey design, check
Advocacy and Policy” out Johanna Blakley’s TED talk on Food, Inc.
organizationalresearch.com/
publicationsandresources/a_handbook_
of_data_collection_tools.pdf
This handbook of data collection tools
by Organizational Research Services has
examples of practical tools and processes
for collecting useful information from
policy and advocacy efforts.
Social Justice Documentary: Designing

for Impact
centerforsocialmedia.org/sites/default/
files/documents/pages/designing_for_
impact.pdf
This working paper examines state-of-the

 5.6 NEW TOOLS FOR IMPACT DOCUMENTARY
5.7 WRAPPING UP

NEW TOOLS FOR IMPACT DOCUMENTARY
A
EVALUATION
5.4 MAKING YOUR
EVALUATION PLAN
bunch of new digital tools have
 5.6 NEW TOOLS FOR IMPACT
emerged out of universities and
DOCUMENTARY
5.7 WRAPPING UP
agencies in the last 24 months trying
to solve the problem for filmmakers and
film funders of knowing which films are
succeeding. We’ve touched on them in the
evaluation taxonomy guide, but here is a
little more in depth on each...
5.1 WE LOVE EVALUATION SPARKWISE “The Sparkwise board is a useful tool for context setting.
Sparkwise is open source, free software which consists of Our film intentionally takes a personal ‘micro’ view
a customizable, sharply designed interface that allows you on things. We’re really up close most of the time. The
EVALUATION
to present a rundown of essential statistics, information, Sparkwise board gives an audience a chance to step
5.3 EMBRACING COMPLEXITY news, and stories relating to the your mission in the back and react in a more ‘macro’ way — reflecting on
5.4 MAKING YOUR form of data visualizations, photos, videos, newsfeeds, the themes, issues and policies our film’s personal
EVALUATION PLAN tweets, etc. Each piece of data or multimedia element is stories explore. In this way, Sparkwise goes beyond
5.5 EVALUATION TOOLBOX featured in a widget, which can include everything from measurement - but can also be an educational tool for
 5.6 NEW TOOLS FOR IMPACT the amount of funds raised for a particular campaign to giving audiences meaningful information and channeling
DOCUMENTARY photo slideshows and graphs. their reaction and interest into specific and meaningful
action”.
5.7 WRAPPING UP
It’s an elegant way to help you keep track of your reach Tracy Droz Tragos, Director, Rich Hill
and impact on a live, real-time basis. Have a look at this
great board from the film team who made Rich Hill, a film “We ask Fledgling grantees to use Sparkwise for a variety
looking at the rise in child poverty in the US. of reasons. First, it allows users to define their own
measures for success - because there isn’t one kind of
To find out more read: Strategy Guide to Sparkwise impact that is ‘right’ and Sparkwise is a place where film
teams can tell their own story of impact through a variety
of quantitative and/or qualitative measures. Secondly,
it is easily expandable and editable which allows for
the constant evolution of a campaign and an evaluation
strategy. These two things allow for completely
customized Sparkwise boards and allow filmmakers
to do what they do best - tell a story.”
Emily Verellen, Founder, Fledgling Fund
5.1 WE LOVE EVALUATION CONTEXT THE PARTICIPANT INDEX

ConText is a tool specifically designed for film impact Although not currently available to individual
evaluation which maps and assesses the impact documentary film teams to commission themselves, it’s
EVALUATION
of a film by analyzing the web of stakeholders and worth understanding how the Participant Index works. TPI
5.3 EMBRACING COMPLEXITY information related to the main topic of that film in a compiles raw audience numbers for issue-driven narrative
5.4 MAKING YOUR systematic, empirical and scalable fashion. It focuses films, documentaries, television programmes and online
EVALUATION PLAN on understanding the contribution that a film makes to short videos, along with measures of conventional action
5.5 EVALUATION TOOLBOX the online debate on a given issue, and whether the key and social media activity, including Twitter and Facebook
 5.6 NEW TOOLS FOR IMPACT influencers on that issue are involved in and affected presence. The two measures are then matched with the
DOCUMENTARY by that debate. It offers a way to understand the public results of an online survey, about 25 minutes long, that
discourse on the issue, to track the key players in that asks as many as 350 viewers of each project an escalating
5.7 WRAPPING UP
discourse, and to evaluate the impact that a film makes set of questions about their emotional response and level
accordingly. of engagement. Those scores are added together and
divided by 2 to give the TPI Social Impact Score.
ConText is still very new, but has already proved useful in
understanding the contribution of films like The House I In its current form, TPI will do little to track two of the
Live In. It has the potential to make a major contribution four Impact Dynamics; namely Building Communities
to understanding and focusing the impact work of films or Changing Structures. But used alongside offline
that aim to make a change in the way a given issue is qualitative work, may provide evidence for films which
discussed in society – so is particularly well suited to films aim to change minds or behaviours – albeit within a US
that aim to change minds. setting.
You can read more about the work on how ConText The inaugural findings report is here if you’d like to find
was used to demonstrate the impact of The House I Live In out more.
here.
To find out more read Professor Jana Diesner’s

methodology paper for ConText.
5.1 WE LOVE EVALUATION HARVIS “HARVIS has the potential to assist our partner
HARVIS is a mobile web application that empowers organizations to quickly zero-in on the gaps in
individuals to share their perspectives and be active information and perspective that exist across different
EVALUATION
participants in collective action-oriented dialogue by constituencies in workshop and screening settings.
5.3 EMBRACING COMPLEXITY capturing their real-time emotional responses to recorded We’ve done a few pilot screenings in Oregon and were
5.4 MAKING YOUR or live-media. In other words, you can get a sense of how impressed by the wealth of information we obtained
EVALUATION PLAN people respond to your film, not just by a survey at the along different socio-demographic lines.
5.5 EVALUATION TOOLBOX end, but while they’re actually watching it – and then use
 5.6 NEW TOOLS FOR IMPACT that information to facilitate discussion and interaction. For example, in Portland, there was a visible difference
DOCUMENTARY in how different constituencies reacted to and processed
This is a great way to understand how your film affects the emotion and information embedded in the story.
5.7 WRAPPING UP
different audiences in real depth, and for films which aim African-American families and the teachers of African-
to create active discussion, can be incredibly useful in American youth impacted by the film were quickly
facilitating that. motivated to act and wanted solutions. White men were
equally impacted and emotionally moved by the film, but
To find out more, watch this useful film on how Harvis they attributed our son’s struggle to us as parents or to
was used by the American Promise team to help inform the specific institution portrayed.
post-screening discussions, as well as to understand the
parts of the film audiences were most motivated by. Harvis visualized what we had already suspected: there
was bimodal support for the film that required slightly
different conversations and we needed to address the gaze
through which people were engaging with the film. Using
HARVIS we could better understand our constituencies
and immediately identify the points of intervention
where consensus existed and where more conversation
and information was needed. We could then guide the
conversations with this information as a backdrop and
revelation to the entire community present.”
Michele Stephenson
Director, American Promise
GEEK OUT

Geek out Avoiding ‘death by evaluation’
hfrp.org/evaluation/the-evaluation-
exchange/issue-archive/evaluating-
impact assessment and looks at the key
challenges and tensions of standardising
impact assessment (1hr 25mins).
EVALUATION
5.3 EMBRACING COMPLEXITY Further reading education-reform/avoiding-unwarranted-
death-by-evaluation Why WITNESS and Other Nonprofits
5.4 MAKING YOUR
EVALUATION PLAN 5.6 Lois-ellin Datta outlines the common pitfalls,
misconceptions and misuses of evaluation.
are Adopting the Serious Business of
Monitoring and Evaluation
blog.witness.org/2014/08/nonprofits-
 5.6 NEW TOOLS FOR IMPACT Evaluation a booming business but is it monitoring-and-evaluation/
DOCUMENTARY adding value Sara Federlein examines of how human
Deepening Engagement for Lasting docin.com/p-433547806.html rights video advocacy group WITNESS
5.7 WRAPPING UP
Impact Professor Frans Leeuw of Law, Public are adapting their evaluation methods
learningforaction.com/wp/wp-content/ Policy and Social Science Research at the to a rapidly changing tech landscape.
uploads/2014/08/Media-Measurement- University of Maastricht, looks at how and
Framework_Final_08_01_14.pdf whether reductionism is a threat to good Civic Tech and Engagement:
Check out a hugely helpful framework for evaluation. In Search of a Common Language
measuring media performance and results, techpresident.com/news/25261/civic-
prepared by Learning for Action for the Philanthropy, Evaluation, Accountability, tech-and-engagement-search-common-
Gates & Knight Foundations. and Social Change language
giarts.org/sites/default/files/conference_ Micah L. Sifry asks what kind of design
Impact Playbook websites/2010/docs/Bare-John_ choices in civic tech maximise particular
harmony-institute.org/blog/cases/impact- Philanthropy-Evaluation-Accountability- characteristics of civic action? What sorts
playbook/ Social-Change.pdf of tools and processes empower users vs
Harmony Institute published a useful tool John Bare, for The Arthur M. Blank Family aggregators? What choices tend to produce
aimed at demystifying data capture and Foundation, presents a call to action for thicker or more long-term kinds
analysis for all types of storyteller. all working in the social impact sector to of engagement?
expand their evaluation expectations wider
Getting to Maybe: How the World Is in order to evaluate in more powerful ways.
Changed
amazon.com/Getting-Maybe-How-World- Media Impact Assessment and Beyond
Changed/dp/067931444X/ cmsw.mit.edu/podcast-philip-napoli-
Frances Westley applies the insights of media-impact-assessment-and-beyond/
complexity theory drawing on real examples Philip Napoli of MIT authored the Norman
to examine effective change making. Lear Center’s ‘Measuring Media Impact’
report. This podcast discusses issues around

 5.7 WRAPPING UP

WRAPPING UP
T
EVALUATION
5.4 MAKING YOUR
EVALUATION PLAN
his guide is about more than just tools
and resources, it’s about building
DOCUMENTARY
 5.7 WRAPPING UP
community. As with the process of
evaluation, we saw an opportunity to learn
about how impact happens and track how
films are catalysing social change. That’s
the impetus behind the case studies that
make up our Impact Library. We believe that
sharing stories of change is inspiring and
empowering. This guide is an opportunity
for us to learn from each other, to pass on
knowledge and equip others in the field.
5.1 WE LOVE EVALUATION If you’re embarking on a journey of a So don’t hesitate to weigh in. Your feedback
is our priority.
EVALUATION
social impact documentary, then you’re
Your feedback will help to make this a better guide.
5.3 EMBRACING COMPLEXITY already part of the community. We are We might not have all the answers, but we will continue
5.4 MAKING YOUR learning and producing alongside you, to edit and grow these resources to help you along the
EVALUATION PLAN way. We will continue to produce case studies and share
and there is strength in numbers. We stories of change to help inform your work.
5.6 NEW TOOLS FOR IMPACT want to know what works and doesn’t
DOCUMENTARY As with filmmaking, this guide would not be a reality
work. We want to know what inspires without our own extensive team of partners and
 5.7 WRAPPING UP
your work and what hinders it. We want contributors. Thank you to all the filmmakers, the Impact
Producers, Impact Funders and academics who have
to know what you’re reading and what contributed their insights and experience to this guide.
To Jon Alexander and Irenie Ekkeshis who turned all that
you’re making. We want to know what wisdom into a compelling narrative.
change you want to see in the world.
Then there is the incredible team of international
reviewers who read the whole darn thing and shared their
feedback with us: Burcu Melekoglu, Caro Macdonald,
Daniel Simons, Eirin Gjorv, Eric Juhola, Erin Sorensen,
Irene Zabytko, Jamie Goncalves, JoAnne Fishburn, Judy
Hatcher, Laura Wilson, Sandra Tabares-Duque, Sanjay
Rawal, Simone Pero, Tim Horsburgh, Vuslat Karan, Wendy
Levy. Whose insights and requests were lovingly executed
by Jessica Edwards and Angelica Das.
Designed by Involved.
involveddesign.com
Thank you all so much.

And finally thank you to you,

the reader, for sharing in our belief
in the power of social impact film.
We salute you.
WE ARE BIG FANS

OF YOUR WORK.
BRITDOC.ORG

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INDEX  INTRODUCTION  PLANNING  IMPACT IN ACTION  IMPACT DISTRIBUTION  EVALUATING

1.0 2.0 3.0 4.0 5.0

Making impact partners Sign on the dotted line Wrapping up

Also download our

A set of tools and guides designed to help

Brought to you by:

Made possible by:

In this Introduction we offer theoretical and practical Thank you

US-based organisation The Culture Group’s Making Waves report is a powerful

DOCUMENTARIES HELP CREATE

1.1 WELCOME And whilst many documentaries investigate, reveal, QUESTION 1

FRESH : REVEAL FAMILIAR : SPOTLIGHT

FRESH : REVEAL FAMILIAR : SPOTLIGHT

To unpick this further, here are four

1.1 WELCOME REVEAL: THE INVISIBLE WAR SPOTLIGHT: BULLY

INVESTIGATE: GASLAND HUMANISE: BUDRUS

1.1 WELCOME Top down or bottom up?

What emerges in opposition to this approach is bottom up

But to depict American Promise purely as a bottom up

1.1 WELCOME Our conclusion

“This passion has all the

4. MAKING CINEMA Getting wide theatrical distribution,

else is already taken” 7. ACKNOWLEDGEMENT

 2.1 WHY VISION AND STRATEGY MATTER

 2.1 WHY VISION AND

 2.1 WHY VISION AND

THE END OF THE LINE THE AGE OF STUPID

Directed by Rupert Murray, produced by Directed by Franny Armstrong,

2.1 WHY VISION AND STRATEGY MATTER

2.1 WHY VISION AND

The Impact Vision is an expression of the big change

What would you change if you could

Thinking about your film and

2.1 WHY VISION AND

Steve Radcliffe’s Future-

2.1 WHY VISION AND STRATEGY MATTER

2.1 WHY VISION AND

2.1 WHY VISION AND

• Building communities • Building communities

2.1 WHY VISION AND

2.1 WHY VISION AND

STRATEGIC PLAN IMPACT VISION: SUSTAINABLE GLOBAL FISHING

IMPACT PLAN (Actual, but tailored slightly)

2.1 WHY VISION AND

Your Strategic Plan, as the encapsulation of your strategy,

2.1 WHY VISION AND

Theory of Change DIY Toolkit

2.1 WHY VISION AND STRATEGY MATTER

2.1 WHY VISION AND

This is vital precisely because film is such a powerful medium for

TIP: Create a database now that tracks everyone

2.1 WHY VISION AND

2.1 WHY VISION AND STRATEGY MATTER

2.1 WHY VISION AND

Here are the four Impact Dynamics,

2.1 WHY VISION AND

2.3 DEVELOPING YOUR

IMPACT PLAN (Hypothetical)

2.1 WHY VISION AND

2.3 DEVELOPING YOUR

IMPACT PLAN (Hypothetical)

2.1 WHY VISION AND

2.3 DEVELOPING YOUR

“This passion has all the

 2.1 WHY VISION AND STRATEGY MATTER

 2.1 WHY VISION AND

 2.1 WHY VISION AND

2.1 WHY VISION AND STRATEGY MATTER

2.1 WHY VISION AND

2.1 WHY VISION AND

2.1 WHY VISION AND STRATEGY MATTER

2.1 WHY VISION AND

2.1 WHY VISION AND

2.1 WHY VISION AND

2.1 WHY VISION AND

2.1 WHY VISION AND

2.1 WHY VISION AND

2.1 WHY VISION AND STRATEGY MATTER

2.1 WHY VISION AND

2.1 WHY VISION AND

2.1 WHY VISION AND STRATEGY MATTER

2.1 WHY VISION AND

2.1 WHY VISION AND

2.3 DEVELOPING YOUR

2.1 WHY VISION AND

2.3 DEVELOPING YOUR

2.1 WHY VISION AND

2.3 DEVELOPING YOUR

2.1 WHY VISION AND

2.3 DEVELOPING YOUR

2.1 WHY VISION AND

2.1 WHY VISION AND STRATEGY MATTER

2.1 WHY VISION AND

2.1 WHY VISION AND

• Tasks: What do you need to do within your project (either

• Which of these would do most to deliver the

• Goal: What would a concrete solution/reversal of each

• Key Agents: Who could make this happen? What

2.1 WHY VISION AND

2.3 DEVELOPING YOUR

2. Where are we in the process of making the film

3. What resources do I/we bring to this as an impact

“The campaign is still PETER BRODERICK

“Be truly grateful and generous. Take your lead