Overview of The Town: Why You Don’t Need a Major Studio to Release Your Movie Anymore
This episode explores how movie distribution is changing as more filmmakers and studios bypass traditional Hollywood distributors in favor of alternative platforms like Fathom Entertainment. Host Matt Belloni interviews Fathom CEO Jason Brennick about the company’s role in releasing Laika’s animated film Wildwood, and how event-style theatrical releases, reissues, creator-driven content, and niche audiences are reshaping the business of getting movies into theaters.
Key Takeaways
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Fathom is evolving from a niche event distributor into a serious theatrical release partner.
- Originally built to fill off-peak theater slots, Fathom now handles a wide range of releases, including reissues, faith-based titles, concerts, opera, creator events, and select first-run films.
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Laika chose Fathom for Wildwood to retain more control.
- Laika wanted a more hands-on role in marketing, distribution, and creative decisions rather than handing the film entirely to a traditional studio.
- The move reflects a broader industry shift toward creators wanting more ownership over how their films reach audiences.
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Theatrical distribution is becoming more specialized and audience-driven.
- Fathom focuses on “affinity groups” and fandoms rather than broad, generic moviegoing audiences.
- The model works especially well when a film already has a built-in fanbase or can be turned into an event.
How Fathom’s Model Works
What Fathom Does
- Distributes films and events to theaters nationwide.
- Has access to major chains through its ownership structure:
- AMC
- Cinemark
- Regal
- Can help secure wide theatrical placement, sometimes reaching thousands of screens depending on the title.
What Fathom Does Not Do
- It does not fully take over marketing in the traditional studio sense.
- Instead, it partners with filmmakers and producers who know their audience best.
- Fathom focuses on:
- In-theater marketing
- Trailers
- Lobby materials
- Social/digital support
- Coordinating with theater owners
Why This Model Is Growing
1. Studios Are Releasing Fewer Big Movies
- The major studios have become more selective, making fewer big theatrical bets.
- That has opened space for specialty distributors and alternative release models.
2. Theatrical Experiences Are More Valuable Now
- Audiences increasingly want communal, out-of-home entertainment.
- Reissues, fandom screenings, concerts, and event films are thriving because they give people a reason to show up in person.
3. Control Matters More to Filmmakers
- Some producers want to manage the tone, positioning, and fan engagement themselves.
- Social media and creator-led marketing make it easier for filmmakers to reach audiences directly.
Fathom’s Main Business Segments
Reissues and Repertory Titles
- A major part of Fathom’s business comes from older titles and anniversary screenings.
- Examples include:
- Coraline
- Paranorman
- E.T.
- The Lord of the Rings trilogy
- Spider-Man titles
- Twilight events
Faith-Based and Inspirational Content
- Fathom has had major success with faith-oriented programming.
- The Chosen is cited as a major example, with very strong box office results.
Creator-Driven and Fandom Events
- The company has worked with digital creators and fan communities.
- Example mentioned:
- Digital Circus, which performed strongly with its built-in audience.
- This is one of Fathom’s fastest-growing categories.
Growth Areas Discussed
Sports in Theaters
- Brennick sees theatrical sports viewing as a major untapped opportunity.
- He argues that watching sports on a giant screen with communal energy is superior to a sports bar or home viewing.
- Challenges include rights issues, blackouts, local station concerns, and advertiser logistics.
Faith-Based Family Programming
- Fathom sees continued opportunity in family-friendly and faith-based theatrical content, especially in middle America and other strong regional markets.
Creator-Led Theatrical Releases
- Big online creators with passionate fanbases may increasingly use theatrical releases to monetize and deepen audience engagement.
- These events don’t always need to be traditional movies; they can be built around episodes, fandom experiences, or live-style programming.
Business Implications
- Fathom’s distribution fee is described as broadly similar to what a traditional distributor might charge for a major release.
- The value proposition is not just lower cost; it’s more control, better audience targeting, and a closer fit with the film’s fanbase.
- The model could become more common if Wildwood succeeds, especially for filmmakers and studios looking to avoid the traditional studio system.
Notable Quote Themes
- Control over marketing matters as much as production.
- Theater chains want more content that drives attendance.
- Affinity and fandom are now central to theatrical success.
- The theatrical window still matters for downstream value.
Brief Box Office Side Discussion
The episode closes with a separate box office segment where Belloni and Craig Horlbeck debate weekend tracking for several films, including:
- You Can See Everything — expected to perform strongly, possibly around or above $25 million.
- Clayface — tracking around $25 million, with some skepticism about legs.
- Wildwood — tracking around $14 million, with Belloni expressing cautious optimism.
- Clara and the Sun — described as a likely misfire, with weak reviews and disappointing tracking.
Bottom Line
This episode argues that the old studio monopoly on theatrical distribution is weakening. For the right kind of film, especially one with a passionate audience, a company like Fathom can now function as a real alternative to a major studio—offering theatrical access, fan-focused release strategies, and more creative control for filmmakers.