For filmmakers and producers
A theatrical run is a checklist, a calendar and a set of receipts. Miss one clearance and an insurer will not write the policy. Miss the DCP deadline and the date dies quietly, a week before anyone notices.
Free to start. Pro when you send it out.
01 What actually stops a release
02 How it works
01
A checklist built from what distributors, insurers and venues actually ask for, weighted so the things that stop a release outrank the things that delay one. It knows the difference between a documentary and an awards run.
02
Ask your lawyer, your composer and your insurance broker for what you need through their own link. They upload; you see it land. Nobody has to make an account.
03
Run a virtual four-wall test screening. The audience answers the industry questionnaire, you get top-two-box and definite-recommend, and the drop-off curve tells you where the third act loses people.
04
Pick a city, see the cinemas on a map with their addresses, and build the run. Ship-by dates work themselves backwards from each play date.
05
One link per person. You see who opened it, which sections they read and for how long, and they can accept on the page.
03 The readiness checklist
Requirements are weighted, and the critical ones outrank the rest. Applicability is resolved by your goal, so an awards run asks for things a calling-card release never will.
Music licences cover theatrical
Chain of title complete
DCP built to SMPTE
Captions or subtitles
E and O insurance bound
Weighted score, next best action, and the reason each one matters.
04 Read a finished one
A documentary chasing Academy eligibility. Seven consecutive days in one commercial theatre, at least three screenings a day, one of them starting between 6 and 10pm, paid admission and real advertising. The plan checks a run against those and shows you where the rule came from.
05 The same release, from another chair
06 Questions people actually ask
No. The clearances and the chain of title are cheapest to fix while you are still in production, and the checklist is most useful before you have a problem rather than after.
Then the rules matter more than the marketing: seven consecutive days in one commercial theatre in a qualifying market, at least three screenings a day, one of them starting between 6 and 10pm, paid admission and real advertising. The plan checks a run against those and shows you the source. It is advice with a citation, never a verdict.
Starting a plan and working the checklist is free. Sending the package to distributors and running screenings is on the Pro plan.
Storyline
Three minutes, swipeable, and it makes the whole case for you rather than listing what the product has.
See every storylineSee your readiness score in about a minute. You will be asked to make an account first.
