The Creator Economy is Coming for Indie Film (But What Does That Even Look Like?)

Part 1: Reimagining Partnerships in Indie Film

In my post-Sundance reflection on the State of the Indie Film Union, I looked at how the booming creator economy could be poised to transform independent filmmaking — if we only let it. The unfortunate alternative might be that all non-generic filmmaking gets swallowed whole by a savvy population of digital-native storytellers that figured out how technology would upend traditional media before anyone else.

The film financing and distribution outlook is bleak, creating seemingly unending challenges, but also intriguing opportunities for producers willing to adapt. Most filmmakers wouldn’t willingly associate themselves with the word “content”, let alone the people that openly create it, so in an effort to ease that transition, I thought I would break down some of the component parts that are making both audiences and PE firms alike flock to creator-controlled channels and platforms.

This post kicks off a series diving deeper into specific strategies filmmakers can employ at this intersection, organized in a very useful rubric (never thought I’d use that word after college!) from a recent webinar with distribution consultant Peter Broderick and Show&Tell's Keith Ochwat. Peter is a veteran entertainment attorney, and Keith is a filmmaker-turned-community-builder. They are the farthest thing from Zoomer influencers, but they deeply understand what's broken in traditional models and how filmmakers can leverage emerging tools to reclaim power in longform storytelling ecosystem. They tell it like it is, which leaves little room for semantic debates like “Are we okay with using the word ‘content’?” The fact is, it doesn’t matter what you call it, you just need to adapt.

As always, nothing in this post or contained in this Substack should be construed as legal advice. These are solely the opinions of Sam Widdoes.

The Expanded Partner Landscape

One of Broderick and Ochwat's key insights is thinking expansively about the kinds of partners a film can have. Traditionally, the word “partnership” was more performative than realistic — the kind of thing a financier, studio, or distributor (or worse yet, an agent) might say on a kick-off Zoom before assuming full control of a project. If it ever was used sincerely, its purpose was always inward-looking — i.e. how can we partner with a celebrity, company, or entity that raises the film’s profile within the Hollywood ecosystem. What EP has the best relationship with Studio X or Streamer Y? That’s the old way of thinking, when making a film was dependent on those Hollywood institutions. That is no longer that case, as the internet has shifted the power dynamic such that the ones making the thing have far more agency.

This is where the shift in mindset should be rooted: The value of any potential partnership should be driven by the connection to audience, and therefore, revenue and lifecycle to the film. Today, I’ll look at the three highest profile types of partnerships: Celebrity EPs, Influencers/Content Creators, and Brands.

Celebrity Executive Producers

If you read the trades, you might notice every December and January dozens of headlines about celebrity becoming executive producers on short films and docs. These are almost all films that were Oscar short-listed, and have employed a PR firm to shop the film around town, hoping that a celebrity will watch the film and fall in love it (or fall in love with the idea of adding a statue to his or her mantle). These celebrities often had nothing to do with the creation of the film, and their attachment likely has no impact on the film’s audience. They are very explicitly awards bait: post-hoc additions to garner industry laudits.

Now, there’s nothing necessarily wrong with that. Oscars are great for filmmakers too! But credits are cheap, and nothing is guaranteed with that approach, and in the current financing and distribution hellscape, the amount of energy spent attracting a celeb EP solely for the purpose of winning ONE award feels misplaced. The right attachment can potentially bring far more value to a project, with a MUCH higher likelihood of success. We just need to reexamine the purpose and implementation of the celebrity EP attachment as a more integrated and mutually beneficial partnership.

So when assessing whether and which EP to bring on to your project, consider asking if this potential partner:

• Brings an authentic relationship with an identifiable audience;

• That audience has a connection to the subject matter of your film; and

• This partner is willing to leverage their platforms to connect that audience with your film; and

I have seen first-hand projects with very high profile EP attachments that fail to get financed or distributed, let alone win any awards. Those pathways have a reliably tiny success rate, so if you’re going to bring on a big name, make sure they give a shit! There are hundreds of movie and film celebrities with devoted audiences, and it is up the the filmmaker to evaluate and target those that would actually active those networks to elevate your film. The fact is, these partnerships work only when they're built on authentic shared vision, rather than transactional publicity arrangements.

Influencer/Content Creator EPs

Perhaps the most direct bridge between traditional filmmaking and the creator economy comes through partnerships with established digital creators. Much like the “celebrity” EP attachment, the most forward-thinking filmmakers can bring creators in as a partner in the film, to find ways in which the themes or characters from the film might play into the creator’s world of content.

While this might sound like simply recruiting promotional partners, the most successful examples go deeper. Consider David Dobrik's involvement with "Airplane Mode" or MrBeast's expanding content empire. These creators aren't just marketing partners—they're bringing fundamental insights about audience preferences and viewing habits that can inform everything from development to distribution. So in assessing whether and which creator to approach as a potential partner for you film, consider asking yourself:

• If the creator understands the fundamental difference in process and product with a feature film (or tv series);

• If the creator’s audience is active and responsive, such that their feedback and data could allow you to iterate the marketing of your film; and

• If your story and the creator’s core message are complimentary, potentially aligning for long term growth together.

For filmmakers, this means targeting the partners during development, not just when it's time to promote a finished film, and opening a line of dialogue wherein both the creator and filmmaker understand boundaries, objectives, and roles.

Brand Partnerships

What the most prolific creators are mastering is the brand relationship, and brands are becoming far more keen on spending marketing dollars with content creators, than on traditional media. (This report on the state of creator marketing is incredibly eye-opening). There is a deeper appreciation for both the quality of storytelling, and the authentic connection that creators have with their audiences. Brand’s are starting to see the benefit of merely associating with that authenticity, even without a direct product plug.

What’s more, we are seeing more and more brands accept the thing that is outside their speciality: physical production. If there is anything that filmmakers excel at, it is the ancient technique of show don’t tell, and I have now counseled half a dozen production companies and filmmakers that have successfully kept brands at an arm’s length in the creative process — either by establishing clear boundaries during production, by involving the brand after the project is wrapped, or by partnering with a brand studio, most of which employ former production executives that understand production budgets, contracts, and contingencies.

That said, I’ve now met with another dozen agents, brand consultants and studios that profess to the significant hurdles remaining in getting a company to fully buy in to a film partnership — especially where the film isn’t pre-sold to a streamer. Brand involvement in film has evolved dramatically well beyond product placement, but these guys aren’t quite speaking the same language as traditional Hollywood financiers and studios. So as you approach them, consider the following:

• Can you pitch the brand on how your film drives revenue and reach for them through their existing channels?

• Can you create complementary content alongside the brand that extends the film's impact?

• Can the film’s story exist both within the brand’s customer ecosystem, and potentially expand it?

There is a new company starting a film division each day, and another hundred that are at least saying they want to fund films. Each one is trying to navigate this new world on long form storytelling that doesn’t look like a commercial. The best filmmakers and producers will be the ones that can shepherd those brands into the film world, without losing the indie credibility.

Why This Matters Now

The fragmentation of traditional distribution channels has made diverse partnerships essential rather than optional. As audience attention splinters across platforms and traditional gatekeepers lose influence, filmmakers need multiple pathways to reach viewers.

Today's audiences also increasingly expect authenticity in how content is created and presented. Strategic partnerships that genuinely align with a film's vision can enhance that credibility, rather than compromise it.

Practical Considerations

For filmmakers looking to implement this expanded partnership approach:

Timing is crucial: The ideal time to bring in partners is during development, not after completion. This allows partners to contribute meaningfully to the project's direction and feel genuine ownership.

Agreements matter: Structure partnerships to protect creative vision while clarifying what each party brings and receives. Memorializing expectations prevents misunderstandings later. Hire a good lawyer.

Authentic alignment is non-negotiable: Partnerships that feel forced or purely transactional will either backfire with today's audiences, or just lead to a waste of time and money. The connection between your film and any partner should be genuine and evident.

Communication across different worlds: Each partner type speaks a different language. Filmmakers, producers, and reps need to bridge these communication gaps, translating between creative, corporate, nonprofit, and influencer contexts.

Looking Ahead

This expanded partnership approach represents a fundamental shift in indie film strategy. Rather than seeing distribution and audience-building as post-production concerns, forward-thinking filmmakers are integrating these elements from conception.

In upcoming posts in this series, I'll explore other critical elements from Broderick and Ochwat's "dynamic distribution" framework, including public, educational and NGO partnerships, core audience development, direct audience connections, and thinking beyond the traditional release window.

The filmmakers who thrive in this new landscape won't be those who simply make great films—they'll be those who build strategic partnerships that amplify their vision and connect directly with audiences who care.