In an era where a rapid society requires decisions made at a cursory look, Indican Pictures, steered by Randolph Kret, Shaun Hill, and their four-member team, ensure every film submitted to their budding distribution company is watched thrice, living by the saying that the third time’s a charm. Kret, a co-founder alongside his wife, Hill, mentioned, “Although our response might sometimes lag, it’s because we have several pairs of eyes review each submission.”
Indican Pictures is passionate about elevating independent films. Their portfolio includes eclectic films such as Troy Duffy’s vigilante-themed The Boondock Saints, Monteith McCollum’s award-winning Hybrid, and Rosario Roverto Jr.’s comedic A Wake in Providence. Kret and Hill took a pause from their hectic schedule to discuss with MM about the distribution landscape and the significance of holding onto independent origins.
Noralil Ryan Fores (MM): With both of you being a couple in business, how do you balance professional and personal life?
Randolph Kret (RK): With caution and care.
Shaun Hill (SH): We each manage different business segments, and since there are other partners involved, it doesn’t always feel intense. However, occasionally, work discussions do spill into our personal life. Our neighbors would attest to that!
MM: Indican Pictures was a response to studios taking over independent distributors like Miramax and New Line. Why did you see a need to step into the void they left?
RK: Those firms transformed the indie film sphere, making U.S. independent films commercially viable. Big studios bought them upon seeing the profitability. Remember, these were the platforms that launched films like Clerks and Reservoir Dogs. If not for them, many renowned directors today wouldn’t exist.
SH: We were fans of those films. Presently, the indie cinema sphere is gravitating towards being star-centric. We want to introduce fresh talent to audiences and witness their evolution.
MM: Your film selection boasts a vast array of themes and styles. Why this diversity when many others stick to specific genres?
SH: Our foundation was based on showcasing distinct films, be they imperfect or outstanding. Our intent is to display a range, from silent movies like Tuvalu to mainstream comedies like Wasabi Tuna. Our philosophy has evolved to include both edgy films and those with broader appeal.
RK: Every voice in our company, from the receptionist to the owner, holds weight when we decide to pick up a film. This approach reflects society’s varied film tastes.
MM: How do you choose the films for distribution?
SH: It’s a dual approach. Our acquisitions manager, Dan Schneider, liaises with film festivals and producers worldwide. Also, many producers of our previously distributed films approach us with their new projects. When we do well with a film, producers recognize our efforts and offer us their subsequent works.
MM: This October, you’re launching DVDs for 2002’s Solitude and A Light in the Darkness. What sparked the decision for broader releases?
RK: Solitude epitomizes what we stand for. It’s quintessentially indie American. The movie might not be a big moneymaker for us, but it’s essential for the filmmakers’ growth and for audiences to experience.
SH: A Light in the Darkness is reminiscent of The Shining in its atmospheric horror. Our previous film, The Boondock Saints, morphed from an underground action flick to a mainstream sensation. We believe A Light in the Darkness can achieve a similar cult status.
MM: Besides distribution, you’re also involved in film creation. How is it transitioning between these roles?
RK: I’ve toggled between the two my entire career. My foray into distribution was solidified when our film Pariah seemed too intense for mainstream release. We ventured into indie distribution and there was no looking back.
SH: I have a business background, and distribution suits me more than production. I equate production to design, starting from scratch, while distribution is about presenting a finished product to the right audience.
MM: Indican Pictures avoids studios and directly engages with retailers. What are the pros and cons?
RK: The upside is our freedom to choose any film. We aren’t constrained by studios’ demands.
SH: Direct engagement with filmmakers ensures they see more profits. If too many intermediaries get involved, by the end, filmmakers gain almost nothing.
RK: The challenge is limited shelf space in stores, making it tough to introduce unconventional products.
MM: What’s the future vision for Indican Pictures?
RK: I envision us dabbling in production and further penetrating the DVD market.
SH: We’re slowly stepping into foreign sales and new media, while also amplifying our presence in the DVD realm.