An American Haunting (2005)

When filmmakers Courtney Solomon and Allan Zeman formed their production entity, After Dark Films, the initial intent was to produce AN AMERICAN HAUNTING (along with future films in the same vein), and then go the route of other independently produced projects outside of the mainstream studio system—seek distribution and marketing deals after the fact. But something changed all that.

“The short answer is, I got pissed off,” explains Solomon. “We weren’t really happy with what the studios were offering for the U.S. release. And I’m not the only filmmaker out there saying this. I don’t really want to dis the studios, because I like the studios. A lot of the people there are really nice people. But the reality is that I was pissed off as an independent filmmaker, who puts a lot into making a film, that it doesn’t necessarily go to the right audience, the right people don’t see it and they don’t see it the right way.”

Solomon theorized that he and Zeman could set about marketing and domestically distributing AN AMERICAN HAUNTING themselves.

“I talked to Allan,” Solomon continues, “and said, ‘If we put our own money into it, maybe we can create our own independent-friendly, mini-studio. So that filmmakers with good, commercial, independent fare can have a viable alternative, to have some place to go with their films and not see them get drastically altered from what they intended in the first place.’”

Zeman—whose acumen helped him to create successful business holdings—was initially hesitant, but soon warmed to the idea and agreed, providing capital. “Then I thought, ‘Oh my God, what did I say?’ laughs Solomon, who quickly became head of After Dark’s marketing and distribution arms (in addition to his existing duties as head of production).

Working with a much smaller budget than the studios (and most independents), After Dark managed to pull off a series of impressive feats. They secured distribution for AN AMERICAN HAUNTING, which is slated to open on 2,000 screens during the first weekend of the 2006 summer movie season (in an already crowded marketplace opposite some staggering competition). They brought super-hot website MySpace.com onboard as a promotional partner, which would provide grassroots marketing to “all the right people,” according to Solomon, who adds, “It’s exactly where a lot of the music groups that couldn’t get the big labels to take them got known and then ended up on iTunes, because of MySpace and the real people out there.”

Many of the freelancers tapped by After Dark to aide in the marketing and distribution reinforced Solomon’s belief. “A lot of them said, ‘We’re so glad you’re doing this, because we know so many people that want to have a viable alternative to the way things are being done.’” This widespread feeling helped to galvanize the support and enabled Solomon and Zeman to “do more for our money then we ever could have ordinarily.”

Solomon’s goal is to get his film in front of the moviegoers who will appreciate the film’s craft, utilizing quality, precision-targeted marketing. “We’re not asking for charity. We are looking for people to support this movie because we’re trying to do something good here. We’ve gone to town every possible way trying to get this movie out there, just like the studios do…but also smarter, leaner, and hopefully, in not such an antiquated manner. When this is all done, yes, hopefully, our movie does well. But I’m more hopeful that after it does well, I’m left with After Dark Films, a company that’s set itself up to release other films, because it’s got all the network and infrastructure in place—albeit quickly built—that can now be a company for the filmmakers, to give them what they want. Hopefully, it can become a label that is identified with quality, independent film.”

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