 tripled their business. And so you know, we, and the fact that, that everyone is counting pennies we, we see everyone moving, everyone’s moving to AVOD. I mean, we have just seen a lot explode, I mean, even peacock Seva, but we’re, we’re seeing hardly any business at all on TV, but we are saying, seeing huge business on AVOD.
But it’s picking up fast. I have news, for example, Pluto TV has been growing faster in Latin America, that endeavor grew in and in North America. So, so people are picking up that their doors are picking up on, on the AVO D system really fast and their money Tyson on it as well. Right. Well, what’s interesting is we now have all of these cable replacement platforms like sling and Pluto, and now, and YouTube TV. I mean, you just don’t need a cable box anymore. And, and, you know, so as cable just totally disappears, you know, it’s, it’s all gonna be those types of cable replacement platforms where all the revenue is and the advertisers going to go where the eyeballs are, you know, so we have to follow the, the advertisers. It’s just, you know, regular TV is dying. Nobody’s going to pull out the TV guide and go, I gotta be home on Tuesday night at nine 30. You know, watch this show that’s done. It’s done now. The Avon now is just new TV where it’s just like all TV, except it’s whenever you want me in a huge quantity of content, just massive. And, and I don’t know, the only thing we used to do that makes a difference is social media currency. You either make your content stand out, or it’s not going to get seen because there’s just too much of it.
Absolutely. it just, it’s, we’re getting a lot of questions in the chat and in the Q and a, so if anyone here, while you’re not talking, since we have so many bill ball on the panel today, if you have an ability to answer to any of those questions by typing, then that is a, a good way to try to answer as many questions as we can and try to give as much insight as possible. Yeah. Sarah throw the next question. I have to Glen. So Glen get ready. What advice do you have for filmmakers today to increase their ability to distribute their project?
Wow. So kind of depends on if you’re talking about like a finished film and they’re, you know, rated to take it out, you know, probably the first step is showing it to your colleagues and friends and family and seeing if you’ve got anything getting feedback, getting into as best possible place. The next step I think, from there is to start is to start, you know, if it is, if the feedback is that it’s a festival movie and you know, where are you on the calendar in terms of starting to apply to festivals? Some films are not, you know, festival type materials. So if that’s the case probably the next step is to reach out to people like Ben and Daniel and Jennica and London, me and Mark, and, and start sharing it with people who are in touch with the various distributors to see what you have, and if we’re all going Gonzo for it and want to make a deal with you, then, then it’s a matter of, you know, making sure that you’re with one of us or another good player to try to get it in front of distributors eyes. I think it’s it’s good to have someone who’s been there on your side. If you’re a first time filmmaker to, you know, go out into the world, there’s a lot of, a lot of crooks out and a lot of you know, companies that don’t don’t serve you well. And it’s, I think it’s probably the best step is to get, you know people who have been there on your side to help you get out into the world.
I like the little corner and it’s really, really simple.  Any distributor that you’re thinking about working with pick five films that they’ve been distributing for at least a year and call up producers. It’s so simple. And yet it’s so hard for us to get people to do that. Believe me, you’ll either get somebody crying on the phone or you’ll get somebody that says, Oh, they’re doing a great job for us. It’s so easy yet. People just don’t do that little bit of due diligence. And you know, it saves you a lot.
I would also add that, getting it to people like Glen was saying, you want to send it to people to get it seen. I think that kind of a big hurdle I’ve found with newer filmmakers is having key art. That’s interesting enough for somebody to actually click on the link and watch, because if you have a trailer or you have a good poster or at least an idea, or honestly, if you have no idea, a different poster, that would be good for your film, plus your title, like having the information visual and easy also is the step to getting it seen by somebody in the first place, because we can all ask our moms and dads and uncles to watch our movie and they will give us two hours of their life. But I find that it’s actually been hard to get professional strangers, to actually click and get through to that next spot. After the first, honestly, 10 minutes, you’ve probably lost somebody. So if you have an interesting part of your movie, that’s buried in it, it would be smart to consider a different timeline or artistic decision to put it in the first 10 minutes. Because I think that first 10 minutes is like a poster I’m going to get to the next part. And then I’m an invested and I’m interested in everything. But I do think representing your work is something, a lot of filmmakers would be learning on their still their second or third movie, getting it to a distributor, but that’s what the distributor is going to turn around and do with it right away. Like that’s the first step of getting to where we want it to go before it can go out to the audience, to the marketplace.
Materials though, like, yeah, but I mean like the trailer and key are obviously a distributor. That’s going to do that on your behalf. Once they’ve gotten in the mix on your film, but even to get a sales agents attention, I can’t tell you how often filmmakers send me something with like a two and a half, three minute trailer. I can’t get through the trailer. Why would I have any motivation to even look at the film?  I watched them, I go, do they not watch movies? Do they not like, go on YouTube and watch trailers of films that are similar thematically, tonally, you know, whatever and emulate that, you know, so, but you’re exactly right about the marketing materials, the key art, the trailer. And you’re never going to do it as, as good or as calculated as a distributor probably will, but you can still take steps on your own with, you know, very few means and, and put together proper presentation material.
Thing with distributors too, you spend all this time, energy and money and passion making a film, and then a distributor might take it and put it out as something totally different. So that’s, that’s a, that’s a bitter pill to swallow, but it happens.
Actually Mark covered most of my points there, but going on the Mr. Marketing, it’s an absolute epidemic and it does not work in the digital landscape at all, but I’ve had many distributors who tried to sell a fictional example of a, a memento style thriller as a action packed cartel story just because it happened to have a cartel guy in it. And because of that, the movie started at like an eight on IFDB and then ended up around three within two weeks of release.
It’s not even because it’s a bad movie, it’s just because they felt bait and switch, right.
I’m actually gonna, I’m actually gonna place a little bit of the blame on this whole epidemic on Redbox, because they really got people creating this schlocky key art with the idea of pitching Redbox. And a lot of it is just totally misrepresentation.
We all seem to be in agreement. Like it’s unfair to mess with the consumer that you want to put out something a certain way. I do think that there are tears. There is what you want to put out to the distributor, or to get a sales rep or a producer’s rep, or to get a person to be on your side from the industry. And then it is going to take a completely different turn to when you go out to the market. There is that that happens. And I think that that’s confusing to filmmakers that it might be the same thing as what you guys are. We’re all agreeing as a problem. But I do think when you’re putting out your film, you have to be malleable and want to go in a certain direction and you want to trust your distributor. And it goes to exactly what Linda said is calling filmmakers and asking them, because you can avoid most of this by talking to five filmmakers that can tell you I’m unhappy with