I’ve gotten to know the fine folks behind Black Fawn Films well enough to know that they’re not only incredibly passionate about what they do but equally care about nurturing emerging artists. That desire to give back is what sparked the genesis of Black Fawn Distribution, an independent company run by filmmakers for filmmakers. Since 2011, they’ve focused on discovering the very best in genre cinema. To date, they’ve released such gems as Gabriel Carrer’s In The House Of Flies, Tricia Lee’s Silent Retreat, Renaud Gauthier’s Discopathe and most recently Romain Basset’s Horsehead. Their discs are packed with the kind of special features that would appeal to upcoming filmmakers, devoid of the disposable promo featurettes that dominate mainstream home video releases.

I had the opportunity to chat with Black Fawn Distribution’s Sales Manager C.F. Benner about the company, as well as the ever-changing face of film distribution.

B-D: How did Black Fawn Distribution came to be and more specifically, what attracted you to be a part of it?

CF BENNER: Well, I guess this all started when Chad Archibald (Director of The Drownsman, Bite, Neverlost) came over one day and ran this idea by me. We’ve been good friends for years. Back in the day, I used to help him promote whatever film project he was working on at the time by booking fund raising concerts or putting together music soundtracks while he would shoot music videos for the various metal bands that I was working with. For the longest time, we had wanted to work on a big project together and for some weird reason, we knew it wasn’t going to be one particular film. Then about four years ago, he stopped by my place and ran this idea by me, of helping up and coming directors get their name out while at the same time helping them avoid the pitfalls that many fall into over the course of making and promoting a film. We started throwing some ideas back and forth. Chad asked me to come on board as the company’s Sales Manager and low and behold, Black Fawn Distribution was born.

B-D: How has the home video market changed since Black Fawn entered the game?

CFB: I think the home video market has really moved somewhat in the right direction. That sounds really odd to say but I really do feel that the industry has made an effort to provide something for everyone. There’s everything from full collector’s editions of previously unavailable films to streaming services such as Netflix and Hulu. However you want to consume your media, there’s an avenue for you to do so. It’s also refreshing to see more of an emphasis placed on providing the physical releases to the fans. Physical home video has obviously decreased over the last few years but it’s nice to see that the niche markets are still being taken care of. The biggest change that I think I’ve seen is various studios or imprints working together to provide those really comprehensive releases. I think the recent Halloween Blu-ray box set is a great example of that sort of co-ordination between companies that would have been unfathomable a few years ago. In the end, Scream Factory really put out a great looking product and one that’s sold really well.

B-D: What do you think of the current climate of home video and where it might be headed down the road?

CF: I don’t see home video going anywhere to be honest. I think the biggest change will be the release windows if anything. I see films being released on the same day at your local theatre as they are on a VOD or streaming service. If you still want to go see Mad Max or Jurassic World on the big screen, you’ll be able to take in that full movie experience but if you’d rather chill at home and watch it on your own set up, you’ll be able to do that as well.

B-D: In your opinion, what is the attraction to owning a physical copy over just downloading a digital one?

CF: I think our Creative Manager Gabriel Carrer (Director of The Demolisher and In The House Of Flies) said it best at one of our recent panel’s at Ottawa Comic Con: “We’re human and we like physical things we can touch.” I’d have to agree with that statement 100%. For myself, I like cracking open the case to a really good movie and processing what I’m about to watch. I like looking at the artwork and the story that it’s trying to convey before I watch a particular film. Sometimes that reminds me of where I was in the past when I saw a particular film for the first time. One of the things that we pay special attention to at Black Fawn Distribution is the artwork. It’s the first impression that your film can make. Surfing through Netflix looking for something to watch is fairly similar to walking around your old video store. Sure it’s not as fun but any film’s first impression is created by its cover. Even after all of the technological advances and different delivery systems, you still need to give people a reason to pick up that movie case or click through to see a trailer. I dig having my own little video store in my basement where I can saunter over from the couch and paw over the spines in my collection. Honestly, it helps me decide what kind of mood I’m in and what I want to watch. With digital, I’m fine with renting something I haven’t seen but I can’t imagine only owning a digital copy of Star Wars or Alien.

B-D: What are your fondest memories of home video when video stores were still vital thing in our lives?

CFB: Oh man, I could talk about this forever. Great question! I just have to mention this one because of Wes Craven recently leaving us. When the first Scream movie came out on home video. I was probably 14 at the time and there was only one copy for rent in this super small town that my friend used to live in. We trekked on down to this convenience store and tried three times to rent it but it was rated R and the older lady working the store refused to rent it to us because we were too young. We sent in my friend’s brother, he couldn’t get it. I went in, I couldn’t get it. Finally we waited until there was a shift change at 5:00 PM and some dude was working the counter. We walked back in and rented it no problem. God, it felt like we had pulled off a bank heist! I remember us laughing all the way back to my buddy’s house and talking about how stoked we were to see all the nudity that a rated R movie would obviously have in it. Ha ha, I don’t think kids today appreciate that type of stuff and so I’ll always have a special place in my heart for Scream just because of that day. Just classic stuff.

B-D: Horsehead is your first title in which you’ve made Blu-ray an option. What made this particular film the perfect choice to launch into Blu-ray? Also, do you think Black Fawn Distribution would ever consider VHS down the line?

CFB: I’m a Blu-ray collector myself and so it was important to me to release something on that format. It’s the best format for home movie watching in my opinion. So when we were acquiring Horsehead, I really pushed for it to be released on that format. The film is incredibly vibrant and rich and I knew it would really lend itself to a Blu-ray release. People think that it’s the picture quality that sells Blu-ray but I’d argue and say that ultimately it’s the sound. Having that ability to present an uncompressed sound mix in most people’s living rooms is pretty freakin’ awesome and Horsehead has some fantastic sound design to go along with its distinct visuals. As far as VHS goes, it’s definitely something we would consider especially from a collector’s point of view. I know there’s a big market out there for VHS and although I don’t watch the format anymore myself, holding it does bring back some of those awesome memories I just mentioned.

B-D: What is your process of selecting a title for your catalogue? Do you have set criteria that you live by? If so, what would that be?

CFB: We don’t have a set list of criteria that we use when we’re gauging a film for release but there are some definite boxes that have to be checked. First off, the film has to be solid. Interpret that however you want but I want to get about half an hour into any movie and say “I’m in! I’m totally into this flick!” Regardless of the technical aspects, if you’re film isn’t unique in some way, it’s not really going to connect with anyone. It doesn’t need to be something super original but a slight variation on an already established theme can typically get the job done. Think of it as “adding to the genre” instead of flat out copying it. You’ve also got to be willing to push your film a little as well. It’s not enough to simple throw it out there and pray that thousands of people will see your film. It’s just not going to happen like that and if you think it will, just think of all the other filmmakers out there that are trying the exact same strategy. At BFD, you get a working team of partners who are going to be plugging and promoting your film but the filmmakers are a part of that team as well. It’s that engagement from everyone that we’ve tried to focus on over the last couple of years and so we look for that as a component. You’re not signing a contract with Black Fawn Distribution, you’re becoming part of a family.