Mimi Steinbauer launched privately held Los Angeles-based sales outfit Radiant Films International 10 years ago in Berlin, and has sold dozens of films including Tribeca 2019 audience winner Plus One, Toronto selections Handsome Devil and the documentary No Ordinary Man, and Sundance 2014 entry Rudderless.
Over the course of her career, which has taken in stints as head of sales at Hyde Park International, senior executive at Voltage Pictures and distribution VP at New Line, Steinbauer has worked on The Lord Of The Rings franchise, The Hurt Locker, Blue Valentine, Machete and Ghost Rider: Spirit Of Vengeance.
At AFM, Radiant’s slate includes crime thriller Borderline with Samara Weaving, action thriller Unit 234 with Orphan’s Isabelle Fuhrman, Don Johnson and Jack Huston, and action title The Baker starring Ron Perlman and Harvey Keitel.
How does it feel to be back at in-person markets?
Buyers and sellers in Cannes and Toronto were excited to see people in person. Not everybody’s travelling yet, but with each market I’m seeing more people face to face, which is great. That said, I appreciate Zoom too and I’m glad most of us were able to shift to virtual markets and stay in business. But it’s a very different thing to be pitching and having creative conversations so it’s been nice to see people again.
What’s your take on the indie space today?
We have to find interesting, commercial projects. I’m optimistic that we’re not all going to be reduced to watching big franchise titles, and as long as all of us in the indie space can be part of that, it’s exciting. On the other hand, I’ve seen too many small cinemas close, and buyers that only did theatrical go out of business because they couldn’t shift to digital. I’m watching more interesting content from around the world and we’re playing a role in making that accessible for everybody.
What do buyers want?
There continues to be interest in action titles with known casts. Creatively original projects are still in high demand because that’s what gets people to tune in at home, or get up and go to a cinema. We took Nicolas Cage action comedy The Retirement Plan to Toronto and did good pre-sales. We believe Borderline, which we’re co-producing with Margot Robbie’s company [LuckyChap Entertainment], has real theatrical potential.
Are you moving into production?
We are. We have brought a couple of projects in that I am executive producing, but my focus is still international sales.
Has your sales strategy changed?
When I founded Radiant, we were focused exclusively on theatrical films, and that’s changed. We’ve had a number of films that have gone to streamers that have been very successful such as Aftermath and Handsome Devil. We’re more agnostic about the cinematic release obligations so long as the film works. But it still has to be relevant.
How are the streamers changing their strategy?
Netflix is buying less and focusing on its own productions and Netflix Originals as opposed to just licensing content. Amazon and Apple are buying but also very specifically. I’m still waiting for Hulu to expand internationally. Our international partners are challenged selling on to streamers because they’re making more local content now.
How are you approaching your travel itinerary these days?
Before Covid I thought maybe it’s wiser to do targeted trips because you have more time with buyers. For this first round now we’re definitely going to the major markets and then see from there. A lot of business has been going on between the markets anyway. Having a meeting every half hour and getting through hundreds of people [in a week], that’s just not how any of us are doing business anymore.
Is it as hard as ever to secure talent?
Unequivocally, yes. It’s very hard for a one-off indie film to compete with a streamer or a studio that is asking talent to come on board for something for the following year.
How do we get theatrical audiences back?
I was talking to somebody who has [teenagers] and he wondered if they’re ever going to go to cinemas — they’ve spent two or three of their formative years not going, and don’t see a difference between watching a movie on their iPhone and a cinema screen. It has to be about the films — you can’t drag somebody to something that’s boring. As everybody gets comfortable going back to cinemas, we’re seeing smaller films do good business.
How do you feel looking back after 10 years of Radiant?
I’m delighted Radiant is in good standing and we have so many new projects in post. We weathered Covid, and I’m just grateful and relieved.
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