If someone told me on May 5, 2018, that “Blacksmith” would be still be selling online three years after its debut, I would’ve told them they were dreaming on my behalf.
If someone told me on that same day that “Blacksmith” would be sold and viewed all over the world in nearly every continent, except Antarctica, I would’ve accused them of delusional thinking on my behalf.
Indeed, I was new to the indie film distribution market and its many vicissitudes; it was a foreign world to me, literally and figuratively, and I had much to learn. But I had a feeling that “Blacksmith” had promise, despite the fact that it was my first film. So I jumped into the indie market pool and began to float. I’m glad I did.
Today, “Blacksmith” marks its third anniversary online, a period that has seen, thank God, more good times than bad. Reviews have been mixed, as they typically are for many debut films. However, most of the bad reviews, some of which flirted with ad hominem attacks such as “Way overpriced and dumb to boot.” (my personal favorite), were rooted primarily in the fact that I had the temerity to charge for something I created, something good and rather original. I concede freely that “Blacksmith” is neither Casablanca nor Star Wars, but I am confident it stands strong within the short film, poetic documentary genre.
Testimony to “Blacksmith’s” artistic merits is that fact that the film has recently made its way onto the smart TV app market. Channels such as GuideDoc and Flexnet TV, both of which accept only well-made curated films, have accepted “Blacksmith” for broadcast, and others seem to be on the way. Their acceptance
This map shows the countries in which "Blacksmith" has been streamed online.
has boosted “Blacksmith’s” global reach from 16 countries back in February to 32 as of this writing. I fully expect that number will grow even more dramatically over the next several months.
For “Blacksmith’s” sponsors, The Southeast Texas Arts Council and the Beaumont Convention Center and Visitors Bureau, it means their global exposure doubled within a two-month period.
I am quite humbled by “Blacksmith’s” online success over the past three years. And I am deeply grateful for its sponsors and ticket-buyers who have given the film a chance to survive – and even thrive – in the often choppy waters known as the indiefilm marketplace. You’ve helped me turn a vision and a plan into a reality.
Three years later, I've learned that the indiefilm market is an uphill marathon and not a Hollywood sprint. Admittedly, it lacks the luster and glamor of a Paramount- or an MGM-distrubuted film. However, it is not without talent, skill or artistry. It's the garden we non-Tinseltown filmmakers cultivate to the best of our abilities. It's hard work and a challenge like no other.
But when the developed negatives arrive in the mail, if you've put the work in, the results are often worth their weight in gold.
Now it’s on to Antarctica!
Best wishes,
Frank DiCesare