A new era in documentary filmmaking: The innovative journey of ‘Eno’

Breaking the mold at Sundance

When Gary Hustwit premiered his latest documentary, “Eno”, at Sundance in January 2024, he wasn’t plagued by the usual anxieties about distribution. The odds were stacked against him, as securing a major studio deal for an independent film is akin to winning the lottery. Yet, Hustwit’s unconventional approach to the documentary about musician Brian Eno—using generative software to create a different version of the film each time it’s viewed—made it a particularly tough sell.

Despite these challenges, Hustwit and producer Jessica Edwards received multiple offers from distributors in Park City. However, Hustwit wasn’t convinced they were ready to distribute the film in the way he envisioned. “I don’t think many of the distributors were ready to take on something like ‘Eno,'” he remarked. “I am also still innovating the software needed to dynamically stream a film that’s different every time it plays.”

The road less traveled: Self-distribution

Turning down a distribution deal might seem like a risky move, but Hustwit is no stranger to self-distribution. Known for his 2007 documentary “Helvetica”, Hustwit has been bypassing traditional distribution channels for nearly two decades. His films, including “Objectified” (2009) and “Rams” (2018), have been directly marketed to cinemas and streaming platforms.

Hustwit has also been ahead of the curve in gathering audience data, licensing his movies, and eventizing distribution. In 2018, he hosted around 40 events for “Rams,” drawing 2,200 people to the Castro Theater in San Francisco and generating $55,000 in ticket sales. A one-night showing at London’s Barbican Hall brought in $46,250.

“It’s not like when you get a distribution deal, you are suddenly on vacation,” Hustwit explained. “You are still working just as much, and a lot of that work is correcting the distributor’s mistakes. It sounds counterintuitive, but it’s just easier to do it yourself. Plus, you retain all the rights to your film.”

The live experience: Bringing ‘Eno’ to audiences

As their own marketers and bookers, Hustwit and Edwards have spent the summer screening “Eno” in theaters across the U.S. and Europe. Following a successful festival run, they rented out venues like the Palace of Fine Arts in San Francisco and the SVA Theater in New York for live screenings, charging $40 per ticket.

“When we are doing the live events, we make the documentary on stage with Brain One, our generative computer system,” Hustwit said. Brain One—an anagram of Brian Eno—produces a new version of the film based on an archive of 500 hours of footage and interviews. The system is connected to the theater’s projection system, creating a unique version of “Eno” for each screening.

For traditional theater runs, Hustwit exports “Eno” as a ProRes file to create a unique version of the documentary, then makes a DCP (digital cinema package). This process, while standard, is time-consuming as Hustwit has to create a unique DCP for each day the film screens.

Expanding reach: Partnering with Art House Convergence

To make “Eno” accessible to smaller, non-urban theaters, Hustwit and Edwards teamed up with Art House Convergence (AHC), a coalition of approximately 400 independent cinemas. “Eno” will screen at AHC theaters on October 8 and 10, with a different version of the film playing each day.

This partnership marks the first time AHC has collaborated with a documentary filmmaking team to connect directly with audiences nationwide. “We are excited that our member cinemas have the opportunity to play a role in bringing the unique experience of ‘Eno’ to their art house audiences across the country,” said AHC managing director Kate Markham.

The filmmaker’s journey: A labor of love

Partnering with art organizations, booking theaters, splitting ticket costs, marketing screenings, and creating live shows might seem like a lot of extra work for an independent documentary team. However, Hustwit views it as an integral part of the filmmaking process. “This is filmmaking,” he said. “Being on the road in San Francisco, doing a private screening of the film, and then traveling to Nashville just to show the film twice to a live audience—it’s all part of the filmmaking process. If you try to separate making the movie and then everything else, I just think that you are not going to be very successful these days.”

For cinema and TV series enthusiasts, Hustwit’s journey with “Eno” offers a fascinating glimpse into the evolving landscape of independent filmmaking. His innovative approach not only challenges traditional distribution models but also enriches the viewing experience, making each screening a unique event.

For more information and to watch the trailer, visit Eno Trailer.

Reflecting on Hustwit’s journey, one can’t help but admire the dedication and innovation that drive independent filmmakers. The future of cinema lies in such bold, creative endeavors that push the boundaries of storytelling and audience engagement.