Pendulum's producers surely envisioned a wide theatrical release for their picture, but the movie business has a way of turning even the biggest dreamer into a pragmatist. Without the 3-year-old DEJ--it was formed in January 1999 by Blockbuster Executive Vice President Dean Wilson, corporate counsel Edward Stead and CEO John Antioco, hence its name--director James B. Deck's movie might have been seen only by his friends and family. But DEJ has given it new life, as it's done for a few hundred other films passed over by major distributors such as Miramax and Sony Classics and Fox Searchlight. Yes, it may have been released direct-to-video, which accounts for a tiny percentage of Blockbuster's receipts--still in the single digits, actually--but at least it will be seen. By someone. By anyone.
If nothing else, DEJ gives hope to the hopeless: wannabe filmmakers, would-be producers and has-been actors. On its roster are movies starring the likes of William Hurt (The Contaminated Man), Matthew Modine (If...Dog...Rabbit, his 1999 directorial debut), Armand Assante (Last Run, due out later this year) and any Baldwin brother not named Alec.
Some producers view DEJ as their savior: Without it, says Lloyd Segan, his 1999 film Boondock Saints would have sat on the shelf indefinitely. An absurdist, violent film starring Willem Dafoe as a fey FBI agent who cases a crime scene with classical music in his headphones, Boondock Saints wasn't a favorite among distributors, who fretted that its themes of vigilantism echoed too closely the sounds of gunshots coming from Columbine High School in April 1999. Segan was turned onto Wilson by another filmmaker, Troy Duffy, whose film The Curve had been picked up by DEJ and even received a theatrical run in Baltimore, Duffy's hometown. Wilson bought Boondock Saints the very day he saw it and gave it a limited theatrical run in Los Angeles, San Francisco, Boston and Dallas.
"Dean is a filmmaker's dream, and when the film came out on video, it was at the front of the store with its own display, and it felt like a major title," Segan says. "You would have thought it was Shrek the way they marketed it. It was a very, very heartening thing for us, and as a result of good sales internationally and in video, the filmmaker has written a sequel, and we'll talk to Dean and his colleagues about putting it together. Now, other people have come out of the woodwork and said, "This looks like a real business opportunity,' and we're like, "Where were you when we needed you?' If Dean and his partner can carve out a business on this level, they'll have filmmakers eating out of their hands."
Since its inception, DEJ has quietly become one of the largest purchasers and distributors of new, or relatively new, films: Where Miramax might release 25 or 30 titles a year, some acquisitions but most either financed or co-financed by the Disney-owned company, DEJ this year will purchase nearly 120 films and release (OK, put on shelves) some 80 titles. During its first year, the company bought 72 movies; its inventory now numbers more than 300.
Initially, Stead says, DEJ was buying films directly from studios looking to dump product they couldn't squeeze into the multiplexes; its first acquisition was a 1998 film called Still Breathing, starring Brendan Fraser and originally distributed through October Pictures. The film debuted in May 1998 and ran for a mere three weeks, grossing a paltry $200,000. DEJ stepped in, acquired the home-video rights, jazzed up the packaging and recouped its investment and then some; Wilson says it remains among DEJ's most profitable titles.
But DEJ wasn't satisfied buying someone else's refuse and began attending film festivals, including Sundance, and other film marts where producers were pitching product. It made more sense: DEJ could get overlooked movies at a better price. The problem was, the company had to convince its customers it wasn't just offering the best of the leftovers.