Two important reasons we decided to produce, When Cats Fly.

Because we saw an opportunity for investors, and a chance to make a great movie for an underserved audience.

We’ve been making films and television programming for about fifteen years, and have delivered projects to international distributors and major networks like the Sundance Channel, Liftetime, HBO, Canal+, WDR and others.

Our experience has taught us to always identify our audience first, and then find ways to offer them great entertainment about ideas, stories and characters they’ll want to share.

Like everyone, we’ve seen the growth of VOD and subscription services like Netflix, and our research shows family entertainment is one of the key consumer drivers of that business. Online services, VOD and cable providers around the world need to satisfy young audiences to maintain their customer base, and continue to grow revenue. Parents buy these services to entertain their kids, and the provider with the most content is going to get that monthly fee.

When Producers go to film markets like Cannes, AFM, EFM and MIPCOM, they meet sales agents clamoring for films in the family entertainment genre. Family entertainment with universal themes that play across cultures is especially popular, because that’s what international film buyers are asking for.

Among the sub-genres of family entertainment, one of the most requested is stories about kids and animals. It’s hardly rocket science; this sub-genre accounts for a huge portion of world box office, totalling more than $2.5 billion in revenue over the last five years.

The value of this content in online and VOD channels can’t be overstated. Where adults might watch a movie once or twice, data shows that kids will often watch the same movie ten times or more.

Because of these factors, the vast majority of buyers at film markets want to fill their calendars and libraries with live action family fare.

There isn’t enough product to meet this need because producers aren’t making enough family films, especially at the independent level. The major studios, combined, make fewer than 10 live-action family films each year. The license fees for those big-budget films are, of course, steep. But they go fast. And this leaves hundreds of mid-size and small distributors around the world unable to fill the family entertainment section of their catalog.

It’s a great opportunity for independent producers — and investors.

Low budget, quality family films are in high demand, and they sell fast. Often, they also sell more than once — when the distributor re-licenses the film for a new generation of young viewers.

Contrast this with the one-and-done viewing habits of adults in horror, action and drama, and the contrasting glut of product in those genres. It becomes clear why distributors are eager to snatch up family films, and why sales agents are constantly asking for them at film markets.

Check out the film’s profile on Slated to find out more about the film and our perspectives.

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