A Hard Place Brings Back the Indie Roadshow Model

Posted on Tuesday, March 11, 2025

Horton continues to redefine independent film distribution with his latest feature, A Hard Place, embarking on a multi-state roadshow following its premiere at the historic Englewood Cinema near Dayton, Ohio—where the film was shot. Embracing the roadshow model that helped The Occult and Hundreds of Beavers gain cult status, Horton is bringing his adrenaline-fueled thriller to audiences across the American South and Midwest. A Hard Place immerses viewers in a gritty, grindhouse-inspired world where six criminals are thrust into an ancient battle between creatures of the night and the monsters who rule the day.

Beyond pushing the boundaries of indie film distribution, Horton has built a dedicated following on YouTube, where he shares invaluable insights into the business side of filmmaking. His expertise in distribution and marketing has made him a go-to resource for indie filmmakers looking to navigate the industry and achieve financial sustainability in a rapidly evolving market.

PH: A Hard Place is rolling out via a multi-state roadshow, similar to the approach taken by The Occult and Hundreds of Beavers. What inspired you to embrace this model, and how has it been received so far?

Horton: The decision to do the road show for A Hard Place really came from a mix of necessity, strategy, and just a love for that grassroots, punk rock approach to distribution. Peter Hyoguchi shared with me how movies like The Occult and Hundreds of Beavers built momentum—getting butts in seats through direct engagement, making each screening an event, and creating that word-of-mouth energy that you just don’t get with a straight-to-VOD drop.

For me, the biggest inspiration was knowing that A Hard Place is the kind of movie that plays best with a live audience. It’s a wild, gonzo monster movie—people laugh, they cheer, they get into it. And in today’s world, where attention spans are shrinking and algorithms dictate who even sees your movie, you gotta take control where you can. So rather than just throwing it into the void, we decided to take it straight to the people.

So far the response has been awesome. We’ve had packed screenings, real engagement with fans, and this growing energy around the film that just wouldn’t exist if we quietly dropped it on a streamer. And look, sure, it’s a grind—it’s a lot of travel, a lot of hustle, but at the end of the day, when you see an audience react to your work in real time, it makes every bit of that effort worth it.

PH: Many indie filmmakers struggle with distribution. What advantages does a roadshow release offer compared to more traditional indie distribution channels like streaming or direct-to-VOD?

Horton: Distribution is a beast. Indie distribution is one of the biggest challenges filmmakers face. A lot of people assume that once they finish a movie, they just put it on a streamer or VOD platform, and the audience will come. But the reality is, most indie films disappear into an overwhelming sea of content. Without serious marketing dollars, it’s hard to get noticed.

A roadshow release changes that by making distribution active instead of passive. Instead of waiting for an audience to stumble across the movie, you take it straight to them. Each screening becomes an event, something people look forward to and talk about. That kind of engagement builds momentum in a way that streaming just doesn’t.

There’s also a huge advantage in control. With a roadshow, every ticket sale, every piece of merch, every interaction belongs to you. Streaming platforms control pricing, visibility, and revenue splits, but when you’re doing in-person screenings, you decide how the film is presented and monetized. Plus, you get to experience real-time reactions from an audience, which is something you don’t get when your film just drops online.

It’s definitely more work (and more financial risk)—coordinating venues, promotion, travel—but indie filmmaking is already a hands-on hustle. The difference is, this way, you’re building a real connection with fans and making sure the movie actually gets seen, instead of hoping an algorithm works in your favor.

PH: You kicked off the film’s premiere at the Englewood Cinema, where A Hard Place was shot. How did it feel to debut the film there, and what was the audience’s response?

Horton: Premiering A Hard Place at Englewood Cinema, right where we shot the film, was the perfect way to kick things off. There’s something special about bringing a movie back to the place where it was made—especially when it’s a community-driven project. A lot of the people who worked on it were local. It felt less like a standard premiere and more like a celebration of what we all pulled off together.

The audience response was incredible. You could feel the energy in the room—people were engaged, reacting to every scare, every insane moment we threw at them. It also set the tone for the roadshow. Seeing how well it played in that setting confirmed that this was the right way to get the film out there—direct to the audience, in a way that makes it feel like an event. There’s no substitute for that kind of real-world reaction.

PH: Are there specific markets or regions where you think this kind of grassroots theatrical release is particularly effective?

Horton: This kind of grassroots theatrical release works best in places where independent films feel like an event—where audiences aren’t constantly bombarded with big studio premieres and where a filmmaker showing up with their movie still means something. The Midwest and Breadbasket regions are perfect for that. Smaller cities, college towns, and places with strong local arts communities tend to have audiences who actually show up and engage with independent films in a way you just don’t get in New York or LA, where there’s always something else competing for attention.

In those big markets, audiences are more jaded. They’ve seen everything, and they’ve been burned by the hype machine too many times. But in places like Ohio, Indiana, Missouri, Kansas, or the Dakotas, bringing a film to town still feels like an event. There’s a real hunger for fresh, offbeat cinema that doesn’t have a studio’s fingerprints all over it. Plus, with fewer industry gatekeepers, you’re more likely to get local press coverage and word-of-mouth momentum.

PH: With the success of Hundreds of Beavers, do you see the roadshow model becoming more viable for indie filmmakers looking to build buzz and cultivate a direct relationship with their audience?

Horton: Yes, the success of Hundreds of Beavers shows that a roadshow model can absolutely work for indie filmmakers. But it’s important to be realistic—just having your film in theaters doesn’t guarantee people will show up or that you’ll make any money. The same way putting a film on streaming on a major platform doesn’t automatically mean it will be successful, a roadshow’s success depends on two key things: the strength of the movie itself and the filmmaker’s ability to get butts in seats.

Filmmakers need to approach this like any other form of distribution—it requires marketing, outreach, and a real plan. You have to build awareness, get local press, work social media, and make sure every screening feels like an event that people don’t want to miss. Some filmmakers think just booking theaters is enough, but if no one knows about the movie, it doesn’t matter how many venues you secure.

PH: The film combines elements of crime, horror, and grindhouse aesthetics. What drew you to this particular story and visual style?

Horton: With A Hard Place, the mix of crime, horror, and grindhouse aesthetics felt like the perfect fit. I love putting criminals in horror movies because they live outside society and the law—when things go bad, they can’t call for help or rely on anyone but themselves. That isolation raises the stakes in a way that makes horror hit even harder.

Visually, the grindhouse style amplifies that intensity. It’s raw, dirty, and unpolished—just like the world these characters inhabit. This isn’t a clean, calculated horror movie; it’s messy, violent, and driven by desperation. That’s what makes it fun.

PH: A Hard Place features a cast filled with horror icons like Felissa Rose, Lynn Lowry, and Bai Ling. What was it like working with such a seasoned ensemble?

Horton: Working with this cast was incredible. Felissa Rose, Lynn Lowry, Bai Ling, and Glenn Plummer are all legends who bring something unique to the film. They know how to elevate every scene, balancing big, bold performances with real authenticity. Felissa’s energy is infectious, Lynn commands the screen with just a look, and Bai Ling’s unpredictability makes her fascinating to watch. Glenn Plummer brings a raw, grounded intensity that adds real weight. They’re not just recognizable names—they fit this world perfectly. Seasoned pros who know exactly how to make a film like this shine.

PH: The film’s premise pits criminals against supernatural creatures in a brutal battle. Can you talk about your approach to designing the action and horror elements to maximize their impact?

Horton: The key to making the action and horror in A Hard Place hit hard was keeping it intense and unpredictable. I wanted every fight, every encounter to feel earned. The criminals in this story are tough, but they’re up against something far beyond what they’re used to, and that imbalance drives the tension.

For the action, I leaned into a brutal, scrappy style. It’s desperate, survival-driven violence. Every hit hurts, every wound matters. When criminals fight, it’s not about skill; it’s about who is willing to go further to stay alive. On the horror side, it’s all about atmosphere and escalation. The supernatural threats aren’t just monsters—they’re predators, relentless and overwhelming. Instead of relying too much on CGI, we used practical effects, shadows, and sound design to make them feel real and terrifying.

PH: Did you encounter any major challenges during production, and if so, how did you navigate them?

Horton: Challenges? Nah, it was all a piece of cake. Seriously though, there were a few challenges—like shooting in absolutely brutal cold. I’m talking the kind of weather where you start questioning all your life choices. Cameras don’t like it, actors don’t like it, and I’m pretty sure my soul froze at least twice. But honestly, that kind of adversity just adds to the energy of the film. You can see the breath, you can feel the cold, and it makes everything more visceral and real.

Beyond that, this was the largest cast and crew I’ve ever worked with, which came with its own set of logistical challenges. Coordinating that many people, making sure everyone was on the same page, and keeping the momentum going was a massive task. But what came out of it was something greater than I could have ever imagined. This cast and crew brought so much passion and dedication that the film became bigger, wilder, and more intense than I ever expected. It was chaos at times, but the best kind—the kind that leads to something unforgettable.

PH: The grindhouse aesthetic often embraces bold, over-the-top storytelling. How did you balance that with delivering a compelling narrative that keeps audiences invested?

Horton: I consider A Hard Place a bit of a kitchen sink movie—we threw everything at it. The grindhouse aesthetic thrives on being bold, over-the-top, and unpredictable, and we fully embraced that. Bigger action, crazier horror, wild characters—it’s all in there.

That said, amid all the chaos, the actors and I worked to keep things grounded and real—at least within the confines of this world. No matter how insane things get, the audience stays invested if they believe in the characters and their stakes. So even with all the madness, we treated every moment seriously. The characters react how real people in their situation would, which makes the insanity hit harder. It’s a balance of excess and authenticity, and that’s what makes it work.

PH: Your YouTube channel has become a go-to resource for indie filmmakers navigating the complexities of distribution. What are some of the biggest misconceptions filmmakers have about getting their work seen?

Horton: I mentioned this earlier, but one of the biggest misconceptions filmmakers have is that just making the movie and getting it on a major streaming platform means they’ll make a lot of money. It doesn’t. The reality is, most films disappear into the algorithm, buried under thousands of other titles. Distribution isn’t a magic bullet—it’s just the start.

A film’s success or failure comes down to a lot of factors, but three major ones stand out: the movie itself, the filmmaker’s ability to market, and, for lack of a better term, timing/luck. If the film doesn’t connect with an audience, no amount of distribution strategy will fix that. If the filmmaker isn’t actively pushing it, nobody will know it exists. And sometimes, even great movies with great marketing just don’t hit because of bad timing or external factors beyond anyone’s control.

The key is understanding that getting a film seen is as much work as making it. The filmmakers who succeed are the ones who don’t just rely on platforms—they build an audience, create demand, and do everything they can to keep momentum going.

PH: With independent filmmaking becoming more accessible, do you think the biggest challenge for indie directors today is making a great film or finding an audience?

Horton: Well, I’m not even sure what a great film is - but in general, it’s easier to make a film than it is to find an audience, and here’s why. Technology has leveled the playing field. Cameras, editing software, and even high-quality practical effects are more accessible than ever. You don’t need a Hollywood budget to make something that looks and sounds professional. And with enough skill, resourcefulness, and passion, most filmmakers can create a solid, well-crafted movie.

But finding an audience? That’s where it gets tough. There’s more content out there than ever, and people are bombarded with endless options. Just making a good film isn’t enough—it has to stand out, get noticed, and actually connect with viewers. That takes marketing, persistence, and sometimes just sheer luck.

Filmmakers have to think beyond just making the movie. They have to understand promotion, engagement, and distribution. Because even the best indie films can vanish if no one knows they exist.

PH: Given your expertise in marketing, what are some essential strategies you think all indie filmmakers should be implementing to build an audience before release?

Horton: Indie film marketing needs to start before their movie is finished. Too many wait until release, but by then, they’re already behind. The key is documenting the journey—sharing behind-the-scenes content, introducing the cast and crew, and letting people invest in the process. Audiences connect with stories, not just finished films. Social media is a powerful tool, but only if used consistently. Posting updates, teasers, and engaging content across platforms like Instagram, YouTube, and TikTok helps build organic buzz.

Beyond social media, filmmakers need to engage with relevant communities—horror forums, indie film groups, Reddit threads, horror conventions —where fans already exist. Email lists are another underrated tool; social media posts disappear fast, but emails stay in inboxes. Partnering with influencers, YouTubers, and podcasters can also have a huge impact, putting your film in front of the right audience.

When it comes to screenings, every showing should feel like an event. Q&As, giveaways, and unique experiences give people a reason to show up and spread the word. And finally, don’t rely on just one platform. Whether it’s theatrical, streaming, or direct-to-fan sales, having multiple ways for people to access the film increases the chances of success. Marketing isn’t just about promotion—it’s about creating engagement. The filmmakers who succeed aren’t just making movies; they’re building communities around their work.

PH: Between making films and educating filmmakers, what drives your passion for both aspects of the industry?

Horton: Telling stories is what drives everything—I love creating worlds, building tension, and crafting something that gets a real reaction from an audience. But the indie film world can be tough to navigate, and I’ve learned a lot through trial and error. Sharing that knowledge helps other filmmakers avoid the same pitfalls and actually get their movies seen.

Filmmaking is more accessible than ever, but distribution and marketing are still a mystery to a lot of people. Helping others understand how to not just make a film but find an audience is something I’m passionate about. At the end of the day, I want to tell great stories and help other filmmakers do the same. If I can make the process a little clearer for someone else while still pushing my own work forward, that’s a win.

PH: What’s next for A Hard Place after the roadshow concludes? Do you have plans for a wider release or potential streaming options?

Horton: The roadshow wraps up in May and June, and right after that, A Hard Place will roll out on physical media and streaming. We’re making sure it’s accessible to as many people as possible, so anyone who couldn’t catch it in theaters will still have plenty of ways to watch.

Beyond that, I’ll be hitting up horror conventions throughout the year, keeping the momentum going and getting the film in front of genre fans. There will also be a few special screenings here and there—select events where we can bring back that live audience energy. The goal is to keep A Hard Place alive and growing well beyond its initial release.

At the same time, I’m diving straight into my next monster movie, which is even bigger in scale than A Hard Place. The Apex Predator’s Club is a fresh take on The Most Dangerous Game, but instead of rich folks hunting poor folks, they’re hunting monsters. It’s gonna be wild. Stay tuned for more info.