As filmmakers, we spend so much time figuring out how to get our movies made that it’s easy to overlook another big question: Who’s going to show up when they’re finished?

That’s been on my mind after seeing Drummer Boy and meeting one of its directors, Ben Smallbone. It’s an ambitious independent production with excellent production value and catchy songs that help tell a complicated story of forgiveness.

The film is something of a family affair. Ben co-directed it with his brother Joel, who stars in the movie and is one half of the Grammy-winning duo For King + Country. Their younger brother Luke, the other half of the band, serves as a producer.

The group’s rendition of “Little Drummer Boy” has been a fan favorite for years, giving the film something many independent filmmakers struggle to find: an established audience.

Another cinematic musical, Brotherhood, has taken a different approach. I haven’t seen it yet, but I’ve been following producer Daren Smith of Craftsman Films on his Truly Independent podcast. He’s shared a candid look at the challenges of getting the film into theaters, including a nationwide tour that brought its music and message directly to communities.

Both films have me thinking about the audiences that may already exist for our own projects. Maybe they’re fans of a musician, passionate about a cause, or connected through a shared interest.

The challenge is finding those people and giving them a reason to come along for the ride.

— Ian Max Eyre, Editor-in-Chief

Two families live next door to each other, but their experiences of America couldn’t be more different. Jon is a U.S. citizen, while his neighbor Fabián is a Mexican immigrant awaiting a decision on his asylum application. As tensions rise, both families must confront what it really means to love your neighbor. Featuring 16 original songs, this contemporary musical from writer-director Ross Boothe explores immigration, compassion, and the power of finding common ground.

WHERE TO WATCH →

Set during the American Revolution, this ambitious musical follows two brothers on opposite sides of the war and an enslaved young woman fighting for her freedom. From Angel Studios, the film uses original music to explore love, betrayal, faith, and forgiveness against the backdrop of a divided nation. With impressive production design and plenty of heart, the historical drama arrives in theaters November 6.

WHERE TO WATCH →

When filmmaker Ross Boothe began developing Brotherhood, he wanted to tell a story that felt especially relevant to the moment.

Having spent time working with Mexican immigrant communities in South Texas, Boothe was troubled by the growing division surrounding immigration. He believed music could help tell a more human story, one that encouraged people to see their neighbors with greater compassion.

The idea caught the attention of Daren Smith, founder of Craftsman Films and an old college acquaintance. Within six weeks, the two had developed a screenplay, 15 original songs, and secured their first financing.

By April, cameras were rolling. But Smith and Boothe weren’t waiting until the film was finished to introduce it to audiences. They’d already been sharing the music and story through early performances.

It was part of Smith’s larger effort to rethink how independent films are made and released. Rather than waiting until opening weekend to find an audience, the filmmakers wanted to connect with people while the movie was still taking shape.

Ahead of its October release, they took Brotherhood on a nationwide tour, performing songs, sharing scenes, and hosting conversations with local communities. The response was encouraging, with nearly 400 advance tickets sold following their first stop in Provo, Utah.

Still, when opening weekend arrived, the film had secured just one theater. Competing studio releases had crowded the schedule, leaving little room for smaller independent productions.

Smith discussed the setback openly on his Truly Independent podcast, where he and fellow filmmaker Garrett Batty regularly share the realities of independent production and distribution.

The team has continued working to bring Brotherhood to more communities, building on the support they’ve gathered along the way. It’s reminiscent of the grassroots approach we explored with the Petra-inspired film Beyond Belief back in August.

Through Craftsman Films and the podcast, Smith is also helping other filmmakers learn from his experience. And that’s what I appreciate about his approach. He’s willing to share the process while he’s still figuring things out himself, setbacks and all.

The results are in, and it's a tie! 40% of you voted for “a Broadway musical or stage play,” while another 40% chose “a faith-based theatrical production” in last week's poll: Which live performance would you most like to experience in a movie theater?

Musicians have spent years building loyal fan bases, often reaching thousands of people with each performance. For filmmakers, those relationships can open doors well beyond the concert stage.

As I Can Only Imagine neared release, MercyMe showed the film’s trailer at its concerts, introducing the story to fans who already knew the band’s music. Brotherhood took a grassroots approach, using live performances and community partnerships to generate interest before opening night.

Here's how that strategy fits the P.R.O.V.E. Method™:

The takeaway? You don’t have to start building an audience from scratch. Find the communities already connected to your story and give them a reason to support it.

_{*Plumb News is not affiliated with “I Can Only Imagine” or “Brotherhood” and does not receive compensation for featuring it. We’re just highlighting it because we believe projects like this deserve support.}

“Therefore we ought to support people like these, that we may be fellow workers for the truth.” – 3 John 1:8 (ESV)

In his third letter, John praises a believer named Gaius for welcoming traveling Christian teachers, including some he’d never met. Though they were strangers, Gaius treated them with generosity and helped them continue their work.

There’s something meaningful about that kind of hospitality. Gaius didn’t need a personal connection or a promise of something in return. He saw an opportunity to help and took it.

We often think of hospitality as opening our homes. But it can also mean making room for people in our lives, extending kindness to someone unfamiliar, or helping a stranger without expecting anything back.

Sometimes an open door can make all the difference to someone who doesn’t know where to turn next.

Until next time,

THE PLUMB NEWS TEAM