Random Media

Overview

Random Media is a Los Angeles-based independent film distribution company founded in 2013 by Eric Doctorow, former President of Worldwide Home Entertainment at Paramount Pictures. The company acquires completed films and distributes them worldwide across digital platforms, VOD, cable and satellite networks, and physical retail. Random Media has collaborated with hundreds of filmmakers over more than a decade in business, building a library that includes The Motel Life (starring Emile Hirsch and Dakota Fanning), Escape From Tomorrow, For Those in Peril, Hoaxed, Frank vs God, House by the Lake, and Iron Brothers.

The company operates at the accessible end of the US independent distribution market. It acquires films that have completed production but have not attracted interest from higher-profile specialty distributors like A24, Neon, or IFC Films. Random Media's value proposition is platform placement, delivery handling, and worldwide digital distribution without the P&A overhead of a theatrical distributor. The company does not typically provide theatrical releases or significant marketing investment.

Leadership

Random Media's management team brings decades of studio-level home entertainment experience:

• Eric Doctorow, CEO and Founder: Spent 20 years at Paramount Home Entertainment, rising to President, Worldwide Home Entertainment, a position he held for 10 years. Then served as General Manager of MGM Worldwide, managing the MGM home entertainment business through 20th Century Fox for five years. Most recently led Miramax's worldwide home entertainment business when the company relaunched as an independent entity in 2011. Founding member of DEG (Digital Entertainment Group), past board member of NARM, and inductee into the Video Industry Hall of Fame.
• Don Rosenberg, COO: 35+ years as an entertainment executive. Founded SBI Video in 1980, one of the first video distributors. Held executive positions at HBO Video, CBS/Fox Video, and Epic Productions. Served as Executive Vice President of VSDA (the industry trade association) in 1991. Founded The Westlake Consulting Group in 2008, which was instrumental in transitioning Miramax from The Walt Disney Company.
• Jessica Goldman: 10 years creating online news content, most recently for CBSNews.com, where she developed a Webby-nominated weekly medical show.
• Rick Rhoades: Operations and logistics.
• Liz Rodriguez: Marketing and distribution coordination.

Strategic advisors include Tom Skouras (former CEO of SamGoody/Best Buy) and Bruce David Eisen (former VP of Cinedigm). Ellen Pittleman handles strategic relationships.

Distribution Model

Random Media distributes primarily through digital platforms and home entertainment. The company's release strategy covers:

• Digital VOD / TVOD: Amazon Prime Video, Apple TV/iTunes, Vudu, Google Play, and other transactional platforms across North America and internationally
• AVOD: Ad-supported streaming services for titles where the AVOD revenue model generates stronger returns than pure transactional
• Home entertainment: DVD release for select titles through physical retail channels
• Cable, satellite, and television networks: Licensing to linear TV platforms
• Worldwide distribution: Random Media acquires worldwide rights and places films on platforms across multiple territories, not just North America

The company does not typically provide theatrical distribution. Its model is digital-first, focused on maximizing platform coverage rather than building theatrical awareness. Recent releases confirm this pattern: The Company We Keep (May 2025) went direct to VOD and AVOD worldwide, and Opportunity (January 2026) launched directly on streaming/VOD platforms worldwide.

Acquisition Approach

Random Media acquires completed films from filmmakers and producers, typically taking worldwide or broad territorial rights. The company's acquisition threshold is accessible compared to premium specialty distributors. Deal structures generally involve modest or no minimum guarantees (MGs) against revenue-sharing across digital platforms.

The primary value the company provides is:

• Platform placement: Getting the film onto digital platforms that require aggregator or distributor relationships
• Delivery handling: Managing technical delivery, metadata, and quality control for each platform
• Basic marketing support: Digital marketing and platform merchandising, though not at the level of a theatrical distributor's P&A campaign
• Worldwide reach: Placing films on platforms across multiple territories rather than US-only

Random Media's early distribution deal was with Gaiam Vivendi Entertainment (2013), followed by a relationship with Cinedigm for US and Canada physical and digital distribution. The company has since evolved to handle digital distribution directly across a wider range of platforms.

Recent Releases and Library

Random Media's growing library spans documentaries, independent dramas, genre films, and faith-based content. Selected titles include:

• The Motel Life (Emile Hirsch, Dakota Fanning)
• Escape From Tomorrow (Sundance premiere, shot guerrilla-style at Disney theme parks)
• For Those in Peril (BAFTA Scotland Best Film winner)
• Around the Block (Christina Ricci)
• The Visit (independent feature)
• Meth Head
• Mirage Men (documentary on government misinformation and UFOs)
• Hoaxed
• Frank vs God
• House by the Lake
• Iron Brothers
• The Company We Keep (May 2025, psychological thriller)
• Opportunity (January 2026, comedy-crime caper)

Upcoming releases include London's Last Wilderness (May 2026) and Sculpting This Earth (June 2026).

What Filmmakers Should Know

Random Media is a realistic acquisition target for filmmakers with completed projects that have not attracted interest from higher-profile distributors. The company's accessible acquisition threshold makes it a practical option when premium distributors have passed.

Filmmakers evaluating Random Media alongside self-distribution through aggregators like Filmhub or Quiver Digital should weigh what additional value a distributor relationship provides over pure self-distribution:

• If Random Media provides worldwide platform placement, delivery handling, and basic marketing: The distributor relationship saves the filmmaker significant time and technical effort compared to managing multiple aggregator relationships across territories.
• If the deal involves no MG and no significant marketing investment: The primary benefit is convenience. The filmmaker could achieve similar platform access through an aggregator like Filmhub (80/20 revenue share, no upfront fee) or Quiver Digital ($1,395 per platform, 0% backend), while retaining more control over pricing and platform selection.

The key question is whether Random Media's worldwide platform relationships and delivery infrastructure justify the distributor's revenue share compared to the cost of self-distribution. For filmmakers without the time or technical knowledge to manage aggregator relationships themselves, Random Media provides a turnkey solution. For filmmakers comfortable with platform logistics, self-distribution may generate higher net revenue.

Filmmakers can submit films for acquisition consideration through the Random Media website at randommedia.com.

See Also

For how digital-only distribution compares to self-distribution in revenue and control terms, see Streaming vs Theatrical Revenue. For aggregator alternatives that provide similar platform access without a distributor revenue share, see the Filmhub and Quiver Digital entries in this directory. To model the revenue difference between a distributor deal and self-distribution via aggregator, use the Revenue Forecast Calculator.