I got this from the Great American Screenwriter newsletter. This is a really good and informative article about distribution:
A Filmmaker’s Harvest: A Journey in Distribution
by Signe Olynyk
With the fall season on us, ‘harvest’ is an appropriate theme. For a
filmmaker, distribution is the equivalent of reaping a crop. But how do you
ensure that you have a bountiful harvest, and not just a gathering of rotten
fruit?
Traditional distribution means many things to a filmmaker. It means
finding an audience for your work. It means sales of your project, and perhaps
pre-sales to trigger financing. In a nutshell, it means assigning the rights to
exhibit your work for a fee, and getting your work into the world.
But the world has changed, and continues to with spectacular speed. Today,
distribution can mean retaining all – or some – of the rights to your project,
and interacting directly with your audience. Confused about how social media
contributes to distributing your film? Read on. I’ll give you some quick
lessons that I hope will help you with making your own decisions on whether
traditional or modern distribution is best for you.
I recently wrote and produced the feature film,
BELOW ZERO, which was released on August
28th. We shot the film for $1.2 million, but that doesn’t mean we had that
money in hand to shoot the film. Instead, we made ‘soft money’ deals that
allowed us to raise that budget. For example, instead of spending money we
didn’t have on a RED camera package, we arranged a trade with a DP (Director of
Photography) who owned his own gear and who was also looking for his first
directing credit. In exchange for contributing the gear, he had the opportunity
to direct his first film, and it allowed us to cover that expense in our budget.
We also worked with others who were looking for ‘step up’ positions (ie
an
Art Director became our Production Designer, a production assistant became
an AD, etc). These crew members helped us out by working at reduced rates in
exchange for professional credits that were important to each of their careers.
In turn, we were able to piece-meal our budget together, using the value of
each of these line items in our budget. Combined with approximately $350K hard
cash, a ton of favors, and the hard work of everyone on our crew, it allowed us
to reach our budget and get the film made.
For a number of reasons, we chose not to sign a distribution agreement in
advance. We didn’t believe a distributor would support us or the film at this
point in our careers, or agree to the terms we felt were necessary to produce
the film in the way we wanted. So we decided to believe in ourselves and move
forward making the best decisions we could in order to get the film made, and
then sell it as an acquisition once complete. I don’t recommend this for
everyone because it is extremely risky, and the odds are stacked high against
you. We went into this fully aware that we could become like the thousands of
indie films that are made each year, that are never seen beyond festival
audiences. We increased our odds by ensuring we had a recognizable cast, a
reasonably low budget that we could recover from if we were not successful, and
a well crafted, original script that brought something new to a proven genre.
All of these elements were checked against the advice and experience of others
who had gone before us – script consultants were hired, and rewrites completed
until we felt confident the script was ready. Casting directors and
distributors were consulted with to help maximize the potential of international
sales, and production managers were hired to review and prepare a budget to help
keep us on track.
Now, you can make a micro or low budget movie (at $1.2M, ours is
still
considered a low budget), and you can get distribution. Whether you want
that or not is a question I will get into further below. If traditional
distribution is your goal, there are a few things you will want to
consider:
- Internationally Recognizable Cast: ‘Who is in your film’ is
typically the first question any distributor will ask you.
You can sell a film without stars, but it
generally makes it a tougher sell for a distributor.
- Great Artwork with sex appeal: Your artwork for the poster,
dvd cover, onesheet, website, etc, should ‘tell a story’ in the image that is
portrayed. If possible, provide an image that conveys the story of your movie.
(Examples ‘Jaws’, ‘Grace’, ‘Silence of the Lambs’, etc.)
- High Production Values: If your film looks like a low budget
movie, that is likely going to reflect in the deal you get from your distributor
(unless there is a good story reason for it, ie many of the found footage films
of today. ‘Paranormal Activity’, etc.). We wanted to produce a film that looked
like a studio movie, despite the low budget. That has also proven to make us
stand out from the vast number of low budget films that are out there, and has
been instrumental in obtaining traditional distribution for our film. For
example, we arranged to cover the cost of fuel with a local helicopter company
in order to get some inexpensive but great looking aerial footage that was seen
in the first ten minutes of the movie. That allowed us to make the film look
more expensive than it actually was, and command a better deal as a result.
- Thrillers & Horrors: there is a glut of horror movies out
there, sure.
But that doesn’t mean that the
audiences are going away. New material in these genres is always sought out by
fans and distributors, especially fresh work that brings something new to the
genre and has an original voice. What is scary in Japan is also scary in
Germany, Canada, Italy, etc, whereas comedy and drama don’t always translate
into other languages or cultures as well. Fear is king when it comes to
internationally successful feature films, second only to action films. However,
those films are generally more expensive to produce because they require more
shots and camera setups due to the very nature of action.
Once
BELOW ZERO was complete, we then started the
daunting task of finding a distributor. This intimidating process becomes
easier the more time you spend educating yourself and talking to others who are
open to sharing their lessons. There are more and more options all the time,
but at the time, these were the primary distribution options we were
considering:
1. Producer’s Rep
This is essentially an agent who represents you and your movie. For BELOW
ZERO, we decided to sign with a Producer’s Rep because ‘we didn’t know what we
didn’t know’. We felt that as first time producers, we wanted to work with a
company who had more experience and connections than we did to help us secure
the best distribution options possible for our film. It was an education we
felt was necessary for our first film in particular.
When deciding who to go with, be sure to talk to other producers who have
had films represented by the company, and make sure that their experience is
recent so that you get the most accurate references possible. Ask for producer
references from potential Producer’s Reps, but also reach out on your own to the
producers whose films are listed on the Producer Rep’s website. Those films
have been out for a while and the producers will have a history of what it was
like to work with that company on their film. Also, study the list of films
that Producer Rep represents. You want your title to be in similar company,
with a company that has had a direct role in successful releases. Signing with a
Producer’s Rep means you tap into a company that understands the ‘ins’ and
‘outs’ of distribution, and they will send your project to their various
contacts to hopefully get the best deal possible for your film.
For us, giving 7-10% away of our sales, felt like a reasonable trade
because that percentage was essentially paying for lessons on how to navigate
the intimidating world of distribution. Although you are able to safely ask
questions and confide in your Producer’s Rep, the downside is that you never
really know if they are doing exactly what they say they are doing. Did they
really send your project out to the people they claim to have contact with? Did
they really get you the best deal? Everyone in this business has their own
agenda and interests at stake, including you. Make sure your interests are
protected by questioning everything, and weigh all advice against your own
experience, and the experience of your fellow filmmakers.
2. Sales Agents
It is easy to get excited when you start being contacted by people who want
to represent your film, and they express their excitement and enthusiasm for
your film. Be wary of this – especially if your film hasn’t even gone out into
the world yet. Like many producers, our film was pursued aggressively by a
number of sales agents and some of them were adamant that we were “ruining our
chances of selling the film if we didn’t sign with them right away so they could
pursue sales immediately at the next upcoming market.” When you are new to the
distribution part of the process, that can leave you really questioning yourself
and second-guessing all of your decisions. You can feel very pressured to sign
because you might miss out on sales that you so desperately need. The truth is,
there is always another market coming up (although some are bigger than others –
AFM, for example).
It is also easy to become confused about what these people really do, and
giving into this excitement and pressure from Sales Agents to sign is a huge
mistake unless you really understand who they are, what they do, and what they
want from you. This is where hiring a consultant and talking to other producers
who have gone through the process is critical. From our experience, we
sometimes found it confusing as to whether a sales agent was really ‘just’ a
sales agent who would then take the film to distributors and sell it, or if they
were a distributor and would release it themselves. Many of their company
websites describe their services as sales agents and as distributors, which is
confusing for the new producer. Essentially, you have to understand that a
Sales Agent is generally NOT the same thing as a distributor. Through this
process, we’ve met many producers who sign with Sales Agents thinking that means
they now have distribution for their film. Not true. They only have
distribution if a Sales Agent then sells the film for them. You also want to
make sure your representative is attending all of the major markets with your
film in hand.
Also, many sales agents will claim to LOVE your film, even if they have
never even seen it or it’s not quite finished, and they want you to sign with
them immediately. You ego says ‘wow, my film must be really hot if people are
chasing me for it already’. That might be true, but let’s consider again that
everyone in this business has an agenda. What is their primary reason for
wanting to sign you and your film? Hint. It’s a dirty, five letter word that
starts with ‘m’ and rhymes with honey.
Of course they want you to sign with them. If they sell your film, they
get a percentage of that sale. But there is no obligation for them to sell your
film or that it will have any success at all. Many sales agents want to sign as
many properties as possible so that they can increase their chances of selling
some of those films. It’s like throwing spaghetti against the wall and seeing
what will stick. Hopefully yours will be one of the ones still clinging to the
wall. But making a cautious and well thought out decision is crucial when you
consider how hard you have worked to make your film. You want to give it the
best chance possible for success. Don’t blow it by making a bad decision so
close to the finish line.
A sales agent is a middle man, and they take your film to the various
distributors around the world and negotiate deals on your behalf. It is very
possible to arrange sales without a sales agent, sure. But in most cases, you
will want a sales agent for your foreign sales because it is a massive, time
intensive undertaking that is extremely expensive to cultivate and maintain
international relationships with foreign buyers. It means travelling to foreign
markets and meeting buyers from all over the world. It helps to speak multiple
languages, and have buckets of money for travel expenses, conference and market
fees, long distance, courier and shipping costs, etc, etc. Since most indie
producers don’t have access to that kind of capital, it is my opinion that you
must have a foreign sales agent if you want to achieve foreign sales.
3. Distributors
Distributors are companies with the means to get your film into the world.
They often work with Sales Agents or Aggregators, and sell the rights they have
to your film to VOD, DVD, cable, etc for a percentage.
Hopefully those definitions help to give you a basic understanding of what
traditional distribution involves. So how do you get distribution? Or a sales
agent? How do you find your audiences, and the money?
For BELOW ZERO, we were pursuing traditional distribution. For us that
meant attending the American Film Market in Santa Monica, finished film in hand.
We contacted companies prior to the market and requested meetings at the event.
In our email queries, we provided a link to a professionally developed trailer
and poster, and made our meeting request as succinct as possible. It was
essentially a written pitch to buyers requesting a meeting at AFM, highlighting
our cast and their credentials, a synopsis, links to some of our film festival
reviews, and our available meeting dates/times for their convenience. In
addition to this, we arranged for the talented and very recognizable, Michael
Berryman (one of the stars in ‘Below Zero’) to join us at the AFM. Having him
present at the event enabled us to not only book meetings in advance because
people wanted to meet him, but also opened doors to unscheduled meetings while
there.
We then met with those companies at the AFM, and instead of being desperate
for them to buy our film, we interviewed them. We studied the posters and
artwork for the films they represented. We listened as they pitched buyers to
see how well they represented the filmmakers. We met with other producers in
the hallways to seek advice and connect with other resources who could help us
to advance the film. In the actual meetings with these distributors, we were
prepared with our trailer on a dvd that we could show on their large screens,
and we were also ready to show it on our laptops, tablets, etc (Note: the large
screens were always best because it often drew in others on their team to come
over and view with us to discuss further).
We also approached each meeting with the objective of finding companies who
would be good partners for us - where the chemistry felt strong, the films they
represented were solid titles, and who were interested in working with us for
the long term. Because my producing partner and I also run a screenwriting
conference, we work with a lot of writers like ourselves who are just trying to
get their films made. We’ve worked with many of these writers to develop a
slate of projects, and we wanted to find distributors who would not only be
interested in ‘Below Zero’, but in these other projects and writers as
well.
As a result, we had an impressive number of meetings and offers. It also
allowed us to develop relationships with a number of companies who we will
continue working with on various projects.
Now, all that being said, would we do it this way again? Would we sign
with Sales Agents and Producer’s Reps, and pursue traditional distribution
again? Not sure. Our film has just been released, so it will depend partly on
how that goes. Overall, we are pleased with the foreign sales agent that we
signed with, although it is still too early to tell whether their sales
projections will prove accurate. For domestic, we will probably self-distribute
in the future for a number of reasons. There is no longer the need to partner
with distributors in the same way as we have in the past. Audiences and the
means for getting your films out there have changed significantly since our
decision to pursue traditional distribution. Self-distributing will likely
become our choice for the future, where we can build the audiences for our films
using social media, manage our own marketing efforts, and own 100% of the
domestic rights. We would likely not hire a producer rep again, because we
gained the confidence, knowledge, and experience we needed by going through that
process once. Hiring a consultant to advise when necessary will probably be our
choice for our next film.
The world is getting smaller all the time, and with grass roots funding
options such as Kickstarter and Indiegogo, combined with social media such as
Twitter and Facebook allow you to connect with global audiences in a way that is
unprecedented. By building an audience, you build a following and an interest
in your film that you can sell to directly without giving away a percentage of
your hard earned sales. Independent filmmakers are no longer at the mercy of
high powered distributors or studios. What audiences are watching has changed,
and there are so many more options for releasing content into the world. The
market and materials out there have expanded considerably, but the industry has
not yet caught up. As filmmakers, we need to learn and grow with those changes
and embrace them if we are to find our audiences, get our work into the world,
and make a living doing it.
This article has become much longer than expected, so please email me at
info@belowzeromovie.com if you
have questions or want to know more. I’ll answer as best as I can (and as
timely as I can, but please be patient if it takes me a day or so). I hope you
will also seek out your own answers because I can only write from my personal
experience and the lessons I’ve learned on my journey. A forum like this is
only great if we all share our collective wisdom and hard learned lessons along
the way.
Here is to a successful harvest for us all - may all your hard work and
filmmaking efforts be fruitful. Please consider buying BELOW ZERO from
Amazon.com or
www.belowzeromovie.com to help support
this really great indie film, and please add it to your Netflix Queue. LA
Weekly is calling it the ‘Halloween movie of 2012’ so I hope you’ll check it
out. Thanks everyone!
