Distribution deliverables are far more than simply technical requirements. As we saw last week, there are also substantial marketing materials that you’ll have to provide to the distributor, and more that they may have to generate themselves. This week we’re covering the basics of legal distribution deliverables.
Last week, I covered the basics that are required as deliverables for almost every U.S. Distribution or International Sales Contract. This week, I’m going through the servicing lists. Most of these servicing requirements are for internationalization of the film, be they subs or dubs. Some are more for marketing purposes, but in the end it’s what the sales agent need to effectively put together a package and the film to where it needs to go.
So there’s a lot of questions about what’s involved in Distribution Deliverables for an independent Film. So I’ve scoured a few contracts to find a very thorough list of what you might need to provide for a distributor or Sales Agent if they take your film. Since this list is quite expansive, there may be some stuff on here that most distributors do not ask for, but If figured it best to know what you might have to be able to provide
In closing contracts, one question I get asked a lot is why distributors, sales agents, and producer’s reps need exclusivity when we do our jobs. Sometimes, this question even comes from the lawyers of my clients. I understand there is risk when giving someone the exclusive right to represent your project, so I thought I would write up a blog post examining exactly why we need exclusivity. Generally speaking, the goal is not to tie up your rights and make it so you can’t do anything with them. There are lots of other reasons why sales agents or producer’s reps need exclusivity.
Filmmakers often don’t like to think of themselves as business people. Often, they’d rather be creative, and focus solely on the art of cinema. Unfortunately, this is not the way to create a career crafting moving images. In order to make a career, you must understand how to make money. The easiest way to do that, is to think like an entrepreneur. here are 5 reasons why.
There’s a difference between market research and marketing. Market research is all about placing the target, and marketing is firing the arrow at it. You can’t fire the arrow if you don’t place the target first. To follow the metaphor, you can’t market your movie unless you first figure out who you’re going to market the film to. This blog is about giving you the basics of figuring out who will want to buy your movie.
 When you look at most of the other bloggers and podcasters talking about indiefilm distribution, a lot of them are very convinced that aggregators like Distribbr are the only solution that a Filmmaker needs. As a Producer’s Rep, I disagree. A good sales agent, distributor, or producer’s rep may each take a piece of the pie, but if they do their job well they’ll also make the pie significantly bigger, increasing the payout for all involved.
Here are 5 reasons why a traditional distributor or sales agent are still necessary partners. 
Every filmmaker has heard horror stories of distribution deals gone wrong. Sometimes this is due to something completely unpredictable like a change in the demands of buyers or distributors, or a freak occurrence that makes the movie unpalatable. More often than not, however, this is due to a poorly negotiated deal with a less than reputable sales agent. So with that in mind, it’s incredibly important that you vet your sales agent. Here are a few ways to do just that.
In crowdfunding as in filmmaking, preparation is key. If you don’t adequately prepare for your campaign, then you’re not likely to succeed. If you’ve never crowdfunded before, this can be a daunting prospect. Don’t worry, Guerrilla Rep Media is here to help. This post is meant to give you a timeline to prepare for your campaign, starting further out than you might think.
In the age of easily accessible self distribution, cheap gear, and the ability to make and distribute a feature film for less than 10,000 dollars it’s understandable to wonder why you would want to spend 10,000-100,000 dollars a day on recognizable name talent. Many proclaim that hiring recognizable name talent is simply a waste of time and money.
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AuthorMy name is Ben, I'm an Entrepreneur, Producer's Rep, and Author. I'm the founder of Guerrilla Rep Media, Co-Founder/CMO of ProductionNext, and founder of PRoducer Foundry. Together, the organizations seek to help make filmmaking a more economically sustainable endeavor. I am dysic, I have capitalization issues, and the blogs are often unedited. opinions all my own. 
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