Many Filmmakers, like everyone else effected by COVID-19 are itching for some level of a return to normalcy. Unfortunately, like many others think that there may never be a full return to normal. It may well end up as a pre-COVID and a Post COVID period. Similar to how the world changed before and after the great depression, 9/11, The internet, or World War II. Societal traumas tend to leave lasting scars, and that tends to effect the market as a whole and certain industries in meaningful ways. So let’s look at what one executive producer thinks is likely to happen in the film industry as a result.
Every filmmaker wants to see their work on the big screen. However, given the state of the indie film theatrical market, very few filmmakers can pull it off outside of the festival circuit. Especially for their first films. It requires a lot of skill, and an idea that appeals to a wide audience, ideally an audience you already have an in with. So how do you scale your films to that point? Well, this blog can get you started.
To cap off my first ever distribution month, I thought I’d talk a little bit about where Independent Film Distribution is heading. Markets are going to be a big center of commerce for the film industry for a few years, but they’re going to continue to wane for the truly independent filmmakers, which means one of the biggest areas for entry for filmmakers is likely to go away. With the fall of Distribber, and how Amazon looks like it’s going to scale back its filmmaker direct distribution programs there’s only one real path left for filmmakers. That path is to build an audience that’s highly engaged with your content, and distribute not only your film to them, but other products related to your Intellectual property (IP.)
It’s no longer a controversial statement that streaming has changed the whole game for independent film distribution. It hasn’t been one for quite a while. However, it is becoming apparent that not only has streaming changed the game, it might as well have become the game, at least here in the US. That’s not really a good thing for indies. Here’s why.
If you’re going to read and understand your distribution agreement, then there’s some terminology you have to grasp first. So with that in mind, here’s a breakdown of some key terminology you ABSOLUTELY need to know if you’re going to get traditional distribution for your film.
At least until recently, a lot of filmmakers assumed that they could get on any platform they needed to be on just by calling up Distribber or another aggregator like Quiver. With the fallout of the fall of Distribber, many filmmakers are wondering what they can do for distribution. So, I thought I’d share some knowledge as to what platforms a filmmaker can still get on themselves using aggregators like Quiver, and what platforms you’ll need an accomplished sales distributor, or producer’s rep to get on.
 2019 was a quite a year for most of us, and while we’re entering 2020 with more stable an economic footing than we’ve expected, there are definitely some notable industry trends heating up that I thought weigh in on a bit and let those of you who frequent my tiny corner of the internet know my thoughts on the matter.
AFM this year will be interesting. Here’s the current state form someone who’s been going for 10 years, and has been a Practicing Producer’s rep for 6 years. Two quick things before we get started. First, You should definitely go to AFM at least once. It’s eye opening, and if I hadn’t done it I probably wouldn’t have a career.
Second: These opinions are mine alone, and have not been approved, endorsed, or otherwise condoned by the International Film and Television Alliance (IFTA) owner of the American Film Market. (AFM is also a Registered Trademark of the IFTA.) 
Much of my job as a producer’s rep is negotiating deals on the behalf of filmmakers. However, now that I’m doing more direct distribution, I’m realizing there are several things about this process that most filmmakers don’t understand. As I tend to write a blog whenever I run into a question enough that I feel my time is better spent writing my full answer instead of explaining it again, here’s a top level guide on the process of negotiating an independent film distribution deal.
They say don’t judge a book by its cover, so you’d think it should follow that you shouldn’t judge a film by its title. You would think wrong. Title is a hugely important part of your film marketing, and it should be something you think about from the very beginning, not simply as an after thought. So here’s how to go about creating a title that will stick.
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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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