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.
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.) 
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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