The 3 Main Independent Distribution Models

We all know there’s more than one way to distribute a film.  What we might not think about is that there’s also a lot more to your independent film distribution choice than the self or traditional binary pervasive across many online forums and social media groups.  Here’s a breakdown to help filmmakers better understand the companies that are involved in distributing their indie films, and the broad business models they operate under so you can make a more informed choice.  

High Touch / Prestige Releasing

What we all want, A24, Sony Pictures Classics, Focus Features, etc.  These are the companies that release at most 1-2 films per month and generally have some degree of limited theatrical baked into the deal.  They give a lot of time and attention to every release, and they’re exceptionally picky about what product they take.  Most of the time you’ll need strong recognizable names or a top 5 world film festival to capture their attention.  Even then it’s far from a guarantee that you’ll be able to attract this level of attention. Sometimes you can sneak in through a sales agent who has a relationship but even then you’ll need a superior product to have a shot. 

The pros of this should be obvious.  Getting a distribution deal from one of these entities is a game changer for both you and your film.  If you can say that a major studio released your last film, you’ll be in a much better position to fund your next film.  They’ll put lots of time, effort, and money into promoting it as well, or at least more than every other type of company on this list.  You’ll probably even get a reasonably sized minimum guarantee out of the deal. 

There are downsides though.  The downside on the filmmaker side is that more than likely the MG is all you’ll ever see.  Even the Blair Witch Project had to go to court with a copy of Time Magazine proclaiming the film to be the most profitable film of all time to receive royalty payments from their distributor.  Unfortunately, most of us are not Blair Witch.  

On the distributor side, this model is extremely risky if you don’t have the backing of another revenue source or deep institutional investment.  Essentially, if you don’t have either of those forms of backing it only takes one flop to through the company into financial disarray.  Unfortunately, this means that we probably won’t be seeing too many companies enter at this level in the near future unless they’re spinoffs of larger tech, media, or maybe even retail companies.  

Hybrid Releasing / Producer Boosting

In this model, the distributor or sales agent relies on producers to handle the legwork on marketing providing assets and support in getting the film out there.  The key here is to view the work as a partnership, with the distributors handling assets, access, and amplification of the producer’s efforts while the producers handle the grind that’s involved with engaging the core niche audience of a film without doubling the production budget in ad spends.  

The benefits of this model on the filmmaker's end are that it allows the distributor to offer a much lower commission and significantly lower recoupable expenses.  If the company is extremely filmmaker-friendly, they’ll also pay out the filmmakers on a distributor gross corridor so that the filmmakers will receive money from the first dollar in.  This is the model I personally developed and implemented at Mutiny Pictures.  We paid filmmakers in line with the Mutiny Commission at the same rate as the Mutiny commission.  The only things that came out first were uncapped expenses for things like DCPs, special delivery costs, and legal expenses.  As such, the vast majority of our filmmakers received a check in their first report.  

For distributors, the upside of this model is that it allows the distributor to run a leaner operation while releasing 2-3 times more films than the high-touch model.  This allows distributors to take bigger bets on a-typical releases as they’re more likely to have their bases covered by the fact that statistically at least 1 in 10 films will break out when they’re properly managed.  A well-run distribution company that’s out of its initial revenue lag will be able to support itself on one breakout every two or three months, so long as they don’t overstaff.  

The Drawback of this is that it’s less likely a distributor or sales agent will be willing to offer a minimum guarantee on this model.  There are a few reasons for this, the primary being that the only companies really pursuing this model are smaller and younger and thus don’t have the backing of a large catalog consistently churning revenue.  Given that situation, it would be too big of a risk for them to offer an MG they would not be able to cover with a guaranteed sale.  The secondary reason may be that if it really is a partnership, filmmakers receiving a check early on may limit their willingness to help promote their own film.  I’ve had that happen a lot.

This model is my personal favorite, but it’s not ideal.  In an ideal world, filmmakers would be able to focus on making their next film after they deliver their first one for distribution.  Unfortunately, that’s not the world we find ourselves in.  

Shlock-Gunning / Aggregation++

Throw it out there and see what sticks.  This would include aggregators, and companies like indie rights or Filmhub, but also could include other indie labels that put out too many films a year with relatively high expenses that don’t put too much effort into selling them.  Basically, they, throw everything at a wall and see what sticks.  

I want to be clear that in the case of some companies like IndieRights or FilmHub, this model is not necessarily a bad thing for filmmakers.  Filmhub would probably not like that I’m saying this, but in general, I use them as an alternative to traditional aggregators like BitMax, Quiver, or even Distribbr.  Of any company on the shlock-gunning list, I’d say my favorite is Filmhub as they’ve found an ethical and economical way of monetizing their wide access to AVOD, FAST Channels, and TVOD platforms.  

The issue with this model is when it’s not properly disclosed.  If your distributor is giving you the high touch or the hybrid pitch but then unceremoniously dropping your film it’s a problem.  To be clear, platforms don’t always tell distributors exactly when a film will show up, so sometimes there’s a bit of this that’s unavoidable.  I would share some names of companies I know that use these tactics, but they can get a little nasty at markets given most companies would take umbrage at this sort of accusation.  One way to suss them out is their volume of releases.  If they distribute more than one film per week, you might well be dealing with a schlock-gunner.  

I might discuss the matter in future unrecorded live streams, and if you want access to those check out my mailing list, Patreon, and sub stack, all linked below. 

Thanks so much for reading, and check back next week for more.

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7 Things I Learned as CEO of a US Film Distributor

If you’re reading this, you might already know that I founded and lead a company called Mutiny Pictures.  That company has since sold to Bayview Entertainment. Given I’ve been a producer’s rep for quite a while, I thought I was prepared to step up to leading a team to take films to market directly, I found that while I was up to the task there was still quite a lot of personal growth involved for myself and every level of the team. This is to be expected out of any new venture.  Here are some of the biggest things that I personally learned throughout running a US Distribution company.  

(Almost) Nobody pays on time.

Filmmakers often complain about Sales agents and Distributors not paying on time.  While it goes without saying that there are a lot of shady, dishonest sales agents and distributors out there, I was surprised exactly how few reputable companies did not pay on time.  Given that when it comes to film distribution and international sales all stakeholders are part of the same waterfall or pay chain, if one stakeholder is paid late that eventually means that the filmmaker is paid late. We can’t pay you money we don’t have.   

So if you’re a filmmaker reading this, you should know that just because your sales agent is late on their reports doesn’t mean they’re not being honest with you.  It also doesn’t mean that they’re the reason you’re being paid late.  It’s entirely possible that possible their vendor, supplier, or other provider hasn’t paid them yet. 

That said, they should still communicate with you about when this is happening, and if they’re paying late you should still be tracking it as much as you can.  

Analytics and Reporting really, REALLY suck at every level of the distribution.

Given I do other forms of online and affiliate marketing and used to run marketing for a tech startup, I was utterly flabbergasted by the utter disgrace that is analytics around digital film marketing.  In most industries related to digital marketing, the insights are nearly immediate.  However, If you deal with a servicer or aggregator, they often won’t give you any level of real-time insight.  The best most do is once a week, which is nearly meaningly when it comes to agile marketing practices.  

I did find a workaround for my clients, so I’ll share it here.  If you’re a filmmaker and want better insights, sign up for the Amazon affiliate program and use those links to your film to market it. This is less about the few extra cents you get from pushing your work and more about real-time sales insights.  It can cause some issues around online postings and social media algorithms though, so it’s not a perfect system.  I’d love better suggestions in the comments if anyone has any.

Insurance and legal paperwork are way more of the job than you realize.

This wasn’t exactly a surprise.  At its core, film distribution and international sales are businesses based almost entirely around tracking rights and trading signatures on paper.  is entirely about buying and selling intangible rights restricted by non-physical attributes like territory, right types, region, and other highly specific terms of art.  It’s easy to mess this up, so it only makes sense to have solid insurance coverage.  What I didn’t expect was how many hours in my standard week were around litigious paperwork around insurance, compliance, reporting, and proposals, as opposed to growing the business. 

Additionally, you as a filmmaker will need to provide a lot of insurance paperwork.  

You have to pitch earlier than you think.

If you want to have a film on all major TVOD platforms, you generally need to have them pitched/placed 5-6 months ahead of the date.  You can do it in 3 months on a rush job.  This was surprising given I submitted my first book for publishing less than 3 days before it was available on Amazon.  If you sell to an SVOD outlet, they normally require delivery at least 3-6 months in advance as well, and they’ll either pay over the course of the license or a set period after the license begins.  

Payouts take longer than you think.

Reporting is one thing, payment is another.  Most platforms only pay quarterly, and they pay 30 days after the end of the quarter.  There has recently been an additional 90-day delay that was initially for COVID, but that seems to be less of an issue than it used to be.  Additionally, they won’t pay for partial quarters, meaning if you launched in February, you won’t get any data from a lot of platforms until August or even November. If there’s a service involved, you might get an additional 30-day delay.  

This makes it really hard to run a business, and the only thing you can really do is use a different aggregator or servicer.  You can supplement this with direct vendor payments from streamers and physical media outlets, but those are only getting more difficult to place.  There are very few companies that are occupying the servicer or aggregator space in the market, and unfortunately, the ones with the greatest physical reach tend to also have the worst reporting timelines.  

There’s a great amount of room for an aggregator with fast recording and greater ability for brick-and-mortar physical releases.  However, given the rapid decline of physical media, there might not be time for such a company to access that window before it closes forever.  

The industry still operates on a tentpole model.  

The sad truth of the matter is that on the ultra-low budget scale, only about 2 or 3 in 10 movies make money.  If your sales agency or distributor is made up of really good curators, you might be able to get that to 4 or even 5 out of 10.  If you’re hitting that high, most industry people will be amazed.   If you’re running a distribution company, this means you either need to be exceptionally picky and run a very lean company, or you need to take everything you can and see what sticks.  I’ve written another piece on this going into more detail. 

Producers get in their own way a lot.

I said earlier that it’s no secret that there are a lot of shady sales agents and distributors out there.  That said, not all filmmakers are saints either.  Some filmmakers are a complete joy to work with, but others will second guess everything you do and think that the only film that you should ever focus on is theirs.  

I had a filmmaker say precisely that to my face.  We got tons of press for this person, but nobody wanted to watch it and the film tanked.  When this filmmaker wasn’t getting the returns they expected they started taking up a ton of time in angry calls and emails.  This reduced A LOT of my available time to actually get their film out there, which further impacted the returns and became a vicious cycle.  

Marketing a movie is best when it’s a partnership between the filmmakers and the distributor.  In general, you should discuss when you’re making any level of announcement with your distributor so that it can make the biggest possible splash.  It’s generally unwise to drop assets like posets and trailers without talking to your distributor, as you may ruin potential exclusive press drops.  Worse, if you put your film up in various territories through self-distribution channels, it could cost you thousands or tens of thousands of dollars in lost revenue.  Even if you can take a film down, most buyers won’t want it if it’s already been placed on any platforms in their region. I could go on about this for a while, so I’m going to leave it for another blog.  

This is a collaborative process, so they’re definitely give and take, but keep in mind there’s probably a reason you didn’t self-distribute and instead decided to work with your distributor.

In the end, this is a relationship business.  If your distributor likes you, they’re more likely to go the extra mile for you.  That’s a reality of human nature. If you want your distributor to like you, you might want to grab my free IndieFilm business resource package as it’s got lots of goodies to help make marketing your movie easier for all involved.  The resource pack got templates for contacting distributors, and tracking that contact so you don’t bug them, an e-book on the film business, and a whitepaper on the metrics of the film industry.  Plus, you’ll get monthly content digests to help you better understand the industry in a manageable way and occasion updates on new releases, courses, workshops, and announcements from Guerrilla Rep Media.  Check it out below.

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Can You Get Your Movie on Netflix or Disney+ By Yourself?

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.

I’m going to break this into general media right types.  If you’re not sure what that means, learn more by clicking through to the related blog below. 

Related: Independent Film Media Right types.

Also, this analysis is based on the US Market

Theatrical

Most distributors just won’t do this for most films, however, the ones that can do it tend to either rent the theaters outright or be extremely skilled salespeople with deep connections to the booking agents for theaters who will book the films on a revenue share basis.  It's just too much work for buyers to work directly with Filmmakers in this fashion.

For filmmakers, the most economical solutions tend to be either paying to rent a theater for a few screens or using a service like Tugg, to have a screening demanded if the film has enough of a following to make it work.  I have my issues with their model, but that’s a topic for a future blog/video. 

Physical Media:

Distributors have a lot more options for physical media than filmmakers tend to.  Some distributors still replicate DVDs on a massive scale, which gives them the ability to get higher quality disks and get them into brick-and-mortar stores like Walmart, Target, Family Video, or kiosks like Redbox.  Many distribution companies also have access to libraries.  Also, Blu-Ray in general is only really available on a wide scale through a distributor.

Even if they use a Manufacture on Demand (MOD) service, they tend to have access to companies who will put them out on the online storefronts of pretty much anywhere that sells DVDs and Blu-Rays.  This is largely due to the fact that those companies tend to only publish catalogs. 

If you’re a filmmaker, you’ll generally be limited to either buying a few thousand DVDs with no guaranteed warehouse solution or distribution network, or you’ll be limited to using something similar to Createspace to put them up on Amazon. While this tends to have the highest margins, it doesn’t tend to move a lot of products, and the quality of the product is generally pretty low. 

Broadcast, PayTV, and Ancillary (Generally Airline)

To get on any network or PayTv channel, you’ll need the help of a distribution company.  Same for airlines.  These entire right types are not generally available to you as a filmmaker. 

Video On Demand (VOD)

For ease, I’m going to break this into a few categories that are generally accepted within the industry.  Those categories are Transactional VOD (TVOD) Subscription VOD (SVOD) and (AVOD)

Transactional Video On Demand (TVOD)

In General, TVOD is pretty accessible to filmmakers on their own.  Filmmakers can pay an aggregator to get you on most platforms for a fee. These platforms include iTunes, Google Play/YouTube, Fandango Now, and many others.  Also, Filmmakers have been able to put their own work up on Amazon Instant video largely for free until recently, although it seems those winds may be changing.  Either way, filmmakers can use Vimeo OTT or Vimeo On Demand to sell the film directly through their website.

There are, however, more than a Few TVOD platforms that only a distributor can access.  These include a subset of TVOD called Electronic Sell Through VOD (ESTVOD) that’s primarily used for paid on-demand offerings of cable and satellite providers, as well as the occasional hotel chain.  The hotel chains VOD offerings have greatly declined in recent years as free WiFi has become commonplace.  Additionally, there’s a service that enables your content to be rented through library systems that are only accessible to distributors with decently sized catalogs. 

Subscription Video on Demand (SVOD)

In order to get on any platform like Netflix, Hulu, Disney+, HBO NOW, HBO MAX, or any other major streaming platform, you need the help of a distributor.  Distribber SAID they could pitch you, but that turned out to not be as true as you might hope, and their pitch fee was the size of most commissions a sales agent would take.  Also, their success rate was abysmal for someone charging up front.  This was primarily due to them pitching dozens of films a month, and as such them not getting much attention.

If you want to utilize your SVOD rights as a filmmaker, you pretty much have three options.  Put it on Amazon Prime, (at least for now.) You can start your own subscription service using Vimeo OTT, or try to sell it to people who started their own subscription services that you’ve found.  I doubt those last people will have much money though. 

Advertising Supported Video On Demand (AVOD)

Finally, we come to Advertising Supported Video on Demand or AVOD.  This is an exciting space that’s only recently emerged.  The two biggest players that do it profitably are TubiTV and PlutoTV.  Both of which only deal with filmmakers and sales agents with large catalogs of high-quality, distributable films.  This means they generally only deal with distributors or sales agents.

If you’re a filmmaker, you can put your movie on YouTube in the normal way for AVOD dollars, but it’s generally inadvisable for feature film content.  It’s good for vlogs about film distribution though..,

Thanks so much for reading! 

Educational content isn’t my primary business, the reason I know this stuff is I work in the field. If you’d like to work with me, submit your project idea via the link below. Distribution and brokerage tasks are on commission, earlier stage projects involve some reasonable fees. Also, If you like content like this, you should join my mailing list. It will get you lots of great blog digests of content just like this, as well as notices of major releases from Guerrilla Rep Media.

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How an Audience Buys Indie Movies

AKA The Indiefilm Purchase Process

If you want to understand how best to market something, you need to first understand the steps that a customer would take in buying it.  This isn’t just true for film, it’s true for everything any entrepreneur might want to sell.  It’s called the purchase process or purchase cycle. Here’s what it looks like for film.

I’ll start out by saying this is primarily for independent films, and the prioritization is centered around independent films where the customer doesn’t know the creator.   This process is meant to start when they see your film on a platform.  There’s a chance they might have heard of the press or on social media before that point, or that you directly lead them to that link.  If that’s the case, the only thing it really changes is that they’ll be more likely to buy the film in fewer steps due to the relationship you built with that customer to get them there. 

This is more based on my general observations of myself and others. While I’d LOVE more of a data-backed approach to this, so far as I know none currently exists that’s available to the public. At least not as of the time I’m writing this.

This blog is focused on VOD content.  The process is similar regardless of whether or not the customer has to pay for your movie.  That said, it’s much easier to move your potential customer to the next step and to click the watch button if they don’t have to pay to watch it, because duh. 

Glimpse the KeyArt

Generally, the first interaction with your film will be your thumbnail key art, or in some cases the cover of your DVD.  If you don’t catch their interest on the thumbnail, they probably won’t move to the next steps in the purchase process. 

That said, there are a few exceptions here related to search filters for whatever VOD platform you’re watching the film on.  There’s a chance the customer will have heard of your film from a review site or general publicity before seeing the key art on the relevant platform, however, even if they have it’s not incredibly likely they’ll seek the film out.  However, It might make them more likely to proceed to the next step in the purchase process if they’ve heard of it before randomly seeing it. ​

This step is also quite important on platforms like youtube or Facebook when you’re marketing the film directly to your audience. 

Read Title

Second, if the poster caught the customer’s eye then they’ll read the title.  If the title is catchy, they’ll probably move on to the next step.  If it’s not, they might move on to the genre, but it won’t help the film close overall. 

Check Genre

This step might be bypassed due to search filters, or other parts of the discovery algorithm of whatever platform your customer is interacting with your content through.  If it’s free to watch, there’s a good chance that the customer will make their decision on this alone.  If they continue on the path to purchase, every step makes it more likely until they either buy/watch the film or don’t. 

Related: Why Genre is VITAL to Indiefilm Distribution

Check Platform Rating

Some consumers are really invested in what the algorithm of their favorite platforms thinks they’ll like.  Generally, it’s an early part of their decision as to whether or not they’ll watch a film, even if it’s only something like “We think it’s a 30% match vs a 90% match.  In this instance, it seems like low ratings mean a lot more than high ratings do. 
​

Read the (short) Synopsis

If they didn’t decide to make watch the film based on the information up until now, they read whatever description of the film is native on the site.  It’s important this be exciting and punchy, as it’s getting very close to the point where the customer will decide whether or not to buy your movie. 

Watch Trailer

If the platform the customer is watching your independent film on offers the ability to watch a teaser clip or trailer, your potential customer may watch it before they watch your independent movie.  Your distributor will probably re-cut it to make it punchy, but they may not if you made it well enough.  That’s what happened with Goodland.  (watch the Trailer)

Related: How to best COLLABORATE with your distributor to Market your MOVIE

Rotten Tomatoes/IMDb

After the genre, they’ll probably check the star rating for whatever platform they’re using. If they’re considering buying the content, they may check the Tomatometer or IMDb as well. A lot of platforms have at least one of those metrics native in the display right now.

All of that being said, reviews are still incredibly important, as they’ll help you reach new potential audience members, and if they heard of you before, they’re more likely to get past the first step or two in this process.

Thanks so much for reading! If you like this blog, you’ll probably like my other blogs. Sign up for my mailing list and you’ll get free monthly blog digests segmented by topic, and a great FREE set of resources, including a free e-book, free whitepaper, templates for investment decks and festival brochures, and a whole lot more!

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Why you NEED to HELP your Distributor Market your Movie (If They'll Let You.)

If you think your work is over when you finish making your film, and someone will just give you a few hundred grand more than it cost to make it so you can make your next one then you’re in for a real wake-up call.  Sadly, there’s no money in making films, only in selling them, and the work of selling them is no longer solely on your distributor.  Or, at least you shouldn’t count on it being that way.  Here’s why.

But before we get started on that, it’s worth a few sentences analyzing the distribution and marketing are related, but NOT the same thing.  So what is the difference between film marketing, film sales, and film distribution?  The simplest way to put it is that Distribution is making your product available for sale, and marketing is convincing end consumers to buy it.  Sales is the process of getting it to the various distributors.  Now that that’s done, on to the topic at hand. 

Also, before we get started it’s important to note that not all distributors will accept your help.  Some control and participation in your home market should be part of your negotiation with your distributor if you’re dealing with them directly or your international sales agent if you’re not. 

1.More sales and more money for everyone!

If you want to make money from your film and have the distributor keep the marketing for the film intact, you’re going to have to give them a reason WHY they should listen to you.  As such, you’ll have to help push the film out there.  Also, after they recoup the money they put in, you will be taking the lion’s share of future sales, so it does have a dramatic impact on not only how much you get paid, but also how soon you get paid. 

Also: most distributors don’t do a lot beyond the initial publicity push.  If you want to continue sales and generate awareness of your movie, you’ll need to keep talking about it.

2. Marketing your work builds your brand

In the words of Alex Ferrari of Indie Film Hustle, "if you don't think you need a brand as a filmmaker, you're wrong.

​Generally, a brand is defined as every interaction you have with customers or potential customers.  So the first step in building your brand is building awareness of your work.  That means marketing your movies. 

Do make sure not to be spammy or a jerk about it though.  No one likes a jerk.  Unless you’re a wholesaler to the jerk store.  #DatedReferences

Related: 5 DOs and DON’Ts for selling your film online.

3. You’ll get a much deeper understanding of the process

If you want to make a career in film, you’ll need at least a cursory understanding of what it takes to sell a film, unfortunately, there’s no money in making films, only in selling them.  Getting a much better idea of how this process works will make it easier for you to make a salable film in the future. 

4. Helping Gives you a better idea of what’s going on with your movie

One of the biggest frustrations faced by many filmmakers is not understanding what’s going on with their films.  One of the best ways to stay in the loop is to help your distributor with marketing.  This can give you a lot more up-to-the-minute data that you can act on to make better marketing decisions and with luck get closer to creating a positive feedback loop of sales.  Admittedly, in the current system that’s A LOT of luck. 

5.  If you’re putting the work in, your distributor will be more likely to take your requests.

If you’ve got more face time, and your film is performing well, your distributor is more likely to make pitches they might not otherwise make. Part of that comes down to perspicacity, and part of it just comes down to numbers.

Thanks for reading! If you liked this post, please share it with your filmmaking community on your social media, or drop a comment down below with your thoughts about what you’d like to know about film distribution, grab my free Indiefilm business resources packet for an e-book, a whitepaper, a bunch of templates, and more.

As you may know, I don’t just talk about distribution, I’ve run companies that do it, and still connect filmmakers to the better players in the game.  If you’d like your film to be considered, use the services button below.  That’s my primary business, in fact.

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The Practical Guide to DVD/Blu-Ray Distribution for Independent Filmmakers

Last week I examined the rise and fall of physical media for the film industry.  As promised, this week I’ll outline WHY that matters, and the practical aspects of the current independent film industry.  Well, the answer to that (and so many things in both this industry and in life) is that it’s all in how you do it.  What follows is an examination, looking to lend guidance to that question.  Here are the ways you can still make money with independent film.

A disclaimer: a lot of this article is something that filmmakers can’t do themselves, and will require a distributor to help get the film into place. 

Redbox pays up front, most others pay on consignment

There aren’t that many large-scale DVD retailers left.  It used to be that everyone sold some DVDs by the checkout because people would pick them up on impulse.  Now the only places that still retail DVDs in the US are RedBox, Walmart, Target, Best Buy, and Family Video in the Midwest.  I’m sure I’m missing a few smaller players, but not much beyond that.  

The trouble with this is that while I won’t name names for legal reasons, a lot of the retailers listed above buy DVDs on consignment, not outright.  In practice, this means that your distributor will need to replicate anywhere between 10 thousand and 50 thousand DVDs and then pay shelf rental fees with no hard guarantee that they will get their money back.  Replication at that scale is not horrendously expensive, but even while the per-unit cost of replication is cheap, the sheer number of units means that the distributor will have A LOT at risk. 

Redbox on the other hand buys DVDs outright.  Plus, since they don’t use standard cases the DVD replication tends to be cheaper.  Even with that, they pay pretty well on a per-unit basis. 

Redbox might well be your highest-value single deal

Since Redbox tends to buy anywhere between 10 thousand and 50 thousand units outright, the profit on the sale can reach well into 6 figures.  This is not a small amount of money, especially considering that they do still buy low-budget movies.  By contrast, most PayTV providers only pay low-mid 5 figures. 

If the franchise has strong sequel potential and is brought to Redbox by a distributor they’ve worked with in the past, they’ve even been known to issue a sales agreement while still in development, which can greatly help in financing.  It should be noted that this is rare.

A HUGE Caveat to note here is that both Redbox and most Subscription Video on Demand (SVOD) providers only acquire films that have had at least 250,000 USD at the box office. ​

MOD is almost certainly worth doing

MOD stands for Manufacture on Demand. A LOT of the films you see online but not in-store are put there through MOD services. Not all, but a lot. There are some services that are available only to distributors. These services tend to be the widest-reaching MOD providers. However, Amazon’s CreateSpace has recently become a place primarily for Video on Demand and MOD sold through Amazon. Their analytics are great, and anyone can do it.

I have done MOD Distribution for most films I distribute in the US, and most outlets I work with will do MOD for their releases as well. If it’s a theatrical film, and it’s something that has a real chance at getting to one of the major retailers, most distributors work with a partner to get it there. If you enjoyed reading this, you should check out my mailing list and resource package using the other button. The resource package has lots of great templates and additional information, plus you get a monthly blog digest segmented by topic.

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Should you STILL Release your Indie Film on DVD?

We’ve all heard about how Physical media is dead. However, for a long time, there was still a significant amount of money in DVD and physical media. In fact, DVD impulse buys are and large rental orders are a lot of what allowed the independent film industry to exist at all. TVOD (Transactional Video on Demand) has not risen to replace the revenues lost from Physical Media, so it only makes sense to try to get revenue for your film from as many sources as possible to try and cobble together an ROI from all the different pieces. ​

But in order to truly understand the problem, it helps to understand the history behind it.  So I’ve decided to make this into a 2-part series.  The first of which (this one) gives background and context for how physical media came to prominence and why the fall of physical media spells trouble for the industry, and the second examines the real question of does Physical Media still make sense as part of the planned revenue mix for indie films. However, in order to properly utilize the practical advice, it helps to have a thorough background of how these things came to be and as a result which tactics are most likely to succeed.

This part is about the history of physical media in the film industry.  Check out this blog for a more practical guide to making money from it.

Blu-Rays vs DVDs

Prior to VHS (god that makes me feel old) the primary way people would see movies is either when they aired on TV, or when they toured through the local cinema.  This meant there were both huge gatekeepers and huge costs associated with distributing a film, as you needed a 35mm print for every theater you were going to be in, and there wasn’t much else that you could do to get your work seen.  When VHS came along, a lot of that changed.

The VHS market largely defined the independent film scene starting in the 80s.  But VHS tapes were expensive to manufacture.  This led to fewer gatekeepers holding more power.  VHS tapes started out exceedingly expensive, and it was only when Top Gun made you watch a full-Trailer length Pepsi commercial that the price of VHS dropped low enough that most consumers could afford it.
​
When DVD entered the scene, there were some initial wins from people with DVD Replicates printing lots of recently public domain films to bolster their catalogs, then using the revenue to bu up old catalogs and grow their revenue even further.  So even though more people had access to the technology, the Lower price point and manufacturing costs expanded the markets​

When Blu-Ray entered the market, many expected that it would largely act as DVD had.  That was not the case.  Around the same time Blu-Ray dropped, TVOD became viable.  While the 2.99 movie rentals from iTunes worked very well at first, it wasn’t long before Netflix launched the first public iteration of its Subscription Video on Demand (SVOD) platform.  Once people could stream a huge array of movies over the internet any time they wanted for free, many consumers didn’t see the need to buy physical media or pay for content the same way they had in the past.

Also, with the glut of content that was beginning to be created by the wide availability of cheap HD cameras and other lowered equipment costs, the price SVOD and PayTV platforms were willing to pay for content took a nose dive. This is among the biggest challenges that are facing the current indie film industry.  How do we break out from the white noise, and create enough revenue to pay our investors back? 

​I’m not going to pretend to have all the answers, but it’s a lot of what I work towards as an entrepreneur, If you want more of what I’ve learned from my decades in the business, grab my resource pack to get an e-book with exclusive content and a whole bunch of other goodies like a whitepaper, templates. and a blog digest.

Thanks for reading.  Check out this blog for the practical portion.

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6 Questions to Ask yourself BEFORE Self Distributing your Film

In a follow-up to last week’s blog on self-distribution platforms, I thought we would step back for a minute and try to understand what filmmakers should consider before they decide whether or not to self-distribute their movie.  This blog is a list of potential parameters you might want to go by.  It’s not the only things you should take into account, but they are some factors you’ll need to consider

1.  Do you have money for promotion and aggregation?

While you get to keep 100% of the money you make when you use someone like Distribbr, you also have to pay them upfront to get you on those platforms.  If you use traditional distribution, generally the distributor will take on that risk for you.  Also, they’ll generally pay less than distribbr would charge you in aggregation fees, so they can put more money into marketing the film.

NOTE FROM THE FUTURE: If you need aggregation services, use FilmHub or IndieRights. The model is better than pay for placement even if you give up an extra 20%.

Further, with traditional distribution there tend to be some notable economies of scale.  One of these factors is the fact that most good distributors and sales agents will have a publicist on retainer so your film will get better press, and further reach.
​

2. How your social media following.

If you don’t have a pretty decent social media following, then you really should consider traditional distribution.  If the equation below works out to more than 1, then perhaps you should consider selling your film yourself, especially since this doesn’t factor for your personal press contacts, etc.  If it doesn’t, then maybe you should look into traditional distribution.

I know I'm asking you to do algebra, but if I get asked in the comments I may create a calculator that runs the math for you.

((TF*0.01+FF*0.05+IF*0.05+OFX*0.03+EL*.1)*(SP-PF))/OLF+5000

TF = Number of Twitter Followers 
FF = Number of Facebook Fans
IF = Number of Instagram followers
OFX=Number of other social media followings(Can repeat multiple times)
EL = Number of people on your relevant email list * 0.2)*
SP = Sales Price
PF=Platform fees
OLF=Outstanding Liabilities of the film (I.E. how much do you need to pay back investment and deferments)

The 5,000 represents money you’ll have to spend to get your film out there between marketing assets like posters and trailers, publicity, and limited social media boosts.

NOTE FROM THE FUTURE: This is a simplification of your marketing reach, and does not account for including how underserved your niche is as well as how much access you have to said niche. Given these calculations really only account for Transactional distribuion, it undercounts potential spread via AVOD and international sales if you seek them. I might remake this algotithm if I get enough requests.

3. What was the Budget of your film?

While I’m a big fan of traditional distribution (I am, after all, a distributor) I will say that in many cases it doesn’t make sense to try to sell a film made for less than 10k unless it came out REALLY well.  Generally, that equation above will also look favorably on you if your budget is that low.  There are, however, cases where this is not true.

4. Do you have press contacts?

Press is the most cost-effective way to market your movie.  If you have a list of close contacts in the press, it can be a huge difference in your effectiveness at selling your film without help from a traditional distributor.  If you don’t have them, the equation above had better result in something closer to 1.5.

5. Do you have the ability to create awesome marketing material?

Can you cut a great trailer?  What about make a great poster?  Your distributor will have contacts for that, but you may not, and that will make a huge difference in whether or not you should self-distribute.

6.  Would you rather market this movie than make the next one?

This point is subjective. If you’d rather continue to market your film than make the next one, then by all means, self-distribute. If you’d rather put your energy into making the next one, then it probably makes more sense to work with some partners like sales agents and distributors. If you’re looking for those partners, I might be able to help. Just click the submit button below.

For more tools and information on film distribution, you should grab my free film resource package. You’ll get a FREE e-book on the business of indiefilm, digests on the film business segmented by topic, as well as free templates to streamline financing, marketing, and distribution. Plus, you’ll get all the latest on Guerrilla Rep Media releases and occasional special offers and discounts.  Check it out below!

What platforms should I release my movie on?

I’ve stepped into the world of direct US Distribution and even ran a US Distributor that released around 50 titles ahead of being acquired by a larger company. This is primarily due to things I’ve learned from several other US Releases I’ve overseen as a Producer’s Rep.  One of the most common questions I get is what platforms to release a film on.  So, instead of answering the same thing over and over, I’ve decided to put my thoughts into a blog.

When answering this question, the biggest questions you have to ask yourself are what platforms are likely to yield the highest return.  I know that’s obvious, but it’s not as easy to find that information as you would think.  A lot of TVOD (Transactional Video On Demand) Sales are in the toilet, and it’s surprisingly common for filmmakers not to make their money back.

So all of that being said, here are the platforms I’ve had the best luck with so far.  This is all through a very narrow lens, of films I’ve represented, but it’s information straight from the horse’s mouth.  

Vimeo on your Website

No matter what your distribution deal is, you’re going to want to hold back the right to sell the film yourself through Vimeo on your website.  You may have to work on the timing of this with your distributor due to piracy reasons, but it is something that you need to know. 

This gives you the ability to sell your film no matter what happens with your distribution deal and guarantees you can make yourself some level of return, even if it’s tiny. It’s extremely high touch and has no meaningful metric of discovery.

Cable TVOD

Cable TVOD platforms are essentially the grandchild of the Pay Per View us older millennials and Gen Xers grew up with.  These are the rentals you can get directly from your Cable box.  These tend to convert at pretty decent numbers since people who actually still have cable packages have the money to rent movies through their system and often do.

From what I’ve seen, InDemand from Comcast pays out the best, followed by DirectTV’s rental system. 

Where you get placed in these systems can greatly impact how much you make from them, so if you can get yourself a 7-10 city theatrical run you’re going to be in a much better place. 

In terms of how long you can expect your film to be tied up there, normally these licenses last at least 6 months, often up to 2 years, or whenever the provider feels like taking them down.​ This is also something you probably need a distributor to do for you, as most aggregators release too much content to be able to place on these platforms reliably.

iTunes / AppleTV (no +)

Next up is iTunes.  If you’re releasing your film, you need to get it on iTunes.  This is partially due to it remaining one of the best selling TVOD platforms, but also because it’s the most technically stringent for you to get on.  If you can make it on iTunes, you can make it anywhere. 

Often that’s the real reason that aggregators put iTunes as the first required platform on the list, and then give you discounts to other outlets.   

So long as you’ve got a good marketing plan, you’ll generally at least make your aggregation investment back from iTunes.  I know that’s not saying a lot, but it’s a start, and there are many platforms where that’s not true.

Note from the future: Since iTunes Rebranded to AppleTV, it’s not putting up anywhere near the numbers it used to. It’s been entirely surpassed by Amazon.

Google Play

While Google Play may seem like it’s the equal opposite of iTunes, in practice it doesn’t pan out this way.  Part of the reason could be the greater market penetration of Apple TVs, or it could be that people who buy apple products tend to have the expendable income to buy movies, or it could be something else entirely.  While I can’t say why with any certainty, I can say that you should give google play a miss. That said, Google Play gets you on the next platform, so why not. Also, as mentioned above Apple just doesn’t perform as well as it used to since the rebrand.

​YouTube TVOD (YouTube Movies)

If your film is targeted more towards millenials, you may want to consider making it available on YouTube.  The numbers out of YouTube TVOD can be surprisingly good, often rivaling iTunes if the film is targeted towards Millenials.  This probably has something to do with the fact that you don’t have to leave the platform you’ve hosted the trailer on.  This one tends to perform second best on films I’ve released.

Fandango Now

If your film had any level of a theatrical release, you should consider fandango now.  The numbers tend to be pretty good.

If you haven’t had a theatrical release, discoverability on the platform can be lacking, but since they merged with Vudu it’s probably worth the fee if you end up on both.

Gaming Systems

Honestly, I haven’t had much luck with the direct TVOD sales through Xbox One and PS4.  I personally wouldn’t bother with them.  If your content is oriented towards 15-24-year-old males, or has some tie-in to video game culture then it might be worth trying, but in general it’s hard to even make back your aggregation fees. 

Note from the future: This isn’t as easy as it once was. Your best bets are YouTube and the next one on this list.

Amazon

DEFINATELY put your film on Amazon.  In my time running Mutiny, it accounted for a majority of sales despite the fact we released films to around 6-8 platforms.

I’d recommend doing it in two stages, first, as a TVOD/MOD (Manufacture on Demand) DVD release in line with your other TVOD releases, and second as an SVOD (Subscription Video on Demand) release through Amazon Prime. 

Note from the future: too bad you can’t do this anymore. Use an aggregator to get on Tubi, Vudu, and Pluto instead.

Once you get it set up on Amazon Prime, you’d be surprised how quickly Prime will overshadow the rest of your VOD sales.  Generally, waiting 3 months for prime as a window is about right, just to make sure you get the most you can out of your other TVOD outlets. 

You won’t have to take them down for prime, but you will see the sales figures drop steadily once the film is free to watch on a service pretty much everyone has. 

That said, it will be much easier to get people to watch the film once it’s free on Amazon Prime.  Once it’s set to go live, make sure you get AT LEAST 5 friends to watch it ALL THE WAY THROUGH and rate it.   If they do, it serves as a recommendation to Amazon’s Algorithm and it recommends the film to up to 100 more people you don’t know.

Whether or not you work with a distributor, getting your film out there is a lot of work. It’s also not something that film schools tend to teach as well as they should. That’s why I developed this free Film Marketing Resource package. It’s got a monthly content digest full of useful articles just like this one, as well as templates to help you contact distributors, raise money from investors, and market your film at festivals. Get it for free by clicking below.

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What paperwork do I need to deliver to my Indiefilm Distributor? (Deliverables 3/4)

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.

This list is thorough, but not exhaustive.  There may be things required outside of this list for legal, and there may be things on this list that are not required, depending on who you’re dealing with.  Also, I’m not a lawyer, this isn’t legal advice. Check with your attorney to get some advice if anything is unclear.

1. Key Production Agreements

These are essentially legal documents from key cast and crew saying that you have the right to use their work in your film.  Essentially, you’ll have to prove that either you’ve paid out all of the filmmakers, or that they have no claim on the intellectual property of the film. Essentially, you’ll have to prove that whatever work they did was “For Hire” or that you will take on the liability of ensuring that all deserving stakeholders are paid appropriately

Generally, you’ll have to provide agreements proving this for key cast and crew.  Most of the time, those appearing in the main title sequence are a good measure. The preferred form of delivery for this is fully executed contracts or deal memos.   A lot of times you won’t need to deliver these unless it’s asked for.

You’ll also have to provide separate agreements for composers, or any other songs or assets that you’ve licenced.  For the composers, you’ll need to make sure you have the right to use their work in any way you see fit.  This can include trailers, promo spots, DVD extras, and anything else in conjunction with promoting or marketing the film.  This is particularly important and must be treated separately from a standard crew agreement. 

If you used source music, you’ll also have to provide that you have the right to use any and all of that source music under similar terms to the composer’s original music listed above.  there’s slightly more wiggle room on this here, but not a whole lot. 

2. Certificate of Origin

This is a certificate stating where the film was shot, and essentially stating that the film had the right to be shot there.  This is important in all cases, but particularly important in the event that you took tax incentives to finance your film. 

3. Chain of Title Summary

This deserves its own blog, which it will get.  However, in summary, the chain of title outlines the passage of intellectual property between source material, Script, and Production company.  It’s generally a document summarizing all of the associated rights agreements.

4. Rights Agreements

These are essentially documents proving that you have the rights to all the intellectual property used in the film.  These documents can include options, proof of option payments, assignments, licenses, certificates of authorship, written permissions, powers of attorney, and other similar documents. 

Often, if the name of the copyright owner is different from the owner of the picture, you will need to write up a transfer letter as well.  Most of the time you’ll need to generate a chain of title summary for your sales agent to track the rights across multiple documents.

5. Copyright Registration Certificate

This should be fairly self-explanatory, but you’ll need to include the copyright registration of both the picture and the screenplay.  Yes, you do need to copyright your work, a WGA registration will not suffice.  And yes, you need to have copyright certificates for both the screenplay and the film. 

There are other deliverables that can suffice if the copyright is pending, however, those vary by sales agency so I’m not going to go into them here.  Additionally, if you shot your film internationally it’s generally wise to file for a US Copyright as it tends to have the most standing in international courts as not every country has a well-staffed copyright and patent office.

6. Additional Agreements/Statements/Letters

There are a few other documents you may have to provide under certain circumstances. 

6A, If the Film is Not Originally in English

A deliverable you might need would be an English translation if the film is not in English originally.  Most of the time, buyers prefer a film to be in either their native language or in English.  It doesn’t matter if they have to translate the film anyway, they prefer to be translating the film from English. 

6B, If you worked with Children

Another ancillary document would be some degree of documentation that all children were treated legally on set. Most of the time you can find relevant documentation from the Screen Actor’s Guild, even if your shoot was not a signatory. if the film has any children in it. You’ll also need to provide some documentation that you abided by local child labor laws as they pertain to the film industry.

6C, If the film contains nudity or sexual content

In the event that the film contains sexually explicit material, then you’ll need to provide proof of 28 C.F.R. Compliance and record-keeping responsibilities and documentation of those record-keeping responsibilities. 

Similarly, you’ll need to provide additional documentation from any actor appearing nude or partially nude on screen consenting that their nudity was meant to be widely disseminated among the public. 

6D, If it was a union picture

If the film is union, you’ll need to provide all your agreements and proof that you’re in good standing.

6E​, Other Contractual Obligations.  

There may be a whole host of other releases from governmental, technical, and legal entities that prove this film can be distributed, but there’s such variance, it goes far beyond the scope of this blog. 

Thanks for reading!  This one ended up being a bit scary.  Check the other posts for more.  Also, Grab my free Indiefilm Business Resource Package to get a free e-book, templates, and a monthly blog digest to increase your ability to find meaningful distribution, and check the tags below for more information on filmmaking.

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How to Vet your Sales Agent or Distributor

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.

1. Get Professional Help

Distribution deals are complicated things.  It’s easy for one clause that seems innocuous to strip thousands of dollars out of your pocket.   Get yourself an entertainment attorney or producer’s rep to help you through the process.  Entertainment attorneys are generally expensive but can save you money in the long term.  Producer’s reps SHOULD work on a commission for brokerage tasks, but may or may not be able to negotiate as well as they claim. ​ Often, it’s wise to have both a rep and an attorney, as reps focus on general salability whereas

Related: What does a Producer's Rep DO Anyway?

If you can’t afford an attorney and are wary of hiring a producer’s rep then take extra time on the next several steps. ​

2. Carefully Review their base distribution agreement

There’s always some room for negotiation in these agreements, but it the arrangement is too far off of what you’re hoping for from a starting point, then the deal is unlikely to be any good.  Good places to look are at the recoupable expenses and the sales agency commission.  If the sales agent’s commission is higher than 30%, proceed with extreme caution.  If it’s higher than 35%, you probably don’t want to deal with that sales agent.

Related: The 7 Main IndieFilm Distribution Deal Points

Similarly, is the recoupable are higher than about 25,000-30,000, you should be VERY careful on dealing with them if you have a lower budget film.  If they’re at this level, you’ll want them to attend at least 5-7 markets.  That segues nicely to.

3. Ask the Sales Agent Which Markets They Attend

Traditional Film Sales and Distribution still happens primarily through face-to-face meetings at markets.  Establishing good relationships with buyers takes several touchpoints a year.  In order to really trust a sales agent with your film, you need them to attend both Cannes and AFM at a minimum.  Ideally, you want them attending EFM as well, but that market is slightly more arthouse so it can be given a miss if you’ve made a genre picture. If they don’t attend EFM, they should attend Hong Kong FilmMart.
​

Read More: What is a Film Market and How Do They Work?

4. Look the Sales Agent Up on IMDb

You need to verify some of the films that the sales agent has helped distribute recently.  Looking them up on IMDb is a great way to get started.  You’ll want to look for films that are similar in genre and feel to yours, and you’ll want them to have represented quite a few films in the last 3-5 years. You should be able to find a lot of information on the company they’re working with if you have IMDb Pro, but sometimes sales companies change their names without much notice. That’s a red flag if it happens, but it’s not necessarily a dealbreaker. If it does happen, just use IMDb to look up the acquisition agent you’re dealing with.

If you have access to it, you should also look them up on Cinando. It’s worth noting that many sales companies do not keep their Cinando Profiles as up-to-date as they should.

5. Visit the Sales Agent Website

The Website of the sales agent will help you understand what they’re currently promoting.  It will also have some things that IMDb won’t.  These are things like recent press coverage, and links to their other social media profiles.  You want the sales agent to have gotten your films a good amount of press.

6. Call Filmmakers they've worked with in the past. 

If you take only one thing away from this article, let it be this.  ALWAYS call filmmakers the Sales agency has worked with in the past prior to doing a deal with them.  Filmmakers they’ve worked with in the past are the best way to get an unbiased account of whether the sales agent lives up to expectations laid out in their contract.  While other sales agents will give you opinions on that front, the sales agency game is quite competitive, so they might overstate the issues with their competition to gain a competitive edge.

Thanks for reading! If you like this, and decided you need professional help when dealing with sales agents, check out the Guerrilla rep media services page. We know the players in the game and can help you get to your goal faster. If you just want to learn more, check out the free indie film business resource pack for a free ebook, templates to help you track contact with sales agents, and even form letters to get you started on reaching out to them. These won’t substitute for professional help, but they’re a good place to start.

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5 DO's and DON'Ts for Selling Your Film on Social Media

I sell a lot of stuff on social media.  In fact, that’s probably how you’re reading this blog right now.  Since I’m very active, I also get a lot of people trying to sell stuff to me on social media.  This blog is an amalgamation of some of what I’ve found works on social media, and some of the stuff I’ve found does more to harm your brand than build it.

Before you ask, yes I’ve been on both sides of pieces of this article at various times.

DO: Provide Value

Far and away the most important rule of building a brand on social media is to ALWAYS provide Value.  Even when you’re trying to sell something, you should be providing value.  It will take several impressions with a potential customer for them to engage with your content or buy your service, and in that time you’ll need to provide that potential customer quite a lot of value. 

DON'T: Post Nothing But Sales Links

Even if your service provides value to members of a group or your carefully cultivated following.  If all you do is post things like “BUY MAH MOOOVIE!” then you’re failing to provide value, and you’re not going to move too many copies. To be honest, it’s also important to avoid posting too many links to groups in general. I’ve definitely been on the wrong end of that in the past with my 100+ blogs.

DO: Focus on Building Relationships

Building a relationship with your potential customers is the only way to turn them from potential customers to single-time customers, to regular, recurring business.  Essentially, these relationships rely on trust.  In order to build that trust, try posting relevant articles from your blog, behind-the-scenes footage, a piece of press you got mentioned in, or whatever else that gives you a touchpoint with your fanbase without asking them to spend money. 

DON'T: Treat All Your "Friends" Solely as Potential Customers.

If you’re like most people, you have everyone from high school classmates to people you know from the bar to great aunt Gertrude on your Facebook.  Be cognisant of the fact that most of those people may or may not want to actually buy your movie.  Don’t forget to post the standard facebook posts alongside talking about your project.​

DO: Start a Conversation

If you want to share something you’re working on or the movie you just made with someone via a messaging system, start by saying hello.  If you open up a conversation and show genuine interest in what they’re working on, it will be far more likely that they’ll be genuinely interested in what you want to sell them. ​

DON'T: Send a Form Message with a Link to All Your "Friends"

When I say Start with Hello, I don’t mean a message like this.

“Hello! How are you? I hope you’re well. It’s been a while since we talked, but I just wanted to let you know about this movie I just finished called I’ma Spam You! If you could check it out via this link below, I’d be super greatful”

https://imgflip.com/i/23nduh

Doing that is more likely to lose you connections than convince people to buy your content.

DO: Know Who You're Talking To

Are you reaching out to someone you went to High School with?  Maybe you haven’t spoken in years.  If that’s the case, you’ll definitely want to try to catch up before you ask them for money.  If you have powerful people on your social media, you should be careful how you approach them.  I’ve had people try to sell me their unproduced scripts on Amazon, then go off on a fiery tirade when I didn’t want to buy it.  They are now blocked, although a mutual friend said they were still looking for some of the services I offer.  Don’t do that to yourself.

DON'T: Try to Sell Your Movie to Someone Who Has No Reason to be Interested.

Someone you know who is incredibly christian, probably isn’t going to buy your body horror feature film.  Similarly, the goths on your friend list probably aren’t going to buy your faith based film.  Know who you’re trying to sell your movie to, and take note.

DO: Post Relevant Content to Relevant Groups

Maybe you’re putting some content into a filmmaking group.  If you are, you should make sure that whatever content you’re posting provides value.  The long and short of it is: Don’t post irrelevant content and expect people to engage with it in a positive manner.

DON'T: Be an Asshole

This point originally read Don’t be Spammy, but in a way the two are synonymous. They also both very eloquently summarize this entire article. If you’re not sure whether or not you’re being an asshole, then ask yourself the following question. “Am I being an asshole?” if the answer is anything other than “No” you probably are being at least a bit of one.

Thanks for reading! If you liked this content and want more, you should grab my free resource package. It’s got an e-book, lots of templates and money-saving resources, and it even sends out monthly blog digests segmented by topic.

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5 Ways to Market Your Movie Besides Social movie

There’s a lot of advice on the internet, as well as on this blog about marketing your film using social media.  That’s with good reason, Social media is among the most cost-effective ways to market your project if you do it properly.  Further, it helps you maintain a long-term relationship with potential customers.  That being said, it’s not the only way to market your film.  It might not even be the most efficient way when it’s the only thing you do.  What follows are 5 ways to market your film other than social media.

For this blog, all 5 of these tactics can and should be used in conjunction with each other, and can greatly augment your social media marketing.

Before we begin, every once in a while I’ll take a question I get on Twitter and turn it into a blog.  This question came @AmandaVerhagen a while back, but I’ve not had time to adequately address it until now.  If you have a question about film distribution, marketing, financing, or sales, feel free to @Mention @TheGuerrillaRep and I might just write a blog to answer your question.  

Events

Hosting an event to spread the word about your project can be a great way to build excitement and generate interest in your project.  This can be something as simple as a happy hour at a local bar where you buy a few drinks for strong supporters, or as complex as renting an event space, supplying the booze, and having some people say a few words.  Ideally with entertainment.

What you do really comes down to how much time you have to organize and what your budget it.  The importance of the milestone you’re celebrating also plays a factor, although any milestone worthy of an event is also likely worthy of some time to organize it

Festivals

Shocking, I know.  However what does bear mentioning is that festivals are only as useful as you make them.  Getting into festivals can be a great way to expand your network and grow the reputation of the film, however the effect that will have will be limited unless you learn how to work the festival. 

Essentially, getting into a festival provides you a space where you can utilize every other item on this list to grow your notoriety, your film’s reputation, and your professional network. 

​Flyers/Givaways

​Having something tangible you can give away to people at events in festivals will help people remember you.  They’ll remember you even more if you attach something to the card that has some immediate value beyond the information you’re handing out.  This can be as simple as a tiny piece of chocolate attached to a card, a bottle of hand sanitizer, or even a small bottle of alcohol( if the demographic is right.)

Adding a giveaway will help you stand out in the minds of whoever you give your giveaway to .It’s easy to get lost in a pouch of postcards and flyers, but something as simple and cheap as a piece of chocolate can make all of the difference in how you’re remembered by the event goer. 

​Stunts

Pulling some sort of marketing stunt can be a great way to stand out and attract a bit of press.  Whatever you do, you’ve got to make sure you do it safely though. 

One of the most famous stunts at Cannes was when someone lit themselves on fire (in a fire suit) and then after they were put out, it was revealed to be an attractive your woman in a bikini who starred in the film she was promoting.  Rumor has it the woman later lost that bikini while being interviewed, but that’s another matter.  Also, that happened in the late 80’s/early 90’s, so the culture was different.

Your stunt doesn’t have to be as outlandish as that, but should be as memorable.  If you have a  war movie, you might want to consider throwing toy paratroopers from a rooftop you can gain access to.  If you’re promoting at Sundance, a woman in a bikini making a quick walk through the cold with premier tickets would certainly grab some eyeballs and some attention.  Especially if you can work in a joke about accidentally packing for Cannes. That said, make sure you have a trenchcoat and hot drinks on hand to help her out when she inevitably gets cold.

In any case, the goal of the stunt is to get eyeballs in a safe and legal way.  It’s to help you and your movie be memorable and to ideally attract a bit of the final item on our list. 

​Publicity

​Publicity is almost always the most cost-effective way to spread the word about your project.  However, it’s not always the easiest thing to get.  Generally, you’ll need a relationship with an outlet, something truly eye-catching, or a good publicist to get any substantial amount of coverage.  Sometimes you’ll need all three. 

There are a couple of ways you can disseminate a press release.  PRNewswire.com is relatively affordable, but it’s unclear how much individual press coverage you’ll get out of it.  It does still help with your SEO (Search Engine Optimization) to at least a degree though.  

Generally, if you can afford a publicist, it’s the best way to go by far.  My favorite publicist is October Coast, they’re very cost-effective for the value they provide. While it’s possible to get big marquee press coverage from October Coast it’s unlikely. This means you probably won’t get you the big outlets like Deadline, Variety, or THR, but you will get dozens of relevant niche blogs. In general, you’ll need a higher-cost publicist, or if you’re lucky your distributor, sales agent, or producer’s rep will handle this for you.

EDIT FROM THE FUTURE: There may be a few more things I’ve learned from Running Mutiny that I’ll share in a new blog around the efficacy of paid ads and sponsorships. Comment if that’s of interest.

Thanks for reading! If you want more help financing or distributing your movie, the best place to start is my film business resource pack. It’s got templates, an e-book, and a whole lot more to help you grow your indiefilm company and career. Oh, it’s completely free, get it below.

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What’s the Difference between a Sales Agent and Distributor?

As a Producer’s Rep, one of the questions I get asked the most is what exactly do I do?   The term is somewhat ubiquitous and often mean different things to different people.   So I thought it might be a good idea to settle the matter.   In this post, I’ll outline what a producer’s rep is, and how we interact with sales agents, investors, filmmakers, and direct distribution channels. But first, we need a little background on some of the terms we’ll be using, and what they mean.   These terms vary a bit depending on who you ask, but this is what I’ve been able to gather.

Would you rather watch/listen than read? Here’s a video on the same subject from my Youtube Channel.

Like and Subscribe! ;)

​DISTRIBUTOR / BUYER

A distributor is someone who takes the product to an end user.   This can be anything a buyer for a theater chain, a PayTV channel, a VOD platform, to an entertainment media buyer for a large retail chain like Wal-Mart, Target, or Best Buy.  The rights Distributors take are generally broken up both by media type and by territory.  

For Instance, if you were to sell a film to someone like Starz, they would likely take at least the US PayTV and SVOD rights, so that it could stream on premium television and their own app which appears on other SVOD services like Amazon Prime, or Hulu. They make take additional territories as well. 

Conversely, it’s not uncommon to sell all of France or Germany in one go. It should are often sold by the language, so sometimes French Canada will sell with France. This is less common as of late.

Generally, these entities will pay real money via a wire transfer, and almost deal directly only with a sales agent. Although sometimes to a producer’s rep, and VOD platforms will generally deal with an aggregator.   The traditional model of film finance is built around presales to these sorts of entities, but that presale model has recently shifted.   

Recently, more sales agents have begun distributing in their territory of origin. XYZ is a good example of this. Some distributors have branched out into international sales. This is something that we did while I was at the Helm of Mutiny Pictures, to allow us to deal with filmmakers directly in a more comprehensive way.

Sales Agents

A Sales agent is a person or company with deep connections in the world of international sales. They specialize in segmenting and selling rights to individual territories. Often, they will be distributors themselves within their country of origin.   This business is entirely relationship based, and the sales agents who have been around a while have very long-term business relationships with buyers all around the world.   That’s why they travel to all of the major film markets.

Examples on the medium-large end would be Magnolia Pictures international, Tri-Coast Entertainment, and Multivissionaire. WonderPhil is up and coming as well, as is OneTwoThree Media.   Lionsgate and Focus Features would also be considered distributors/sales agents, but they’re very hard to approach. They also both focus on Distribution over sales.

​Generally, these sales specialists will work on commission. They may offer a minimum guarantee when you sign the film but that is not common unless you have names in your movie. Generally, they will charge recoupable expenses which mean you won’t see any money until after they’re recouped a certain amount. In general, these expenses will range between 10k and 30k, with the bulk falling between 20 and 25k. If it’s higher than 30k without a substantial screen guarantee, you should probably find another sales agent. There are ways around this, but I’ll have to touch on this in a later blog [or book].

​A sales agent commission will be between 20% and 35%, this is variable depending on several factors, but generally 25% or under is generally good, and over 30% is a sign you should read more into this sales agent. Lately, this has been trending towards 20% with a slight uptick in expenses.

Aggregators

​Aggregators are companies that help you get on VOD platforms.   The most important service they provide is helping you conform to technical specifications required by various VOD platforms. This job is not as easy as you would think it is, which is why they charge so much.   Additionally, they have better access to some VOD platforms than others. These days, it’s very difficult to get on iTunes or most platforms other than Amazon’s Transactional section without one.

Generally, aggregators charge a not insubstantial fee to get you on these platforms, and they offer little to help you market the project. Companies like this include Bitmax and arguably filmhub or IndieRights.

There are merits to going this this route, but they can be expensive, often costing about one thousand USD upfront and growing from there. If they operate on a commission like Filmhub or Indierights, they won’t help you with marketing so you’ll have to spend a decent amount there in order to get your film seen.

Producer of Marketing & Distribution (PMD)

​In the words of Former ICM agent Jim Jeramanok, PMDs are worth their weight in gold. A PMD is a producer who helps you develop your marketing and social media strategy, your Festival strategy, and your distribution strategy.   They’re also quite likely to have some connections in distribution.   They’re there to give your film the best possible chance at making money when it’s done.

Generally, they’re paid just as any other producer would be, but if they’re good, they’re worth every penny. With a good PMD on board, your project’s chances for monetary success are exponentially better.   

​If you’re an investor reading this, you want any film you invest in to at least have access to a PMD or Producer’s Rep, if not a preferred sales agent or at least domestic distribution. (Not Financial Advice)

Executive Producer (EP)

In the independent film world, these are producers who are hyper-focused on the business of independent film. They either help raise money to make the film, or they help bring money back to those who put money into it in the first place. As such, the traditional definition in of an indiefilm executive producer is someone who helps you package projects by attaching, bankable talent, investors, or other forms of financing.    They’ll also help you design a beneficial financial mix, [I.E. where can you best utilize tax incentives, presales, brand integration, and equity, and gap debt.] in order to help your project have the best chance of success. They can also play a significant role in distribution. The latter is where most of my EP credits come from.

Often, they’ll take a percentage of what they raise or what they bring in. sometimes they’ll require a retainer, but most of the time they should have some degree of deliverables such as business plans, decks, or similar as part of that.   These fees should not be huge, but they will be enough to give you pause due to the amount of specialized work involved in doing these jobs.

Producer’s Reps

I’ll go into this much more deeply next week, But Producer’s Reps are essentially a connector between all of these sorts of people and companies.  Producer’s Reps will connect you do sales agents, aggregators, buyers, and investors. But more than that, a good one will help you figure out how and when to contact each one. Most often, they’re credited as an executive producer or a consulting producer as the PGA does not have a separate title that applies to this particular skillset. For a more detailed analysis of what exactly a Producer's Rep does, Check out THIS BLOG!

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