Everyone makers mistakes, the key is keeping them manageable and learning from them. Here are 5 mistakes that can cost filmmakers tens or even hundreds of thousands of dollars.

If you want to succeed as an indie filmmaker, you need to have a network and a community. Trouble is the only major film communities in the US are New York, LA, and Atlanta. What’s stopping us from fixing that? This blog identifies problems we need to solve to expand beyond the coasts.

Negotiation is a skill, and it takes a while to understand it. Here are some things I’ve seen as an acquisitions agent for a US distributor, as well as from my time as a producer’s rep.

There’s a lot more to Distribution than Filmmakers think. Here are some things I learned at the helm of a US Distributor.

COVID-19 affected the entire world. To some degree, it still affects us all. Here’s 2023 update to some estimations I made in 2020 as to the effects of the pandemic on the industry.

It’s hard to raise funding for a film, and the contracts get confusing quickly. Here’s a glossary to help you understand the mountain of paperwork you’ll need to sign to get your film financed. This blog doesn’t mean you don’t still need a lawyer (I’m not one, and this isn’t legal advice), but it will help you understand the paperwork you’re sent.

I’m not a lawyer, but I know contracts can be dense, confusing, and full of highly specific terms of art. With that in mind, here’s a glossary of Art. Here’s a glossary to help you out.

If you want to make a movie, you need to raise money. In order to raise any significant capital, you’ll need a package, and that cost money. Here’s where you raise the first money in.

If you’re a screenwriter, you’ve probably toyed with the idea of selling your script. Here’s some advice from a script doctor and a rebuttal from an executive producer.

If you want to make a living in film, it’s not enough to be creative. You also need to have a strong business sense. Here’s why that’s the case, and a guide to getting started.

If you want a career in independent film, you’re going to need to have some entrepreneurial skills. Here’s an outline for what that could look like.

If you want to make a career in film, you need to make money. To do that effectively, you need distribution, and that sphere is a tumultuous mess. Here’s a guide to thriving in the current distribution landscape

Every filmmaker wants to get their movie on the major streamers. Few know how. This might help.

If you want to make movies, you need to be an entrepreneur. Here’s why.

Marketing is way more effective when you’re targeting the right audience. Test screenings can help you make sure you are.

Not all films can get a theatrical release. That said, there are a lot of public places with screens where you can organize events to get the word out about your movie and its message.

Shorts aren’t generally something you make money from, but here are some ways to build your career from them.

There are many things you SHOULD do when selling your film with your distributor. There’s one BIG thing you should NEVER do.

Good relationships are about give and take. Here’s a basic ruleset for working with your distributor or sales agent.

Distribution and Marketing aren’t the same thing. Your distributor should excel at making your film available, but you’ll still need to drive attention. Here’s why.