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.

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 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.

There are a lot of terms of art in film distribution. Here’s a primer.

If you want the best distribution deal for your independent film, you have to negotiate. Here’s a guide to get you started.

If you want to raise money for your independent Film, Here are a few things your investor will need to know.

Distribution is expensive, here’s how distributors classify their expenses.

If you’ve got an issue with your sales agent or distributor paying you, it’s not neccessarily on them. (although it might well be.) either way, Its important to understand how money flows in this industry before you go at them.

Most Sales agents don’t want your business plan, and a bank doesn’t want your lookbook. Here’s what stakeholders do want, and when.

Decks and lookbooks are not the same. Here’s how you make the latter.

Given that I work in film sales, marketing, and distribution I get pitched on Series content A LOT. Most of those pitches are declined unilaterally due to one major (Shockingly common) mistake.

If you want to make movies more than you want to monetize them, you’ll need a sales agent or producer’s rep. Here’s when you should reach out.

If you want an ivestor to give you their money, you’ll need to show them how you’ll spend it and how they’ll get it back. That’s what pro-forma financial statements are for. Here’s how you make them.

If you want to raise money from investors to make your independent film, you’ll need rock-solid financials. Here’s how you write that section of your business plan.

Filmmakers don’t tend to plan to fail, but they often fail to plan. Here’s how to write the project section of an independent film business plan.

If you want to make a movie, you need money. If you don’t have money, you probably need investors. Here’s how you find them.

If you want to get your film financed by someone else, you need a package. What is that? Read this to find out.