"Plasterhead" Receives Domestic Distribution (Distribution Q&A)

Hey Kevin - you mentioned earlier that you would have gotten a rep involved at an earlier stage. Like Pre-prod perhaps? How would you approach them earlier on with out a press kit?
 
Hey Taormina,

I believe I was referring to a lawyer, not a rep. That said, a rep in pre-production can help you pre-sell a film before it's even made, but that's usually something that happens with more experienced, "bankable" filmmakers. Nobody's going to give a first-timer X amount of dollars to make a film, without any track record of being able to produce a film that would result in a return.
 
Barry,

Here is the delivery list we had to adhere to for domestic distribution. Surprisingly, it wasn't all that complex, but I'm sure it varies from distributor to distributor. We also had quite a comprehensive delivery list for foreign distribution as well, which I can post later, if you'd like.

Domestic Delivery List:

DELIVERY OF PHYSICAL MATERIALS

1. One broadcast quality NTSC Betacam SP, D2, D1, or Digital Betacam master video transfer of the film, any and all existing trailers for the Film, and any logos that Licensor desires or is obligated to include on Videograms of the Film.

2. Completed extra features including unused footage, outtakes, interviews with stars or director, film commentaries, or other items deemed usable as special features on the DVD.

3. Minimum of 10 to 25 high-resolution images, key-art elements (on disk) and completed poster art as produced by Licensor.

4. Press Kit, if available which includes: Production Notes, Publicity Stills; and Reviews as available.

5. Credit block & Paid Ad Credit Memo, Billing Obligations
A proofread listing of any and all credits etc. that Licensor desires or is obligated to include on the packaging of the Film.

6. Dialog list (for closed caption, Spanish, and other language versions)

7. A copy of the Film's copyright Certificate as registered with the Canadian and U.S. Copyright Offices. In the event that the Copyright Certificate has not yet been sent to Licensor by the U.S. Copyright Office, a copy of the application for such Certificate will suffice.

8. A copy of any and all Screen Actor's Guild (SAG) forms, agreements, music clearances and the like.

9. Chain of title documentation.

10. Stock footage licenses (if any)

11. Lab Access Letter

12. Trailer script, cue sheet, music licenses

13. Dolby license (if applicable)
 
Hi Kevin,

This information and your responses are extremely helpful.

Two follow-up questions, how many distribution companies would you suggest sending a screener to? (25, 50 or more) I am trying to come up with a reasonable starting number.

Also, how direct are you in your cover letter regarding distribution? (what are the important points to include).

Thanks again for all your time.

Ken
 
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Hey Kevin awesome poster, I'd definately rent that just by the cover.

Looking forward to reading through your thread when I get time.

Ian
 
Hey 908,

I'd think of sending out screeners like sending out college applications...the more the merrier, but you want to make sure you're applying to good schools. Basically, and I touched on this earlier, it's really hard to get a distributor to sit down for a cold viewing of your film. You stand a much better chance if a producer's rep, with whom the distributor has worked before and whom they trust, warms them to the idea of the film and sells them on its concept and marketability. Therefore, your best bet is to solicit producer's reps with your DVD screeners, rather than distributors.
 
Kevin McCallister said:
Hey 908,
your best bet is to solicit producer's reps with your DVD screeners, rather than distributors.
Click to expand...


How do you go about soliciting a producer's rep? Is there a list of them outthere, I would think soliciting a producer's rep would be just as hard as contacting the distributor's themselves, the same way a distributor don't have time to waste on you I would think neither does a producer's rep, specially if they never heard of you.
 
Kevin, again I'd like to say great job. All the info. on this thread is very, very helpful. I got a deal on my first feature 3 years ago that turned out to be not so good and just signed a non-exclusive on my latest film and I'm just not too confident. However, I felt as if I didn't have any other options.

I had a producer's rep. for my first film, but she was shady. Where would you find producer's reps?
 
Also, where did you find the attorney and how expensive was that? I'm from Oklahoma and there are no Ent. attorneys out here (and if there were, they would not have much experience).
 
how did the release go?

how did the release go?

Are you getting some revenues from distribution?

Thanks for the info. It's nice of you to share this with us.

I've never been able to find distribution for my films.
 
Hey Guys,

Not to dredge up a two-year-old thread, but my film Plasterhead has recently been released internationally in Russia and Japan (as No Face there) and I thought you guys might want to see some of the foreign cover art.

Russia:
dvdcoverfull.jpg


Japan:
dvdcoverfull.jpg



I have begun work on a new film to shoot in Fall 2010 and I'll be making a thread in the User Films section of the site when I feel it's appropriate, but for now, I thought you guys might get a kick out of what it looks like to have your movie distributed overseas. Enjoy!
 
hope you're still up for answering questions.

first of all congrats on all the success with the project.

My question is in regards to the advance. without having to disclose actual figures, my questin is what is the advanced based on? A portion of projected sales? meaning an advance on "commision" or is it an advance on a buyout for a specific territory?

thanks.
 
Hey Mastermind,

For the domestic advance, I was never told exactly what it was based on, but I believe that the advance we were offered was based on a combination of our budget and us being first-time filmmakers. That being said, it was significantly more than our budget, so we were happy about that. There WAS a back-end to the contract, but let's be honest, we never saw a dime from that.

For the foreign rights, each of the four territories made a lump sum payment to our sales representatives for complete rights to the picture in their territory. From that, the sales agent took 15%.
 
Kevin,

Has there already been a thread/posting regarding the breakdown on how you spent the $20k on Plasterhead?

Would love to know.
 
Since this is being discussed, did you use SAG actors? If so, how did you handle the percentage SAG requires you or your distributor to pay?

Thanks
 
Shutterspeed,

I've never posted a breakdown of the budget, but SOMEWHERE I have the budget top-sheet that I had to deliver when I delivered the film domestically. I will find that and post it here.

HerzogisGod,

"Plasterhead" was a non-union film. Hoping to increase my budget ten-fold and use SAG on my next film, though, which is what drove me to make the SAG thread that's currently going on here as well.
 
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