capitalP
Veteran
This is something I found on the web, hope some find it useful.
1. Collect Exhaustive Distributor Information – Before you begin
anything, you need a list of companies. Look to specialty film making books
that list independent-friendly operators in their appendices. Next, hit the Net.
Search engines are extremely helpful when collecting distribution company
data. Also be sure to visit a couple of video rental and retail stores. Check
the back of video and DVD packaging for distribution information. Investigate
the resource areas of filmmaking associations and groups such as the
Association of Independent Video and Filmmakers (AIVF), Independent
Feature Project (IFP) and others. Finally, peruse libraries, bookstores and
newsstands. The Hollywood Reporter, Variety, Moviemaker, Independent
Filmmaker and The Independent are all newsstand publications that offer
distributor listings throughout the year.
2. Survey and Qualify Distributors - You need to determine which
distributors among those located in your initial search seem most suited to
working with your film or video. Though personal contact is the best way to
gather these facts, a good base of information on probably every distributor
can be garnered from some more intensive Web-based research. Most, if not
all film and video distribution companies have a Web presence describing the
firm’s history, key officers, types of product, current releases, even
submission guidelines for independent producers. If you can’t make the
decision based on this data, call the company direct and speak with the
acquisitions staff. Describe your project and ask if it is something the
distributor might be interested in screening for possible acquisition.
3. Learn Who Helps in the Process – Just as a distributor adds clout when
it comes time to selling your film or video to the various markets, so too can
an industry representative – or venue – add clout when you are hunting for a
distributor. Having your project presented by an industry insider or viewed in
a favorable environment breaks many of barriers facing an independent’s
entry into the market. Some of the many people who can get involved in the
hunt for a distributor include producer representatives, agents, film festival
and film market staffers.
4. Create a Presentation Package –- A properly created presentation
package allows potential buyers to view your film or video, and its associated
marketing elements, in the most advantageous environment possible. Since
face-to-face meetings are unfortunately unlikely with most prospects, this
sales “kit” must do the selling for you. While it can’t prop up an ill-conceived
production, a polished presentation package can add that extra incentive
needed to arouse more than cursory examination of your project by those
who matter. The presentation package is the physical culmination of all of
your promotional efforts. This multi-piece marketing tool consists of all or
some of the following:
• Sales/cover letter
• Media kit
• Trailer
• Full-length screener
• Key art
• Sample packaging design
• Production photos
• Publicity photos
• Point-of-purchase items
5. Decide When to Approach – At what point do you solicit a distributor
with your project? You really only have three options:
• During the project’s development stage - Unless a distributor
specifically states development funding is a part of their service, don’t
waste your breath and set yourself up for unneeded rejection.
• During production - Completion funding is one of the main reasons
independent producers contact distributors and other potential buyers
during the production or post-production phase of a project. To offset
an imbalance of cash, producers often solicit distributors, hoping
they’ll become a project’s “white knight” – fronting whatever monies
are needed for completion in exchange for the exclusive distribution
rights of the property.
• When project is “complete” - In the world of independent video and
filmmaking, it’s best to approach distributors with finished product.
With more than 2,000 feature films and at least an equal (but probably
greater) amount of videos produced and promoted annually, it’s hard
for acquisition agents, distributors and other entertainment product
buyers to sort through the screeners on their desks, much less
consider proposals for projects that need start-up capital or completion
financing.
6. Make a Game Plan – Seek out interested studio and large independent
distributors first. These guys offer your best chance of a widespread release
for your project should they decide to acquire it. Using your list of qualified
distributors, create an action plan that details how you will solicit each
company. Consider the manner of contact (in-person screening, mailed
screener), whom you are contacting (level within the firm), timing of the
contact (how long has film been available for distribution) and desirability of
contact (first, second or third choice).
7. Don’t Blow the First Call – Wait at least two weeks from the day you
mailed the packages until you start calling distribution companies to discuss
their interest in your project. Before dialing anyone, relax. Don’t get nervous.
Once connected with the specific person you solicited, introduce yourself and
ask if he has received your package. Don’t take it as an immediate negative
sign if the distributor is unfamiliar with your project. Hundreds of films and
videos cross their desks, it’s impossible for them to remember everything.
Ask if they’ve had a chance to review the contents of the package. Ask if
they’ve watched the screener. Don’t rush anyone. Mention the fact that you
were simply confirming receipt of the package, quickly point out why your
film or video is so marketable and ask for a good date to call back.
8. Be Tenacious with Follow-up – Most, if not all, of the work involved in
finding a distributor is the independent producer’s responsibility, so you’ll be
making hundreds of phone calls to follow-up every solicitation. Three
outcomes are possible in most follow-up calls:
• The buyer is not interested
• The buyer needs to give it more thought
• The buyer is interested
When a distributor tells you that your project is not something they want to
work with, use the opportunity to learn. Ask uninterested distributors what it
is about your film or video they didn’t like. What made it unattractive to
them from a business standpoint, and, if they are willing and the
conversation is not rushed, ask what they did or didn’t like from a personal
point of view. Also ask for a referral. If possible, don’t let the distributor off
the phone until he gives you the name of at least one other individual or firm
who may be interested in your project.
9. Carefully Navigate Offers and Deals – Initial discussions are all about
“feeling” the other party out. You want to know what the distributor can do
for you and your project just like they want to know if you’ll be able to hold
up your end of the deal. What this means is a distributor that says, “I’m
interested in your project, let’s talk,” isn’t offering you a distribution deal.
You’re a hell of a lot closer to one than you were two minutes before the
phone call, but you’re not there yet. To keep the deal progressing, be sure
you don’t jump the gun on media announcements or unnecessarily rush the
distributor.
10. Understand Realities – As you solicit traditional studio and large
independent distributors for your project, it’s a good idea to keep this figure
in your head: Approximately 10-20 independent films and videos are finished
daily – every day of the year. Attached to each of these is someone just like
yourself who has dreams and aspirations of becoming famous or rich or selfsupporting
through their passion for making entertainment, and who also
believes that their project is the next big thing. Not everyone is going to get
offered a deal. It is both mathematically and economically impossible. And
it’s not always quality that is the determining factor in the buy or pass
decision. Timing, salesmanship, location and resolve also play into the
equation.