Distribution Deal Offers....advice?

R

ROKOKO

Well-known member
Have been offered distribution deals for my film recently. One of the companies is small and wants to negotiate a North American deal and the other is larger and has been around for about 20 years or so. They want to negotiate a worldwide deal.

I know this seems cut and dry as to who to talk seriously to but....

1) Is it really the case that smaller companies treat small films better?

2) Is it wiser to go for a one territory agreement than a worldwide sales one? (note they want to handle worldwide sales for other international distributors, not distribute outside the U.S.)

3) We strongly were considering self distribution due to the greater control and potentially larger revenue return to us from sales. Now i'm just not sure. We've gotten great reviews so far and that prompted us to consider just getting the film out there ourselves, but with these offers...hmmm

Dunno if anyone has experience with such things but we do have lawyers who will be doing the negotiations. However, there is nothing like another filmmaker's perspective, hence this thread.

Of course I will keep you posted on what happens if indeed the deal is struck.

For those who don't know, my movie is called LIMBO and there is a thread on the XL2 CLIPS board which has clips, trailers and reviews of the film. (it was shot using an XL1S though)

LINK: http://www.dvxuser.com/V3/showthread.php?t=34688

Thanks
 
ROKOKO,
What are the two companies? You may be able to get feedback specifically from people here that may have had some experience with the two...

Whatever you decide, congrats though! and of course keep us posted!

Personally, I have just went the self-distribution route with my first film and while I was sucessful at my goals for it the figures weren't huge, it was more about exposure.

p.s. - buy your dvx or hvx yet?
 
Barnholtz/Lion's Gate entertainment, Indie Crash/Sony Red, Echelon/Newmark Entertainment.

DVX100B on the way. Will start practicing with it this week.

Yeah it's cool what's happening now. As you know, it's been a long road.

Your method of self distribution was really appealing to me. Not sure if you got the e-mail I sent you some time ago.

Thing is I REALLY didn't expect reviewers to respond the way they have been so far. My attitude towards distribution changed as a result. I wouldn't have even considered self distribution before, but now people are saying they want to promote it all they can for free (the reviewers and sites that is). With such support, I was more confident going into it myself. Now with the offers, I just want to make an informed decision.
 
Here's a resource you may find interesting; Mark Litwak put out a survey to his clients to find out how distributors actually treat their filmmakers. I don't know how up-to-date the info is.

http://marklitwak.com/resources/results.php

If you have serious interest in your picture, and don't know how to negotiate the deal, you should probably get an experienced producer's rep involved. I know Darlene Cysper just sold a friend of mine's picture to Lion's Gate so she has some experience with them. I've heard great things about Paul Tobias, and David Aion also represents filmmakers in deals like this. A producer's rep is basically an "agent" for the filmmaker.
 
Self distribution = time + money + time

You can make money that way, but it's like trying to sell your house yourself, rather than using a realtor. Realtors have the infrastructure in place, you'll have basically nothing.

Afa small versus large 20 year, the answer is straight forward.

Barnholtz/Lion's Gate Entertainment, your work "will" be seen.

Indie Crash/Sony Red, Echelon/Newmark Entertainment, your work "could" be seen.

You also need to keep in mind that the distributor also can have an impact on your work being considered as a "foot up". An established distributor is seen by studios as a plus, and they may get in touch at some point to talk.

So you need to see the distribution deal you choose in a wider view than just selling your first production. It also gives potential clients and investors a greater feeling of security in looking at you for their work.

A "known" distributor is always going to be a better long term decision than going with a new or small player, and going the self distribution route is a decision that you'll regret over time.

FWIW
 
Slimothy said:
I'm trying to access the trailers, but the don't seem to be working on your site.
Click to expand...


Try using different browsers (explorer works best on a pc and safari on mac). Make sure quicktime and flash are installed properly too. At worst you can just follow the link to the ifilm trailers (no film clips there though). Links are on the thread in the XL2 clips forum.

thanks, hope you get to see them
 
pookie said:
Self distribution = time + money + time

You can make money that way, but it's like trying to sell your house yourself, rather than using a realtor. Realtors have the infrastructure in place, you'll have basically nothing.

Afa small versus large 20 year, the answer is straight forward.

Barnholtz/Lion's Gate Entertainment, your work "will" be seen.

Indie Crash/Sony Red, Echelon/Newmark Entertainment, your work "could" be seen.

You also need to keep in mind that the distributor also can have an impact on your work being considered as a "foot up". An established distributor is seen by studios as a plus, and they may get in touch at some point to talk.

So you need to see the distribution deal you choose in a wider view than just selling your first production. It also gives potential clients and investors a greater feeling of security in looking at you for their work.

A "known" distributor is always going to be a better long term decision than going with a new or small player, and going the self distribution route is a decision that you'll regret over time.

FWIW
Click to expand...

thanks for this

I agree on all counts. However, i can tell you that the demands made by each of the distributors does bother me. Barnholtz were not that cool on the phone and their reps wanted us to give them a colour version of the film. Now if you know our film, it's black and white through and through. We did shoot colour, but it was always meant to be black and white. They don't seem to care about this, and they just want what they consider would be more 'marketable' rather than attaining the true movie i made. I mean if you start off with that attitude, i'm thinking what would happen down the line with them. Yeah true, they distribute through lion's gate cause barnholtz used to be a big guy at Artisan (artisan was bought and changed to lion's gate a while back) but i mean, i've heard they arre rough with small films and don't give close attention to them.

crash i just dunno. sony red is sony after all, so at least i know we'd be out there. but they are the tiniest.

echelon/newmark go to 20 film markets a year and seem to be the friendliest SO FAR.

yeah, self distribution is OUT unless we have to. too much work. i just don''t want to sell out my movie to people that will screw things up. I know it can do quite well if marketted right, but it will need to be...marketted right. Sadly unless you are with a BIG name distributor, it is hard to get real feedback on distributors without seeking out directors from their inventory and that is hard and may in fact screw up a potentially good deal.

ugh...it's all confusing. anyway at least it's a good problem to have.
 
Barry_Green said:
Here's a resource you may find interesting; Mark Litwak put out a survey to his clients to find out how distributors actually treat their filmmakers. I don't know how up-to-date the info is.

http://marklitwak.com/resources/results.php

If you have serious interest in your picture, and don't know how to negotiate the deal, you should probably get an experienced producer's rep involved. I know Darlene Cysper just sold a friend of mine's picture to Lion's Gate so she has some experience with them. I've heard great things about Paul Tobias, and David Aion also represents filmmakers in deals like this. A producer's rep is basically an "agent" for the filmmaker.
Click to expand...


thanks

i did check this out and the problem is there aren't many people who submitted feedback. As such most of the scores are low and I assume it's because most who post either had a great experience or a terrible one. And that could be based on a really good movie or a really bad movie in the first place and not the fault of the distributor.

We have lawyers who will negotiate for us (one of them repped sling blade if you know that movie). it's just that i want to make sure i keep my fett on the gorund and know what's up with things like this. The lawyers don't have time to really run me through the ins and outs like another filmmaker can from experience.
 
we kind of have one in or lawyer. he just isn't proactive. He deals with what comes in such as these offers. Thing is, time is not on my side. I have another project starting and I need to get this film dealt with. believe me i've tried to get a rep but it is HARD. our movie is a 9 grand production. they see that and think, how can i sell this in today's market. it is a feature, not a short. it is story driven not gimmick or sfx driven. as such, it is not an easy film to just package and lump off to someone. i think the responsibility in the end will fall on my shoulders as far as what to do. that's why i'm going out of my way to get adivec and talk to people about options. i think the getting a rep thing is def not an option open to me though.
 
Well then, take advantage of whatever help you can get [afford] from your lawyer. At least you've got that much in place, so use that. If he's had experience in the business, it's all an advantage to you.

Look at it this way, you're having a "good" problem.
 
pookie said:
Well then, take advantage of whatever help you can get [afford] from your lawyer. At least you've got that much in place, so use that. If he's had experience in the business, it's all an advantage to you.

Look at it this way, you're having a "good" problem.
Click to expand...

100% agree
 
ROKOKO said:
However, i can tell you that the demands made by each of the distributors does bother me. Barnholtz were not that cool on the phone and their reps wanted us to give them a colour version of the film. Now if you know our film, it's black and white through and through. We did shoot colour, but it was always meant to be black and white. They don't seem to care about this
Click to expand...
This would bother me A LOT. You made a B&W movie, not color. Just my opinion but I wouldn't want to compromise my visions so extremely right from film # 1. That's not very independent.
 
yeah, i guess that one is out. just leaves the other two and or the self distribution if their offers are not good. still waiting for the first contract draft. should get them in a week or so.

it's actually pretty exciting even though it is worrying to know you'll be letting your work go into someone else's hands.
 
ROKOKO said:
yeah, i guess that one is out. just leaves the other two and or the self distribution if their offers are not good. still waiting for the first contract draft. should get them in a week or so.

it's actually pretty exciting even though it is worrying to know you'll be letting your work go into someone else's hands.
Click to expand...


The good thing is you have options, and you're already starting on your next project.
Like was said earlier, these are all good problems to have.

I suppose it all depends on what your goal was in making this film, and what you're hoping to use it for in the future.
 
ROKOKO said:
yeah, i guess that one is out. just leaves the other two and or the self distribution if their offers are not good. still waiting for the first contract draft. should get them in a week or so.

it's actually pretty exciting even though it is worrying to know you'll be letting your work go into someone else's hands.
Click to expand...
Well either way, I'm jealous!

And hey, you're starting a new project!? Wow, I didn't know that. I was starting to think for awhile there you wanted to be the next Terrence Malick!
 
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