When is the best time to look for a distributor?

O

oxband

Well-known member
I'm almost done with a 50 minute documentary. It should be totally complete in June. It's about Latino immigration to suburban Philly and I think the content and length would make it good for classrooms so I'll be looking for an educational distributor. I've never tried to get a film distributed before. Question: when is the best time to get a distributor? I sometimes see films sold by distributors and it has a list of festivals and awards the film has screened at/won. Do people wait to get screened and win prizes before picking a distributor in the hope of getting a better deal?


This question has some urgency because I want to submit the film to the Southern Circuit filmmaking competition and they dont accept films that have a distributor. I have a fine cut of the film and would ideally submit to the competition next year when it's actually complete, but at the same time, unless their is an advantage in waiting for a distributor, I plan on looking for distributors starting this summer.


So, my original question: when is the best time to try and get a distributor? As soon as possible or is it worth waiting to see if a film does well in festivals?
 
Actually, the best time is before you begin the documentary. Not saying you'll line one up before you begin a project, but if you can get a distributor involved early in your project, the chances of success can be much higher. That said, start reaching out right now while. Don't wait for someone to see your work in a festival or competition. Take every opportunity to get some light on your project that you can.

Good luck!
 
Unless you are famous I think the odds of getting a distributor to pickup a project that doesn't exist yet are barely more than nonexistent (especially for docs which have a much higher level of unpredictability than scripted projects). Since your doc is already done I'd say exhibit it every place you can and if it proves to be popular that might give you some leverage when you go shopping for a distributor. Be prepared to not get any money up front though and just a percentage of sales/rentals revenue.

In the bigger scheme of things I'd say start in on social media (facebook, a blog, twitter, etc.,) as early as possible so you can find and build your audience. The sooner you start building your audience the better your chances of successfully monetizing your project (either via a distributor or via self-distribution).
 
Another angle on this is that filmmakers should be knowledgeable about many if not all of the distributors out there in their chosen area of interest. This is an ongoing project much like staying abreast of technical advances. Going to markets like Cannes, Afm, Mip etc. allows you to see the distributors doing their thing, "selling" and to meet other filmmakers who may have inside info on distribs they have worked with.
 
Hiring a sales rep could facilitate the process but then that's another party getting a percentage of your revenue.
 
I was head of a US distribution company for 20 years and while many films came in through sales agents it didn't matter a bit to me. A film is a film. They can even be a bit of a pain in the ass.
 
Lustgarten,

Do you think a sales agent was helpful to the filmmakers in finding you and getting the best distribution agreement?
Among your peers what would you say would be the best avenue to attract the attention of a distributor? (Beyond the obvious, making a good film).
And would you advise a filmmaker to seek an attorney once a distributor has taken an interest in distributing a film?

Many questions, but you opened the door ; )
 
bill totolo said:
Revenue you might otherwise never get.
Click to expand...
For the doc in my sig the producer found distribution after 2 or 3 sales agents couldn't. Passion can breed persistance that a 'hired gun' may never have especially for projects that most likely will not result in a big pay day. For a sales agent working on percentage that makes it a very low priority and I'd say most every project on this board fits into that category.

With regards to the lawyer question, anytime a contract is involved I'd suggest you have a lawyer look it over.
 
things are always changing in the film biz, but based on my experience I wouldn't say that lawyers or reps did anything to enhance a position with a filmmaker. If one is completely clueless about contracts it behooves them to get informed, but they're pretty cut and dried for the most part. Unless you have a bidding war on your film from several distributors you don't have much leverage to change the terms to your advantage. And even a good contract still has to be enforced, meaning possibly suing, and auditing which can cost tens of thousands of dollars. Likely more than the movie made in many cases. Many foreign sales companies I believe are staying in business on the back of their "costs" that are written to movies that they sell. If you can I would try to avoid those companies that have inflated costs, but again it's a matter of having enough leverage to say No. It doesn't hurt to try to negotiate tougher to see how interested someone is, but they can easily walk away if they view you as a pain. I think what is most important is to track down other filmmakers who have worked with the company and get their candid evaluation. The sore point that is tough to get around is most movies aren't going to make a lot of money, though producers are unlikely to view their own films as less than stellar. So to sum up. Be informed, research your buyers, try to get multiple distributors interested, negotiate toughly but realistically and keep your eye on the ball.
 
Re: sales agents. They would dump a pile of discs on me and ask if there was anything I wanted. For domestic distribs see who is getting into Redbox and who is getting on VOD channels. There aren't many. For foreign I strongly recommend hanging out at markets and talking to filmmakers who have been in the trenches. As for getting attention, links to strong trailers, slick marketing materials, NAME actors, proven genres, all are helpful. If the first few minutes of a film don't grab me I often won't watch the rest, and then it would be on fast forward. It's cruel, but when there is a huge pile to get through it's like loading boxes on the waterfront. Most films are just painful to watch.
 
Thanks for the practical insights adkimery and Lustgarten,

In reading about independent dist from a sales rep's pov you get the opposite impression of what you guys are relating. It's been enlightening to get both perspectives.

Lustgarten, I've heard on a first distributed feature you can expect to pretty much take it on the chin for U.S. dist but to try to negotiate for a percentage of foreign revenue. Would you say this is unrealistic and difficult to enforce, or would it prove to be a good strategy?
 
Not sure that one has anything to do with the other. And whether it's a first feature or fifth doesn't really change anything. What you can negotiate and what you really get aren't necessarily the same. A low budget no name feature that even gets distribution isn't likely to garner an advance or much of a back end either. If it's a film that has real market place value you should be able to figure out a way to make money off it. Most films don't have this going for them. Foreign deals are generally 20-30% commission after expenses. Some sales companies demand lump sum payments as well as specific expenses. There are a few who only charge for actual expenses incurred by your film. If they go to a market and spend $50k on various and sundry items how do they determine which films are gonna have to pay for those? I think a lot of foreign sales companies are only keeping in business my charging all their business expenses and profits to the films they represent. That sucks, but the alternative is that they wouldn't be in business and wouldn't be selling any films. Enforcement is easy, just spend tons on good lawyers.
 
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