Reference: StudentFilmmakers Magazine, October 2007. Exploring Sales and Distribution Trends: Before Making Your Movie A Glance into Film Markets and Business Models by Adam Matalon. Pages 52 & 53.
With the heady but stressful production behind you, the first-time indie feature filmmaker will often start to consider how to get the film seen. In my humble opinion, you’ve just made your first mistake.
More and more, the realities of film sales and distribution should be inherently factored into your production plan. Don’t make the mistake of making a film that is a ‘tough sell’ in the market. Budget the costs of delivering a film and produce it to sell.
Was it worth the entire struggle to make a film you believe in only to have people tell you it won’t sell?
My advice to all indie filmmakers out there young or old: Invest in the price of a film market admission. Meet sales agents, pitch ideas and get an idea for what is selling and what is not selling. Then go out and make a film that you can move!
Not so long ago, I had a more idealist view, complete with some now shattered illusions about the business of the business. Starting a couple of years back, I began to attend film markets. First Cannes (Marche Du Film), and then AFM (American Film Market). I’ve quickly garnered a broad education. Above all, I’ve learned to swim in the deep end of the pool and have a clear and concise plan moving forward with my next two features.
The film festivals are perceived as the vehicles to both launch and sell a film. However, closer to the truth is that they are marketing launching pads for films that have previously acquired either distribution, or a strong sales agent. Of course, films break this rule, and every festival has a break out hit that resonates, but the odds are similar to the lottery.
Most of the savvy filmmakers out there have made prior contact with sales agents and distributors months before their films launch. In many cases, the film already has a deal in place. If you have already created a buzz about your film at a festival without a ‘deal,’ what else is there left? How can a sales agent create a buzz the second time around?
These are all very important concepts to remember. In recent times, I have seen or heard of several films from other filmmaker friends or acquaintances who win audience choice awards and the likes at major festivals only to realize that they cannot get distribution.
Why? Well, I believe there is a reason it’s called show business, and the entertainment industry. The sales agents and the distributors are not in it for art. They are in the business of making money off your craft. I don’t mean that cynically. That’s what they do. And to fault them for that is a mistake. They sell your film for the best price possible to as many markets as possible. If they cared for filmmaking as a craft, that’s what they would do. Some companies have taken to that idea, and ‘vertically-integrated’ finance/production/distribution companies are growing in number. No matter how good your film, if there is no money to be made they will not want it.
The international markets are the best place for new filmmakers to establish credibility, relationships and a small cash flow. However, we all have to understand the market – it changes constantly. What sells in North America does not necessarily translate into the Chinese, French, Australian or Russian markets. Thrillers, action and other genre films permeate these markets. The romantic comedy is the worst film to make. I love the good ones, and domestically they can do well financially, but internationally, without Cameron Diaz or Drew Barrymore, you’re dead, and American comedy does not translate abroad that well!
Traditional business models go like this: A sales agent licenses your film, they give you little or no advance and tie up your film for several years. However, what you will have is a film that has representation and most likely distribution with a piece of the equity your film generates. (Having your film on the bottom shelf at Wal-Mart is still cool, right?)
So what are the big film markets? Hong Kong, Cannes & AFM are considered the big three international markets.
Hong Kong starts the year in April, followed by Cannes in late May and AFM at the end of October. Film markets are very different from festivals. At Cannes, sales agents from around the world meet at the Palais, various hotels, and other venues to buy and sell their wares. It’s a giant bazaar where every genre, price and quality point is represented. Cannes also hosts the Short Film Corner, which is a good excuse to spend the money to go.
My introduction to Cannes was 2006 when I was not only pitching a feature that has been subsequently produced and sold, but I was lucky to have a not so short ‘short’ (Sex & Camping, 38 Minutes) in the short film corner.
Sales and distribution companies take space much like any other convention and hang up their wares. Posters, sell sheets, DVD screeners and the like abound. Companies like Lions Gate, Sony and Weinstein Company alongside companies you have never heard of, who are making money in the market with films like yours. Many of the films that are represented are complete, and some are partially financed, while others are in production or post. What is important is that the films are tangible, and they are for sale.
The best time to try and pitch a film to the sales agents is in the latter half of the market. The first few days, they are very busy, and their main concern is selling the films they already represent. If you attend, spend the first couple of days scouring through the market guide. Look at all the companies. Understand the kinds of films that they represent. There is no point in pitching a drama to a company who deals in thrillers and horror. It wastes their time, makes you look like a fool, and guarantees they will not meet you again at the next market when you do have a thriller. Drop by the booths with your card, try to know what people look like (pictures are often in the guides). Let the person at the front know that you have a film you’d like to talk about. Ask for an appointment with a specific person in the latter part of the market. If they ask for you to leave stuff don’t. This gives them the perfect out to say they will “review and respond”. Make an appointment and say that you will bring material about the specific project, as well as some other films that you are involved with. (I will assume that you know what the next film is that you’re going to make, right?)
Once in the meeting, don’t be scared to say you are new to the markets and you are trying to build relationships and get a feel for their company. Some are nice, others are harsh and cynical. It doesn’t matter if you have something they want.
They are ideally looking for complete films with at least one actor with some name recognition. They want films that have international appeal. You should have a well-produced sell sheet for the film even if it’s not the final artwork. They will decide this if they represent your film, and they will expect to see a really good trailer. If they like what they see and hear, they will request a screener, and then, you take it from there.
If you work backwards from the film markets on upcoming projects and can create a package that includes some sales representation, investors are more likely to jump onboard even if it’s your dad — he likes his cash, too, and presumably he’s already spent a lot on you.
Okay, now that I’ve crushed all our dreams, here’s the good news and it’s very good. Make a saleable film, and you will have many companies you can approach. Everyone’s looking for high quality product. The international markets are huge, and you can recoup your money and perhaps even make money without your film ever even being seen in North America.
The a recent film that I produced with my producing partner Kevin Burke is a 94-minute horror feature called Death On Demand. The film was made for a ridiculous budget (low not high) with a great creative team and no name actors. The quality and production value is good. We have North American and international deals in place and were gratified to receive offers from four different companies for the film. However, I will not make a film without names again. My feature documentary, Seasons In The Valley has Elliott Gould narrating, and this has been a good sales tool.
You’re swimming in the big pool at this point, and there are expectations.
Adam Matalon is a writer/director/producer. He started Chatsby Films to develop his own film and TV projects. He has directed shorts and home DVDs for Sesame Street: All Star Alphabet (Stephen Colbert & Nicole Sullivan), Exploring Together (Matt Lauer), and Moving Together (Sarah Jessica Parker). His film credits include Seasons in the Valley, Death On Demand, and Sex & Camping. He is in early pre-production for a new comedy, Drive-In (2008), and he is producing a pilot for a new reality show.
