THE DEF GUIDE
RULES OF THE GAME Perhaps the most common strategy is signing with a film distribution company. These organisations traditionally handle sales, marketing and – you guessed it – distribution. In short, they largely control the ‘where’ (in cinemas or straight to streaming), ‘when’ (domestic and international release dates) and ‘how’ (publicity) of your film’s circulation. As a filmmaker, you can pitch directly to distribution companies at film markets, like the Cannes Marché Du Film, American Film Market or European Film Market. This is a chance to advertise your film, so come with a synopsis, target market and unique selling points. If your film doesn’t stand out as having commercial value, a distribution company is unlikely to pick it up.
If the idea of being your film’s one and only advocate is off-putting, don’t worry; you can hire a sales agent to do the heavy lifting. Agents have connections with distribution companies and specialise in filling their radar with fresh ideas. If your film is on at a festival, that’s even better, as distributors attend these events and bid for the best new releases. Film festivals include a curated programme, showing a selection of films to a limited audience. These events range in status – with Cannes, Sundance and Berlinale among the most prestigious. That said, any respected festival is a good start. Read last issue’s Def Guide for more on successful film festival submission. DONE DEAL Getting noticed is only half the battle. Once a distribution company expresses interest, they’ll ask you to sign a deal. Review your rights with an entertainment attorney or other legal expert – and definitely don’t sign a contract without fully understanding its contents. There are various types of distribution deals, including a PFD (production/ finance/distribution) agreement,
YOU CAN pitch directly TO FILM DISTRIBUTION COMPANIES AT film markets ” negative pick-up, pre-sale and rent-a- system. Certain deals operate under the assumption that you’ve not yet made the film and are looking to get it financed, others expect a finished product before any monies change hands. With financial support often comes creative oversight. In a PFD agreement, the distribution company acts as the film’s sole benefactor, claiming complete control over production. Essentially, the film belongs to the distributors, even though your name’s on it. In a negative pick-up, the company pays only after you’ve delivered the film, relinquishing any say in the artistic process. Regardless of the administrative ins and outs, you’ll need to agree on a profit share, with the usual choices being ‘net’ and ‘gross’. A net deal – also known as an expense cap – includes a fixed fee. The film must hit this revenue threshold before you, the filmmaker, make any money. This arrangement minimises risk for the distribution company but could result in a loss for you, depending on how well your film performs at the box office and elsewhere. The other, far less risky option is a gross deal. In this scenario, the distribution company and the filmmaker split profits according to an agreed- upon ratio. No matter what, both parties benefit when the film makes money – a more attractive option, in our opinion.
THE SILVER SCREEN There are many routes to getting your film picked up by a distribution company – with a few options being taking your picture to festivals or film markets
PICK OF THE LITTER As an artist, you should always know your audience. When approaching a
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