The blog for aspiring & established filmmakers of independent films. by ted hope.

How Not To Negotiate A Distribution Deal Part 3

Evolving out of a recent presentation and interviews with members oFilm Independent, leading distribution strategist Peter Broderick has written an important set of guidelines for anyone seeking to negotiate a distribution deal for their movie. Shorter versions of this post have also run on IndieWire and Film Independent, and we’re happy to run the complete post here in three parts on Hope For Film. Read PART THREE BELOW. PART ONE HERE. And PART TWO HERE.
 

6 CRITERIA FOR DISTRIBUTION PARTNERS

  1. Find distributors who are effective and honest. They should have track records that demonstrate this as well as raves from other filmmakers who have worked with them.

  1. Find distributors who are flexible and will help you to implement your customized distribution strategy rather than requiring you to fit into a one-size-fits-all approach to distribution

  1. Find distributors who are willing and able to be partners. Some companies are only interested in being masters.

  1. Find distributors whose goals and strategy are aligned with yours. If your primary goal is maximizing career, then you should be sure that the company will do a proper release with a quality press and marketing effort. On the other hand, if you’ve mortgaged your house and sold your car to make the movie, then maximizing revenue will probably be your most important goal. If so, then you need to be confident that the company can generate substantial financial returns.

  1. Find distributors that will agree to let you keep your direct sales rights. It’s very important that you retain the ability to sell directly from your website—DVDs, downloads, and streams—because that’s the way you are going to generate more revenue and be able to build your mailing list and your fan base. Building an audience that you can reach directly is a fundamental part of building your career.

  1. Find distributors who will make fair deals, including splitting rights and revenue shares.  Give them the rights they are good at exploiting and keep those they are not good at, like educational distribution. If  the company is a digital aggregator (that will pitch your film to iTunes, Amazon and other places), make sure that the split is fair. Some aggregators take 50% or more of revenues, while others take 15%, 20%, or 25%. Make sure that the aggregator is “direct” with iTunes and other distributors (rather than going through a middleman). If not, a middleman will take a percentage reducing your revenues. 

Almost every deal can be improved through negotiation. Approached constructively, it is an opportunity to build a partnership that will benefit both parties for years to come.

 

(c) 2014 Peter Broderick

 
Peter Broderick is a leading distribution strategist. He spearheads the distribution of a number of documentaries and consults with independent filmmakers around the world. He helps design and implement customized plans to maximize revenues, audience and impact. You can read his articles and his Distribution Bulletin at www.peterbroderick.com
 

 

 

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