by Sid Kali -
Most first time indie filmmakers think about movie distribution last. I was guilty of that on my first feature the urban movie Consignment. My focus was getting the script written and the movie shot. Thinking of hammering a out a distribution deal down the road was the last thing on my mind.
The way it often plays out is a indie filmmaker makes a smaller budget movie without name actors. Mini-major and Hollywood studios pass on releasing the movie because there are no bankable names attached. In steps a independent distributor that has worked with a lot of first time filmmakers. The pitch is you’ll be released through retail outlets like Blockbuster, Best Buy, Barnes & Noble and others.
As an indie filmmaker getting your movie seen is right up there with making money from your efforts and being able to pay back your investors. Then the distribution pitch continues how you’ll make money from both domestic and foreign sales.
So you end up signing a traditional distribution agreement with them. It includes worldwide rights and can be for as long as 25 years. When your movie is released direct-to-video you’re fired up. Like the distributor said in their pitch your movie is at your local Blockbuster and being sold by major retail outlets.
Fast forward a year later. A typical indie filmmaker scenario is playing out. Every quarterly royalty statement you’ve received so far shows your movie is in the red after the distributor takes their cut off the top, then deducts distribution expenses, marketing fees, and manufacturing fees. A indie filmmaker gets hit with so many fees they can’t see straight. If it was a fight it would be stopped.
Never mind the fact you see your movie selling all over. Money is definitely being made off your movie, but you’re not seeing and you’re getting burned. When you contact the distributor their accounting department emails saying your movie is not making money. What they should say is we’re making money, but you’ve got nothing coming. It’s rare a distribution company that caters to indie movies takes on a movie they know they can’t flip for a profit.
We’re not saying all traditional distribution agreements turn out bad for indie filmmakers. There are many distribution companies that treat indie filmmakers right and cut them checks on a quarterly basis. We’ve experienced that with Ventura Distribution (since bought by First Look Studios) during our deal on a reality program release called America’s Wildest Bachelor Parties. Their royalty statements were detailed, sent on time, and we were able to make money from our efforts. They did not kill us with distribution expenses. We received checks instead of only royalty statements in the red. There’s something wrong when the last person to make money from their talent and effort is the filmmaker. Be smart and study every distribution deal tooth and nail.
Slice of Americana Films is a tight-knit crew that produces indie cinema and video on demand programming. Founder and filmmaker Sid Kali is best known for his hard-hitting urban movies that feature authentic characters, sharp dialogue and provocative storylines.
Sid’s book The First Movie Is The Toughest [http://www.sidkaliflicks.com/book.html] is a powerful resource for for aspiring screenwriters, directors, and producers along with the casual reader with their own great story idea for a movie. Every chapter has solid information that will help you avoid many common problems and save you money through every stage of production from script to distribution.
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