Film Festival Deals. Sell your Film. Make a Profit. Theatrical Sales. Streaming Deals. Revenue Streams. Buyouts. Rent a Distributor.



For a filmmaker, with an unbiased film, the purpose of a Movie Pageant, aside from social validation, is to exhibit to distributors (assuming their Acquisition Executives are in attendance) that your movie is (A) Marketable, (B) Sells Out screenings, (C) Makes Money,  (D) most essential, has “Buzz”…. so chances are you’ll get some cash (E) to pay again your buyers and (F) launch your career.

Straight. Trustworthy. To-the-Point.

 (Benefit from the premiere but make sure that the Acquisition Executives are in attendance)

(A) MARKETABLE: You’re accepted to Sundance, Toronto or Cannes. This is marketable. Assure your distributor will promote your movie as an “Official Sundance Entrant” (all the time questioned what an Unofficial Sundance Entrant is perhaps). Plus, as soon as you’re accepted to a serious film pageant you utilize their platform and plan a social media marketing campaign concentrating on your screening to get an audience to buy tickets… “Distributors (Acquisition Executives) will see this campaign” and see that “it really works”.

(B) SELLS OUT: If you will get 7-10 acquisition executives into your screening they usually (1) see one another and (2) see that the theater Bought Out… this can be a huge constructive. Acquisition Executives all know each other they usually now see that your movie is marketable and that they, solely being human and seeing other Acquisition Execs in attendance, assume there’s curiosity from the opposite consumers (acquisition execs) and, as soon as again it “Bought Out”.

(C) MAKES MONEY: This can be a easy repeat of Marketable & Sells Out… The Acquisition Execs, in attendance, now know that your movie “makes cash” and their job is to purchase films not that they-like however to accumulate movies that make-money… And your film has just demonstrated it makes-money.

(D) BUZZ: This is by far crucial point. Why? Distributors know that with an costly advertising marketing campaign they will get individuals to return to a theater, purchase a ticket, and watch your movie. Nevertheless, what they can’t control is “what individuals will say when they depart the theater”. And, when your film is over, and the Rear Title Crawl credit scroll, if the viewers politely applauds and leaves then they (acquisition execs) know that your film is actually not going to be “long-term” marketable. Nevertheless, when the Rear Title Crawl credit scroll, the audience STANDS UP & SHOUTS APPROVAL yelling “BRAVO, BRAVO, BRAVO…” then you’ve got successful and there’s going to be “Buzz”.

(E) PAY BACK: Unbiased Filmmaking means you get-your-own-money and it’ll not be from the movie business… which you’re unbiased of… Thus, it comes from buddies, relations or literally “Quido & Carmen” and now “Quido & Carmen” want-their-money-back.

(F) LAUNCH YOUR CAREER: If you can also make a function movie that will get into Sundance, Toronto or Telluride and secures a distribution deal you’ll be making many extra films (larger budgets, better salaries, revenue potentials, and so on) and your profession is likely launched.


(Once your movie is in Sundance you’ll market ceaselessly that you simply had an “Official Sundance Entrant”)

BACK-TO-BUZZ: If your film screens and the Acquisition Execs are in attendance as the viewers stands up and yells “Bravo”… then these Acquisition Execs now assume that these viewers are going to tell/blog/submit/share/instagram/periscope/tweet other viewers, who will tell/blog/submit/share different viewers, who will inform/weblog/submit/share other viewers, and so on… to “See This Film”.

This is referred to as “WORD OF MOUTH” and you can’t buy this sort of constructive publicity for hundreds of thousands of dollars. Your film is coming with a “BUZZ”  (for whatever cause) then your film is going to get a terrific supply.

Now, lets speak presents


First some assumptions.


You’ve got made a “Million Dollar” Function Movie for $400,000-$500,000 in money (assumes you’ve taken the “Streaming or DVD Film Faculties) and are advertising it as a “just-under” “Million Greenback” function.

(2) SHOOT:

It was a 5-week shoot, signing with only SAG above-the-line on a Low-Price range Waver Agreement, with 2 names (quality television actors) in it that have been paid $50Okay each.

(3) STORY:

It’s a quality script. A up to date psychological drama (a 2015 model of “Play Misty For Me”) shot in scenic Carmel, California, with two excellent subplots, a triple-twist ending that left the audience standing & applauding loudly because the rear title crawl credit scrolled.


Shot with 2 Pink 4K cameras, lit properly, audio monitor flawless, wonderful ADR & Foley, with an unique music score that’s owned 100% by you.

Now, a Distribution reality:

FIRST: There are 32 Deal Memo Factors (Theatrical Purchase, Print Quantity, Advertising Price range, Distribution Charge, Income, Internet Income, Adjusted Box Office Gross, Over-The-Prime, On-Demand, Pay-per-View, Pay-Cable, DVD (Sell-Via), DVD (Rental), Blu-Ray, TV, Merchadising, Branding, Licensing, Music, Books, Publishing, Overseas, China-Italy-Germany-England….) to barter.

SECOND: Negotiate each single considered one of them.

Now, lets get to the 7 Presents.


(At Festivals there isn’t a such thing as a “Simple Supply””: There are 32 Factors to haggle.)

OFFER #1: 50-50 NET DEAL:

The distributor (aka: Acquisition Government) chats price range, tells you ways superb your movie is and states “Lets be companions. Lets go “50-50”. The distributor then provides you no money upfront, however states a $2 Million advertising marketing campaign and you’ll get 50% of Internet Producer Income.

OFFER #2: 100% BUYOUT:

The distributor provides you $2,000,000 for world-rights for ever. It’s a Buyout Deal. The Distributor is buying; you’re promoting; take the cash; walk away and the distributor owns all the things…. endlessly.


The distributor presents no money upfront but will distribute your film in North America (USA/Canada) with 300 prints in 300 theaters, masking the top 25 markets, for no less than three weeks, with a Distribution Payment of 35% and recoups all bills, with a Rolling Break-Even Level, and no Binding Arbitration… but you retain all Overseas Rights and, 60-days after the North American launch you’ll be able to go to Cannes, AFM or EFM and license your movie to 35 nations or territories and maintain 100% of the revenues.


(All the time keep in mind filmmaking a enterprise… it’s referred to as “Present Business”)


The distributor states your movie is great “Gonna do better than “Blair Witch” or “Paranormal Activity”” and is putting up a $10 Million advertising campaign that is virtually assured to make you into a star, but you get nothing from this movie in income or participation, but you get a re-make deal for “YOUR MOVIE: Half 2” at a $5 Million Finances with you acquiring a $250,000 Writing Payment and a $750,000 Directing Payment, with a “YOUR MOVIE: Half three” budgeted at $20 Million however all deal points are contingent on the success of “YOUR MOVIE: Part 2”


The distributor gives you $400,000 upfront (to pay off your buyers. Quido & Carmen are joyful) and markets the movie with a $three Million marketing campaign but retains all Theatrical Revenues and Overseas Rights but you keep the ancillary income streams (On-Demand, Pay-Per-View, Pay-Cable, DVD (Rental & Promote-By way of), TV, Licensing, Merchandising, and so on.). Nevertheless, they have Remake Rights.


They, the distributor, provides you the choice of choosing a Multi-Platform release of both (A) small Theatrical (North America) Launch whereas simultaneously (Day-and-Date) going to the On-Demand platforms of first the Transactional, then the Subscriber, then the Advert Help Platforms or (B) the same small Theatrical Release (North America) with a simultaneous (Day-and-Date) DVD/Blu-Ray Promote By means of providing a Target/Walmart/Costco…


There are new gamers. Hollywood is not managed by the 6 main distributors (Warner, Paramount, Sony, and so forth.) for there’s a new large revenue stream referred to as on-demand with the new platform players being corporations like NetFlix, Hulu, Amazon, Facebook, Apple, and so forth… They usually have checkbooks, at festivals, that are bigger than the film studio checkbooks. Ergo, there is a risk that you simply get a cash supply from a Streaming Platform that is 50% to 100% bigger than what you get from a film studio… but the streaming platform will inform you “it is exclusive to streaming” and cannot be licensed, ever, to any theatrical distributor ion the world…. What do you do?…. ANSWER… You’re taking the money and run… and make another film.

DEALS #2 & #7 are the perfect: Why?

I like Deals #2 and #7. For I’m all the time huge on take-the-money and-run. Figuring out that when they (distributors/networks/aggregators) offer you some cash upfront in your product they are undoubtedly going to wish you for 1-4 weeks for advertising… And will probably be this advertising marketing campaign that makes you right into a “Hollywood Commodity”… and I’m positive you’ve gotten heard of “Artistic Bookkeeping”.

Money-Upfront avoids Artistic Bookkeeping.


(Next time you examine gross sales at Sundance, look for the Deal Memo points)

I vote for, though all the deals have merits, Deal #2 and/or #7… (A) Take the Money, (B) pay off your buyers, (C) be made right into a Identify and (D) secure an Agent and capitalize in your Identify’s worth for Film #2 and Movie #three at greater and larger budgets.

Nevertheless, I’m not right perhaps you want Deal #3: SPLIT RIGHTS or Deal #5: KEEP THE WINDOWS or Deal #1: 50-50 NET… As you’ll be able to see there isn’t a one reply…


Start at the backside, but not with a brief, with a function film.

Now Make-A-Movie; Get it Right into a Major Pageant; Get the Acquisition Execs to attend: and if the audience comes, the screening sells out and the Viewers shouts approval… Voilla.

Completely satisfied Filmmaking

Dov S-S Simens


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