You are in, and now you have all sorts of wonderful problems — the kind most filmmakers wish they could enjoy. You know, you have to do all the things you have to do for a film festival. I have tried to collect the various blog posts I have written or have found written by others that will really prepare you. There’s a lot more to be written. But this is a good start:
Tag: producers’ rep
You’ve made your movie. You’ve even applied to some great film festivals, and maybe they’ve been encouraging. Now people are calling you, asking to see it, and offering to license it on your behalf. How do you determine whom to collaborate with? What questions need to be asked BEFORE you make a deal?
The best thing you can ever do is talk to other filmmakers who have worked with the rep — and not just the ones that the rep recommends. Make those calls. The second best thing you can do is to have a face to face meeting with the proposed rep. The personal approach matters. Look them in the eye. Connect. Have a beer or a cup of coffee. Ask yourself if you’d like to have dinner with them a year for now.
Now start to ask some questions, ask for some help, and gain a better understanding of both the process and the individual or company you are considering.
Sundance Sale Dissection: Septien
Today’s guest post is from attorney and sales rep George Rush. It is part one of two. George handled the sale of Michael Tully’s Septian to IFC’s Sundance Selects.
I have worked as a lawyer or a producer’s rep on hundreds of films over the years, and this experience has made me quite skeptical about the business model for independent producers. The business is worse than it has been historically, but it is still the same very basic model. You produce a film, a distributor exploits those rights. You are good at creating content, they are good at marketing. Hopefully those two things come together to benefit both parties.
I’m a hyper skeptic of producers essentially acting as their own distributors because generally they aren’t strong in both skill sets, and thus something usually suffers. So I usually assume a producer is good at producing, and try to leave it at that.
Most of what I work on is low budget films with few if any stars. Ten years ago, I considered a low budget film under two million dollars. Today, I consider it under $500,000 and believe if you do something for a larger budget without a truly bankable cast, you are being reckless with your budget.
The distribution business has become tougher and they are paying less for content, and thus budgets go down correspondingly. So how can you make something quality for under $500K—most people fail at this effort and there is a glut of so so films that just can’t compete with larger budgeted film—they are clearly inferior. Indeed, most festival films in this budget range will never see the light of day beyond the festivals. However, I don’t know how, but some people do. It takes an extremely resourceful producer and director who is willing to take some chances to pull it off.
Enter Michael Tully’s Septien.