The Soiled Reputation of Film Distributors
April 15, 2013 10:56 AM Subscribe
Is it true? Are film distributors on the whole pretty much... scum?
Well, North American distributors (to moderate to scope). I've never met nor yet attempted to negotiate a deal with one; but there seems to be a consensus among the Independent Filmmaker advice-givers that distributors are all the same: looking to roll you over at every turn.
Sure the film industry can be a cutthroat business, but just like everywhere else one hopes to think there are exceptions to the stigma. But these guys (mostly guys right?) seem to have earned themselves a notorious reputation - even for an industry like Hollywood.
Obviously a good entertainment attorney is a must, but the part of me that hopes in the basic decency of people wants to think the same can apply here (e.g. we've got it in the contract, we both understand the spirit of the deal, I'd rather form a relationship or at least manage my own reputation than look for any opportunity to take more than a fair share of the cut, because that's the honorable thing to do).
What's the real deal?
Well, North American distributors (to moderate to scope). I've never met nor yet attempted to negotiate a deal with one; but there seems to be a consensus among the Independent Filmmaker advice-givers that distributors are all the same: looking to roll you over at every turn.
Sure the film industry can be a cutthroat business, but just like everywhere else one hopes to think there are exceptions to the stigma. But these guys (mostly guys right?) seem to have earned themselves a notorious reputation - even for an industry like Hollywood.
Obviously a good entertainment attorney is a must, but the part of me that hopes in the basic decency of people wants to think the same can apply here (e.g. we've got it in the contract, we both understand the spirit of the deal, I'd rather form a relationship or at least manage my own reputation than look for any opportunity to take more than a fair share of the cut, because that's the honorable thing to do).
What's the real deal?
This is your second question about the "moral fiber" of Hollywood. This isn't a City of Sin, dude. It's a weird business, but there are still rules.
I don't care if you're selling widgets, being a Pollyanna and talking about the "decency of people" is going to make you look like an idiot. Get an attorney, and if you want more specific information, tell us what sort of project you're trying to distribute.
posted by ablazingsaddle at 11:16 AM on April 15, 2013 [3 favorites]
I don't care if you're selling widgets, being a Pollyanna and talking about the "decency of people" is going to make you look like an idiot. Get an attorney, and if you want more specific information, tell us what sort of project you're trying to distribute.
posted by ablazingsaddle at 11:16 AM on April 15, 2013 [3 favorites]
You don't get what you deserve, you get what you negotiate.
If you have a film they want badly enough, you can get a decent deal with a distributor. If not, you'll get the standard deal.
The distrib is not in business for his health. You're asking him to front money for a movie you haven't made yet, which may flop. He has to make the successes pay for the flops.
Bear in mind that in showbiz, generally the "system" absorbs much of the upside of a success. You may see some small profit, but few people get rich off their first hit.
In revenge, your rates go up, and you get paid a lot more for the project after your hit. That's the real upside.
posted by musofire at 11:49 AM on April 15, 2013
If you have a film they want badly enough, you can get a decent deal with a distributor. If not, you'll get the standard deal.
The distrib is not in business for his health. You're asking him to front money for a movie you haven't made yet, which may flop. He has to make the successes pay for the flops.
Bear in mind that in showbiz, generally the "system" absorbs much of the upside of a success. You may see some small profit, but few people get rich off their first hit.
In revenge, your rates go up, and you get paid a lot more for the project after your hit. That's the real upside.
posted by musofire at 11:49 AM on April 15, 2013
To pick just one thing, which you think is "obvious":
Obviously a good entertainment attorney is a must
Nothing obvious about it. At what stage and in what role? To look over the contract for legal issues, yes. As negotiator - maybe not. Distribution is a surprisingly complicated thing. You would be well advised to shed any preconceptions and expectations. Plus, the landscape is shifting extremely rapidly - for example, the returns you might have expected even a few months ago are drastically different today. We are living in a period of huge changes in distribution, so what you "hear" or have cobbled together from random reading, may not be relevant in the least today - and will be different again, tomorrow. Again, forget your preconceptions.
Here's an interesting Reddit AMA with a small distributor.
posted by VikingSword at 11:57 AM on April 15, 2013 [2 favorites]
Obviously a good entertainment attorney is a must
Nothing obvious about it. At what stage and in what role? To look over the contract for legal issues, yes. As negotiator - maybe not. Distribution is a surprisingly complicated thing. You would be well advised to shed any preconceptions and expectations. Plus, the landscape is shifting extremely rapidly - for example, the returns you might have expected even a few months ago are drastically different today. We are living in a period of huge changes in distribution, so what you "hear" or have cobbled together from random reading, may not be relevant in the least today - and will be different again, tomorrow. Again, forget your preconceptions.
Here's an interesting Reddit AMA with a small distributor.
posted by VikingSword at 11:57 AM on April 15, 2013 [2 favorites]
You can make a film without a distribution deal in place--most docs don't have one, unless HBO has commissioned the film or has a working relationship with the director. Thus, film festivals. Same with indie features, but it's harder, and that's why Kickstarter, Indie gogo, YouTube, credit cards and rich parents come in. Sure, there's slimeballs, but there are slimeballs in upholstery, children's apparel, and any other business in the world.
And the consensus among young, inexperienced, unproven filmmakers is not a consensus that I pay much attention to, to be honest.
posted by Ideefixe at 11:59 AM on April 15, 2013 [2 favorites]
And the consensus among young, inexperienced, unproven filmmakers is not a consensus that I pay much attention to, to be honest.
posted by Ideefixe at 11:59 AM on April 15, 2013 [2 favorites]
And the consensus among young, inexperienced, unproven filmmakers is not a consensus that I pay much attention to, to be honest.
I used to work for a (very, very small) distributor in Boston, and we were occasionally the subject of angry screeds from rejected filmmakers. Like, how DARE you not fight for a theatrical distribution deal for my slasher fic? Or that we owed them money. Or some other ridiculous bullshit.
Your question sounds like you've been reading too many message boards.
From what I understand, you can secure a distribution deal by doing well at festivals and networking. If you don't get into any major festivals or win any awards . . . maybe there's a way to get a deal, but I honestly don't know anything about it.
posted by ablazingsaddle at 2:23 PM on April 15, 2013 [1 favorite]
I used to work for a (very, very small) distributor in Boston, and we were occasionally the subject of angry screeds from rejected filmmakers. Like, how DARE you not fight for a theatrical distribution deal for my slasher fic? Or that we owed them money. Or some other ridiculous bullshit.
Your question sounds like you've been reading too many message boards.
From what I understand, you can secure a distribution deal by doing well at festivals and networking. If you don't get into any major festivals or win any awards . . . maybe there's a way to get a deal, but I honestly don't know anything about it.
posted by ablazingsaddle at 2:23 PM on April 15, 2013 [1 favorite]
From that fascinating reddit AMA (thanks VikingSword!)
Something that shows me there's a fan-base already there -- a top-tier festival run (SXSW, Sundance, Tribeca, etc.), a known-cast with an active fanbase (doesn't have to be an actor -- if your film was made by or has someone else who has a big fan base, so be it), a super successful kickstarter (the more backers, the better) or a past metric of success (you did a successful 15-city theatrical run but haven't sold the ancillary rights yet? great!).
posted by ablazingsaddle at 2:25 PM on April 15, 2013
Something that shows me there's a fan-base already there -- a top-tier festival run (SXSW, Sundance, Tribeca, etc.), a known-cast with an active fanbase (doesn't have to be an actor -- if your film was made by or has someone else who has a big fan base, so be it), a super successful kickstarter (the more backers, the better) or a past metric of success (you did a successful 15-city theatrical run but haven't sold the ancillary rights yet? great!).
posted by ablazingsaddle at 2:25 PM on April 15, 2013
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posted by Ideefixe at 11:07 AM on April 15, 2013