Independent Film Distribution Tips: Part 2

5. Was getting financing for your film easier or more difficult than you thought?

For some reason raising the budget on “The Art of Travel” was easier than anyone could imagine.  It really helped to have the other two Features under our belt and that we had already done the location scouting to show possible investors where the production would be filming.  If we had done this film using a studio budget, the cost would be in the neighborhood of 2.5 million.

Using private money, we were able to keep total control and tell the story how we wanted to and we were able to use all the indie shortcuts that studios would have a hard time trying to implement.

6. Did you work inside our outside of the studio system to get this film shot?

The only way we were going to get this film made was going through private financing.  We shopped the script around for a little bit and all the usual problems occurred.  Studio people come in and want to put their stamp on  the project.  They want to change shooting locations, bring in different actors, and possibly a different director or producers (because more money would have had to be spent).  Of course they usually want control of the script but don’t want to pay anything for it.  Graciano, LaBelle, and myself knew that if we wanted to make the film our way, we had to go raise the capital ourselves.  Right before we raised the financing, fellow producers thought we were crazy and stupid to go out and make the film.  We were told by managers, agents, and producers, that there was no way in hell we’d be able to make the film for our budget and we’d run out of money two weeks into shooting.  We just smiled at everyone and knew the only way to make them believers was to actually go out and make the film.

7. Can you explain how this film found a distribution deal?

We hired a producer’s rep and the producer’s rep sent DVD screener to all his contacts and within about three weeks we had an offer from First Look Studios.  We did have other offers from other distributors but we all felt that First Look was a great mid range distributor that had a great reputation of working with the filmmakers.  We also received an offer from Warner Bros., but the structure of the deal was so bad that the producers would have been lucky to make 15% of the budget back in five years…if we were lucky (but Warner would have done great).   A couple other smaller distribution companies were also interested but they didn’t seem to have any particular path to put the film on.  First Look had a strategy for distribution and really seemed to be behind the film to get it out there.

8. Can you outline (being as specific as you feel comfortable with) some of the details of the distribution deal (i.e. broadcast, theatrical, DVD rights)

First Look owns all the rights when it comes to North America.   They get to control where the film goes and what outlets to push it.  We did have the option to have a small theatrical push, about 15 movie theatres across North America, but if we did do that then we would never see any money returned to the producers.  Now a days, it’s extremely difficult to get a limited theatrical release.  Most distribution companies will do it if you beg for it, but then they will tell you that you would have to be a huge hit to see any kind of return and then all that money that was lost in your theatrical release will be recouped back to the distribution company through you home market release and television and cable sales.  For an indie limited theatrical release, 9 times out of 10, you will not see a return al all, but at least the distribution company will make some money get the film out there.  At times, you feel like someone sucker punched you in the stomach when you think about the distribution process!  But don’t let it scare you!

9. Do you own any rights to your film now?

When it comes to distribution, know one simple fact. If a company shows interest in your film and wants to represent your film, chances are about 95% of the time they know exactly what they’ll make on your film before it actually goes out into the world.  Even though distributors will give you estimates on what they think the film will make, the probability is that you’ll only make about 50% of whatever the lowest estimate was given to you.   Hell, most producers will even preach that you’ll never see a penny more than what ever you’re advance was.  Always fight for the biggest advance and then in 2 years audit the company, because they’ll figure out a way to keep most of the money unless you get your own account to check things out .   At an Indie level, the distribution will own all your rights or they won’t do business with you.  With “The Art of Travel” we tried to fight to keep our television rights, but First Look told us that if we want to keep the rights they would give us NO ADVANCE. So, they own all rights.

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