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Perfect Film Distribution Service

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  • Perfect Film Distribution Service

    Hello filmmakers!

    I have a simple question for all of you feature filmmakers out there.

    If you could see a "PERFECT" film distribution service what would it be, please explain exactly what you would want it to be like, be specific!

    GO!
    Distribber - Keep 100% of your film's revenue

  • #2
    Transparency in all aspects. I think too many filmmaker feel they're getting screwed on the backend.

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    • #3
      In my opinion a perfect Distribution Company is the one which sincerely treats the producer as it's customer and follows the gem of a principle laid down by Gandhi: A customer is the most important visitor on our premises. He is not dependent on us. We are dependent on him. He is not an interruption in our work. He is the purpose of it. He is not an outsider in our business. He is part of it. We are not doing him a favour by serving him. He is doing us a favour by giving us an opportunity to do so.

      But I am afraid it is a bit too much to expect from the businessmen of the 21st Century!

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      • #4
        1. Transparency so very important. example: Knowing ALL of the "marketing" costs up front and having the ability to see the money coming in and seeing the marketing fees get paid. The filmmaker will then know when to expect returns and can see them.

        2. 1 stop shop for domestic and foreign. Cuts down on paperwork and tracking. And with a company like described above, you see it all.

        3. Deliverable costs built into the marketing fee. Such as errors and omissions insurance.

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        • #5
          The only point where I would (slightly) disagree with tseverio is here:
          3. Deliverable costs built into the marketing fee. Such as errors and omissions insurance.
          ONLY because I already have e&o insurance in place.
          Screenwriter and script consultant: www.maralesemann.com

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          • #6
            Yeah then that's less marketing fee if you have already purchased it but if you haven't, it would be nice to have it covered if distribution thinks they need it IMO. :)

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            • #7
              Great guys keep them coming. I think we are the only distribution company this is trying to build something for filmmakers something that filmmakers want. So please keep them coming.
              Distribber - Keep 100% of your film's revenue

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              • #8
                The perfect distribution service sees me as a partner. The perfect distribution service gives advice and consultation as a manager would. Does the poster work? Should I go the festival route first? What marketing strategy should I employ? What genres are hot? Does the trailer work? Does nudity help sell? How much production value do I need to get into various markets? What can I on my end to sell more product? What is the distribution service doing?

                What this boils down to is a working relationship where both parties benefit.

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                • #9
                  Perfect film distribution would be a better split between artist and distributor.

                  Open door accountability on the distributor to show what money has been spent, how and where.

                  The distributor should present a game plan for the feature they plan on signing and distributing, not just vague statements.

                  Monthly statements would be nice also.

                  The problem that distributors have, just as car dealers have the same problem. No one trusts them (sorry Nick). Even if a great deal is given, in the end the film maker is going to feel like they just got f***ed up the ass.

                  From my own experience, I knew I was going to do everything, that was part of my deal. But, they'd send me money, then ask for it back. They literally did nothing and weren't responsible for anything. I just wanted to get my flick into Netflix and they guaranteed it.

                  I have a friend who has an Urban movie that has made his distributor a lot of money, and he hasn't seen a dime. Every time she goes to Cannes the movies she distributes pays for her room, food, transportation, and marketing fees. You can bet dollars to donuts that if her room costs $500 a night that each movie she represents pays $500 a night.

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                  • #10
                    A clear, regular (monthly? quarterly?) breakdown of the difference between "gross receipts" and "adjusted gross receipts."

                    What is being spent and why
                    If it's advertising: what is it, is it effective and how is effectiveness defined/measured.
                    If it's overhead: how much/what percentage of the company's overhead is allocated to my movie
                    If it's additional post-production work/dvd production: what is being done and how much does it cost (per unit and total)

                    I absolutely expect there to be expenses, I simply want to know what they are.
                    And I'm completely in favor of advertising, but I want it to be effective and reasonably priced (however that's defined!)
                    Screenwriter and script consultant: www.maralesemann.com

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                    • #11
                      I would say communication. I hear all the time that indie distributors just never never stay in contact. I do understand that it can be hard with a small team, but Im always a believer in if your making money then grow, and I think that is where lots of companies mess up, they make money more then they need to live but do not grow their company. - Hope that made sense

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