Five tips on submitting to a distributor

1. A little bit of research goes a long way - Distributors often specialize, so a good place to start is to find out who is distributing films that are similar to yours. If you have a feature, open the newspaper to the movies section and find an ad for a film similar to yours. At the bottom of the ad, in small print, there will be a logo that identifies the distribution company. They probably have an office in Los Angeles or New York. If you have a short, look in catalogues of short films for rent or sale for the same information.

2. Call, be patient and courteous to the receptionist - She or he may be able to help or hinder your efforts more than you might think. Find out, from the receptionist, the name of the Head of Acquisitions. Also get the fax number and the address of the distribution company. Ask to be put through to that person.

3. When talking to the Head of Acquisitions, get to the point - And the point is, that you want to make a submission, you want to send him or her a video tape to look at, or set up a screening. If it is an unsolicited submission, don’t ask the distributor to pay for the screening. Most filmmakers want their films seen on the big screen, not video tape - and this is understandable - but it is far less expensive and more convenient to send a tape.

4. Keep the submission letter short - Like the initial telephone, you don’t want to take up a lot of the person’s time with a long letter. The point is to get them to see your film. Tell them why your film is terrific and end the letter. Include a press kit that has the following: a short synopsis, a cast list, two or three publicity photos, the key art (that is, the artwork that will be the basis for the poster) if you have it, copies of articles or reviews that have appeared in print, a list of awards and screenings the film has accrued and biographies or resumes of the principle filmmakers.

5. Follow ups - Give them about a week to look at the movie before calling back, unless they give you a date to call back on. If they don’t return your calls, don’t call back every day, but call every third day or so, or send a fax instead. Above all else, don’t become irate or difficult because they are not getting back to you as fast as you’d like. Even if they turn you down, you want to keep the door open with that person because a) they may be able to guide you to the company that will buy your film, b) they may buy your next film, or c) they may be a studio head in five years and you want to be remembered as the smart, easy-to-work-with person they had to turn down, not the crank they were avoiding.

Bruce Postman

Source: Exclusive to Indiefilms