[Filmmakers' Grab Bag]
Distribution Questions
and Guidelines
Questions about your distributor you should have answered before you sign on the dotted line. A must for anyone who is looking for distribution.
Relationships With Distributors
- What is the distributor’s overall level of enthusiasm for the project? How does the distributor propose to demonstrate its willingness to give your project an extra push?
- Are staff members able to pay close attention to each production? Is the company interested in developing close relationships with the producers it represents?
- How familiar is the distributor with the type of film or video you’ve produced?
- Can the distributor give advice on the length of the film and its marketing ability?
- If you have any specific questions about copyrights or music rights, can the distributor provide you with an answer?.
Marketing and Promotion
- What are the catalog, brochures, one sheets and other printed matter like in terms of quality, layout and design? How many are printed and distributed?
- How does the distributor identify markets (satellite, videodiscs, schools, for example)? How extensive is the company’s knowledge of the market for this particular type of film?
- Can the distributor work with the producer to develop a marketing plan with specific projections on what markets it plans to research and how?
- What special “non-traditional” markets can the distributor reach with this type of production? Can the company name some exhibition outlets or ideas for alternatives?
- Which festivals, if any, might your production be entered into by the distributor? Who pays for the entry fees?
- Can the distributor offer information and advice about the impact of lowered pricing for consumer/home video on distribution to educational markets? What effect has home video had on acquisitions, particularly for independent films?
- Can the distributor provide breakdowns (percentages) of users: theatres, educational institutions, community groups, film societies, museums, media arts centers, festivals, television, galleries, etc.?
- What guarantees can be made on the number of cities/theatres the film will be distributed in?
- Is the distributor involved in user education/development of new or special interest audiences?
- How are audiences identified or developed? How familiar is the distributor with the competition, in order to choose successful release strategies? Does the distributor have specific methods for marketing to special, new or regional audiences? Has the company developed alternative ways of getting pictures noticed? Are there specialized promotional methods for low-budget films?
- What special campaigns has the distributor worked on to reach alternative and specialized media? Does the distributor hold targeted special screenings?
- What is the extent of the distributor’s mailing list? Is direct mail effectively utilized?
- How are advertising budget allocations determined?
Company Strengths and Weaknesses
- What is the strongest part of the distributor’s collection? What is the company’s strength as far as the market or audience the producer wants to reach?
- Is there a particular gap or area of need in the distributor’s collection, or is the company overstocked in the subject of your film? What does the distributor consider its specialty or sphere of expertise? Is the company aggressively looking for new material?
- Does the size of a large distributor work against the special handling of a controversial, experimental, difficult or unorthodox production?
- What influence does the company have with exhibitors? How extensive is the company’s knowledge of exhibition opportunities?
- What is the company’s reputation for booking reliability/print quality/print delivery?
- Can the distributor provide references of producers of similar projects it has worked with?
- How efficient is the company’s computer/record keeping system in how it tracks sales, rentals, and consumer needs? How often does the company do inventory of prints and tapes?
- Should the producer use different companies for foreign and domestic distribution?
Closing A Deal/Contracts
- What rights is the distributor looking for in its acquisition?
- What rights does the filmmaker retain (television syndication, international distribution, for example)?
- Does the distributor contract exclusively or non-exclusively for all markets and formats? Does the company enter into partnership with other companies for distribution to certain markets or territories?
- Does the distributor subcontract for ancillary distribution?
- What is the length of the contract?
- Who pays for the print or tape costs?
- Who pays for various promotional costs? Can an adequate promotional budget be agreed upon? What are some of the distributor’s ideas for special promotional activities?
- Who controls the film or tape master elements?
- What percentage of gross sales and/or revenue is returned to the producer? How are gross receipts calculated and on what revenue sources (are the sale of ancillary rights, television sales and foreign distribution, for example, included)?
- How often are royalties paid to the producer? How does the company report on gross receipts and revenue sources?
- If agents or subdistributors are used, how much of that sales gross goes to the producer?
- How is the market value of a work and the consequent pricing determined?
- Can the producer arrange free screenings or benefits?
- What are the standard features of the distributor’s regular distribution agreements with its clients?
- Can a distribution agreement provide the producer with the option to regain control of the production if the distributor’s work is not satisfactory?
- Can advance fees be arranged, or, if possible, can such fees be spent marketing the film and deducted from royalties?
- Can the producer examine the distributor’s financial records? Does the producer have the right to audit?
* Source: AIVF Guide to Film and Video Distributors by Katheryn Bowser