Understanding Movie Distribution Agreements

Understanding movie distribution agreements is a real pain in the ass, but it’s all part of making movies. I’ve read simple straightforward movie distribution agreements that were short and others that you had to read like a short story of legalese. Signing away the rights to a movie you sweated to make is tough.

Self-distribution keeps getting more financially attractive with streamlined digital distribution filmmaker’s can control (the money and units moved). DVD is not a dead format yet. CreateSpace.com offers a simple service to get your movie sold via Amazon.com on DVD and you can sell directly from your own movie website. I still watch movies on DVD.

The downside to movie self-distribution is that most filmmakers are not seasoned at movie distribution to connect with a large audience of potential viewers and make money from their work. I wouldn’t even know how to get a movie sold overseas to a distributor or get it into different sales outlets.

All I’ve been able to learn having sold different entertainment to movie distributors is that most retailers won’t deal with a filmmaker that doesn’t have a film catalog. They view is it’s a waste of time to hassle with one filmmaker that has one movie. And movie distribution agreements need to be read word by word or you’ll lose money.

Movie distributors have large catalogs of films they represent and movie retailers like that very much. It makes film buying easier on their end to deal with one source. At AFM (American Film Market) one year I saw the uncensored side of movie distribution. Slice of Americana Films already sold the rights to a movie, but I went to see what happens at film markets.

Unless you’re flipping the bill as filmmaker you will not get a full size movie poster displayed. Movie distributors only pay for full size movie posters with releases that have a name actor or known celebrity in it. I was in the lobby of a hotel at the bar drinking a Miller Lite bottle and ended up talking to a film buyer from Japan over a few drinks. Bars are where many movie distribution talks happen at film markets and film festivals where movies are bought.

He shot straight about his take on movie distribution. The Japanese movie distribution company he worked for only dealt with US movie distributors with a film catalog because their paperwork was always solid and they didn’t have to negotiate deal by deal. Movie distributors package films together. An indie filmmaker with one movie has nothing to package. Overseas film buyers don’t want to spend the time going indie release by indie release.

Understanding movie distribution contracts should be left to film sales reps and entertainment lawyers. This is indie filmmaker Sid Kali typing FADE OUT