HOW-TO, Techniques, & Best Practices Channel

Phil Hall is a contributing editor for Film Threat (www.filmthreat.com) and author of �The Encyclopedia of Underground Movies� and �Independent Film Distribution� (Michael Wiese Productions). He is also the director of the New Haven Underground Film Festival and a member of the Governing Committee of the Online Film Critics Society. You�ve just completed your first feature-length film, and you are eager to have it released. Unless you are employing the services of an independent sales representative, you will most likely need to make your own contacts with distributors.

The proper communication with distributors can literally open the door to new opportunities. However, bungled communications will slam that very same door shut on both your current project and on potential future work. In dealing with distributors, there are ten key considerations that you need to recognize regarding your contact with distributors. Some, if not all, of these considerations may seem elementary. However, a surprisingly high number of first-time filmmakers don�t realize just how simple these steps are � but they eventually find out the hard way, when it is too late.

(1) Understand the companies you are dealing with.

Each year, distributors receive far more inquiries than they could possibly handle. Many of these companies are on the smallish side, and their overworked staffs have to sort through scores of films each week.

Furthermore, the distributors are only able to release a limited number of new titles each year. In view of this, a tiny percentage of films received for distribution consideration actually make it into release. In dealing with these companies, you have to understand where they are coming from and what they are experiencing.

(2) Pick the right distributors in advance.

If you�ve just made a $3,000 slasher film in your parents� backyard, there�s a more-than-likely chance that the Weinstein Company will be mildly disinterested in discussing a potential acquisition. Likewise, a serious documentary on a pressing socio-economic matter will probably not find a home at Troma.

Before thinking of making contact with the distributor, you need to know which companies are currently operating and what films they are releasing. Nearly all distributors stick to a specific focus � art house, horror, documentary, comedy, gay interest, etc. � so it is crucial to identify your target before you start making inquiries.

Also, be aware that many distributors have nothing to do with theatrical markets. Straight-to-DVD titles, once considered the barrel�s bottom, is now considered a perfectly fine destination for lower-budget films from first-time filmmakers. For those aiming at the non-fiction film market, the distributors within non-theatrical and educational sectors are also worth pursuing. While the ideal dream would be to see your film at the local multiplex, you should also look into distribution channels that are usually more open to first-time filmmakers.

(3) Do some more research on the targeted distributors.

Once you have a list of possible distributors to pursue, identify the filmmakers whose productions are currently being handled by these distributors. Seek these filmmakers out (most likely, you�ll only need to a search engine spin) and ask them about the distribution of their films. Ask as many in-depth questions as possible about the depth and scope of the distributor�s work � with an emphasis on the distributor�s sales support, marketing and promotion, and financial reporting on profits (or an explanation about the lack thereof).

(4) Never send an unsolicited submission.

Once you have a set list of potential distributors, it�s time to make your presence known by picking up the telephone and making calls.

Telephone calls, in this Net age? Yes, because you need to receive immediate and direct answers to your first round of questions. Relying on web sites can be problematic, since it is not uncommon for web sites to go months without being updated. And e-mails can either fall into a spam file, get deleted accidentally, or wind up getting ignored. Play it safe and use the telephone.

Specifically, you need to ask these questions during your call:

� Is the distributor currently accepting new titles? If not, you can ask when it might be best to follow-up.
� If the distributor is accepting new titles, who is the contact person and where should the materials be sent? Also, ask for that person�s direct line or extension and e-mail address.
� After the material is sent, when is a good time to follow up with the contact person? This will avoid any confusion later on, as we�ll discuss shortly.

(5) Double- and triple-check all materials before they are sent.

If the distributor responded positively and asked to see your film, you will need to put together your materials for the distributor�s review.

First and foremost, run a test of your DVD screener to make sure there are no glitches. Nothing will sour a distributor�s interest faster than a defective DVD. It also helps if your DVD case has a packaging design that includes the film�s title and your contact data.

Then, review your press kit to make sure there are typographical errors in the text. Also, make sure the pages are clean and free from stains or torn edges. Try not to turn your press kit into a manifesto, because no one has time to read too much text. You may wish to enclose an electronic press kit, but it would be easier to just go with the paper version � it�s faster for a distributor to glance at and thumb through.

Include a cover letter with your materials, addressed to your contact person. Again, make sure the letter is typo-clean. And please keep the contents of the letter succinct, just stating that you were following the instructions from the distributor�s office to forward the enclosed materials. Don�t go in for the hard sell here, since a cover letter is not a marketing weapon.

If you have a business card, include this with your materials � if you don�t, you may want to consider having business cards created at a local print shop.

If you would like the materials returned, include a self-addressed stamped envelope. Do not assume the distributor will return your materials if there is no interest in your project.

(6) Keep track of your delivery.

The old excuse �it got lost in the mail� is still with us, so be careful that your materials don�t vanish in the delivery process. If you are sending your materials through the U.S. Postal Service, be sure to have a delivery confirmation number attached in the event you need to keep tabs on whether your parcel was received.

You may wish to spend a little more money and use an overnight courier service � you can keep track of the delivery, plus your materials will arrive separate and apart from the day�s mail and, thus, have a better chance of standing out.

(7) Wait until the time is right contact the distributor.

Remember when it was advised to ask about follow-up procedures? This is the moment when you need to put your faithin the process and just chill. Do not follow up with the distributor right until the recommended time � if your delivery tracking confirms receipt, you know the materials are at the right place. For the time being, you just need to be calm. But when the time is right, you can move on to the next step.

(8) Follow-up politely.

When the time comes, make a telephone call to your contact person to ask after your film. If that person is not available and your call is not returned immediately, wait two days and try again. If the telephonic connection is still not made, then send an e-mail to the address you received at the beginning of this strategy.

At all times, be very polite and do not betray any sense of eagerness. If possible, keep your communications on the brief side, just asking if the film has been viewed yet and if there was any initial thoughts on its commercial potential.

This might take a bit of follow-up, but be patient and stay pleasant. Be persistent, but not frantic or obnoxious. After all, there could be dozens of reasons why your calls and e-mails are not being returned � don�t assume you are being brushed off. Chasing people can be a bother, but showing signs of annoyance and irritation at unreturned calls and e-mails will only make you look cranky.

(9) Assuming the feedback is negative: deal with it.

Hey, rejection is a part of life. Do not take a thumbs down as a personal affront. Remember that distributors can only accept a finite number of titles per year, and the luck of the draw may not be in your favor.

But try to use the rejection for a positive purpose � try to get specific reasons why the distributor opted to pass, and objectively weigh whether the comments can be used to either improve your film or help you with future projects.

And, also, remember that taste in films is highly subjective. Just because one distributor was not enthusiastic about your work does not mean the world loathes it.

Above all, be professional in the face of rejection. Angry and bitter comments or behavior that calls the distributor�s judgment into doubt will make you look foolish. Thank the distributor for taking the time to review your film and express the hope that you can work together in the near future.

(10) Assuming the feedback is positive: be wary.

If the distributor is positively inclined to discuss an acquisition deal, get a contract in writing and work with an entertainment lawyer to determine if this is the right course of action. The contract may not be the victory lap � inadequate or unsatisfactory contracts can be worse than no deal, and some deals may not only work against possible profits but could also require that you invest money into the release.

Thus, it would be wise to acknowledge a distributor�s interest but not commit to any deal until a contract is thoroughly reviewed. Of course, if the contract is reviewed and all is satisfactory, then it�s time for a well-deserved celebration.

This article may not be reprinted in print or internet publications without express permission of StudentFilmmakers.com.

Check out this article in the March 2008 print edition of StudentFilmmakers magazine, page 50.