THE EPICUM INDUSTRY BRIEFING

No. 01 · Distribution

BEFORE YOU APPROACH A DISTRIBUTOR

What Independent Producers Should Have Ready

Finishing a film is an achievement. Making that film commercially ready for distribution is a different process entirely.

A distributor assessing a project is not considering only whether the film is good. They are also considering whether the rights are clear, whether the materials are deliverable, where the film may sit in the marketplace, which audiences could respond to it, and whether a workable commercial relationship can be built around it.

For independent producers preparing to approach distributors, good preparation can make that conversation considerably more productive.

1. KNOW EXACTLY WHAT YOU ARE OFFERING

Before approaching a distributor, be clear about the project’s current position.

Is the film completed? In post-production? Seeking finishing finance? Has it premiered? Has it already been licensed anywhere? Are worldwide rights available, or only particular territories?

A distributor needs to understand what rights are actually available before considering what they might be able to do with them.

2. HAVE A STRONG PRESENTATION PACKAGE

You don’t necessarily need an enormous pitch deck.

You do need to communicate the film quickly and professionally.

At minimum, producers should be prepared with a strong synopsis, genre, running time, production status, principal cast and key creatives, available rights and territories, high-quality artwork or production imagery, and—where appropriate—a trailer, screener or other viewing material.

The objective isn’t to overwhelm someone with information.

It is to make the project easy to understand and easy to evaluate.

3. GET YOUR RIGHTS POSITION IN ORDER

A compelling film with unclear rights can become a difficult proposition.

Producers should understand their chain of title and have appropriate agreements covering the underlying material, screenplay, principal cast, music and other material incorporated into the production.

The precise delivery requirements will vary according to the project and proposed agreement, but uncertainty over ownership and exploitation rights can slow—or stop—a potential distribution conversation.

4. UNDERSTAND YOUR AUDIENCE

“We think everyone will enjoy it” isn’t particularly useful commercially.

Who is most likely to watch the film?

What comparable titles help communicate its audience or positioning?

Does it have particular relevance to a genre, territory, community or demographic? Does the cast bring recognition in particular markets?

A producer doesn’t need to arrive with all the answers. But demonstrating an understanding of who the film is for makes for a much stronger conversation.

5. DON’T CONFUSE A FESTIVAL STRATEGY WITH A DISTRIBUTION STRATEGY

Festivals can create visibility, reviews, awards, relationships and momentum.

Distribution asks a different question:

How does this film reach paying audiences across appropriate markets and platforms?

The two strategies can complement one another, but they aren’t interchangeable.

Think about distribution early enough that decisions made elsewhere in the film’s journey don’t unnecessarily restrict future options.

6. BE TRANSPARENT ABOUT EXISTING DEALS

If rights have already been licensed, say so.

If another distributor controls a territory, say so.

If the project has previously been released somewhere, say so.

Existing arrangements don’t automatically make a title unattractive. Discovering them unexpectedly during negotiations, however, can create problems.

Clarity builds confidence.

7. THINK BEYOND THE INITIAL DEAL

Distribution should not simply be viewed as the moment somebody acquires a film.

It is the beginning of another stage in that film’s commercial life.

Ask sensible questions. Understand territories, rights, term, reporting, marketing expectations and delivery obligations. And look for a relationship in which both producer and distributor understand what they are trying to achieve.

THE EPICUM PERSPECTIVE

At Epicum Entertainment, we believe independent work deserves to be assessed on its individual merits.

Not every title belongs everywhere. Not every distribution strategy should look the same.

The more interesting question is:

Where can this story travel—and how should it get there?

Epicum works with producers and rights holders exploring international distribution opportunities for film and television.

HAVE A TITLE FOR CONSIDERATION?

Submit your project to Epicum Entertainment.

Completed and upcoming film and television projects may be submitted for distribution consideration through our Worldwide Distribution division.

SUBMIT A TITLE →

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