Description
--
Stacey Parks, Stacey Parks has worked in independent film for over 10 years, and is currently a sales executive at the BBC Worldwide in Los Angeles. She was previously a foreign sales agent for many years. Market: Independent filmmakers Key Features: * What you must know to get your independent film distributed * Written by a distributor who knows the process inside and out * Interviews with buyers and acquisitions executives from every sector of the business on what kinds of films they look for, what they're sick of seeing, and how their acquisitions processes work Innovation in technology means that almost anyone can make an independent film these days. Although this may be good news for aspiring filmmakers, it also means that the oversupply of independent films on the market has caused acquisition prices to dramatically decrease. As a result, producers and investors rarely recover their initial investment in the films they make. But don't be discouraged! Use this book to learn the realities of the market in advance and map out a winning distribution plan. This comprehensive manual for filmmakers and producers dedicated to film distribution and the marketplace could mean the difference between getting your film out to the public and keeping it "in the can." Learn how to sell your movie to a studio, a cable network, a video distributor, or an international buyer. Self-distribution and other alternatives to traditional distribution are also considered. In addition, you'll hear some success stories from producers and hear exactly what buyers are seeking. Stacey Parks has worked with hundreds of hungry filmmakers to get their films a distribution deal and knows how frustrating the whole process can be. Let her show you how you can take control of your filmmaking career and start getting your work seen by audiences with a few little-known distribution secrets. Features include: . Interviews and case studies with producers and distributors . Ten ways to market your film for self-distribution . Sales projections per territory . Distribution resources listings . Negotiation tips for distribution agreements . Sample distribution agreements . What you must know to get your independent film distributed . Written by a distributor who knows the process inside and out . Interviews with buyers and acquisitions executives from every sector of the business on what kinds of films they look for, what they're sick of seeing, and how their acquisitions processes work . Website features sample distribution agreements, budgets, and more! New to this edition: . Completely updated for modern distribution practices (broadcast, DVD, VOD, and other kinds of distribution deals) . New coverage on crowd-funding, social media, film marketing, and deal memos . Get the best inside distribution secrets from brand new interviews with an international cast of directors, producers, and distribution experts who share their experiences . Companion website features helpful downloadable forms and templates, sample distribution memos, and a great resource section "Well written, concise and (most importantly) honest! A must-have for indie filmmakers."--Kate Pearson, SVP, Programming, The Documentary Channel "Finally, a contemporary and practical book about film distribution that explores this often mysterious and misunderstood part of the industry. As an academic text the approach is both classroom and reader friendly, providing information not easily found elsewhere."--Sharon Badal Faculty, New York University Tisch School of the Arts Kanbar Institute of Film and Television "The book is well worth a read especially for those filmmakers who take the business of filmmaking seriously." - Karen van Schalkwyk, SCREEN AFRICA Contents:
- IntroductionII. State of the Market: A Reality CheckAdd a brief history of film distribution Add interview with Dylan Leiner of Sony Pictures Classics (or comparable source) on how the U.S theatrical market has changed over the last 5-10 years. III. Before you start Production: Getting a leg-up on Distribution a. Getting in touch with the market: Doing Market Research b. The importance of genre and format c. Casting for distribution d. Financing options - to include domestic and foreign pre-sales, private investors, completing a business plan, etc. Add interview with Packaging agent from William Morris Agency Suggested Exercises: (will add in 3-5 suggested exercises to appeal to academic market) IV. Production Geared Towards Distribution a. Shooting digital vs. Film b. The importance of stills c. Starting publicity during production: blogs, production diaries, hiring an PR agent, etc. Interview with Michael Baker, head of Acquisitions and Development for Think Film Suggested Exercises: V. Post-Production geared Towards Distribution a. M&E Tracks b. Trailers c. Music d. Third party feedback Add short interview/blurbs from buyers and distributors on post-production elements and what they mean in terms of getting distribution. Suggested Exercises: VI. It's in the can, now what: Creating Your Distribution Strategy a. Creating a campaign b. Applying to film festivals: what are the first tier, and second tier film festivals c. Finding Producers Reps and Sales Agents d. Navigating International Film and TV markets e. Should I have a Distributor screening for my film? Add interviews with Foreign Sales Agents in the UK and France Suggested Exercises: VII. Getting a Distribution deal a. The U.S Distribution deal b. Foreign Sales and What to Expect c. Non-theatrical distribution and ancillary markets d. Diagram/Table of expenses required to market and distribute an independent film Add in interviews/blurbs with filmmakers who were NOT successful getting distribution and what they would do differently. Suggested Exercises: VIII. Dealing with the Distributor After you get a Deal a. Anatomy of a Distribution Contract b. How much will I make: Realistic Sales Projections for your film c. When will I get paid? Typical cash flow situations Suggested Exercises: IX. Alternatives to Traditional Distribution a. On Demand DVD distribution b. Video on Demand distribution c. Online film and television markets d. Platform theatrical release Interview with Betsy Chasse 'What the Bleep Do We Know' Suggested Exercises: X. The future of Distribution a. How technology is changing Distribution XI. Conclusion Interview Stephen Winter 'Tarnation' Appendix A: Ten successful indies and what made them successful Appendix B: Distribution Agency Guide (US and outside US) Appendix C: Anatomy of a Distribution Agreement Appendix D: Sales Projections per Territory
Payment & Security
Your payment information is processed securely. We do not store credit card details nor have access to your credit card information.
Estimate shipping
Refund Policy
You must contact us before returning any item.
BOOKS
Books returned to us without prior agreement will not be credited or acknowledged. We can accept no liability for financial losses incurred by customers who have submitted unauthorized returns – so please contact us before returning an item. Products sold on this website are sold on a firm sale basis and are not returnable. This does not affect your rights to return damaged/defective items. If you have received a damaged/defective item, please contact us as soon as possible via our online contact form and/or via email at store@studentfilmmakers.com. Please add our email address to your address book and "whitelist" us, so that you receive our message in your inbox, and so that our reply doesn't go into your bulk or spam folder.
Cancellations: If you wish to cancel an order, please contact us as a matter of urgency because once we have charged and dispatched your order we cannot then cancel it. This does not affect your rights to return damaged/defective or incorrect items.
AZDEN PRODUCTS
Full refund inside 30 days. No refunds outside of 30 days. No exception. Products must be returned in excellent condition or a restocking fee of 15% will apply.
If a customer has a defective product and they are outside the 30-day return window please see the Azden Webpage for warranty.
E-GIFT CARDS
Once the e-gift card has been e-mailed, it is non-refundable. If the intended recipient does not receive their e-card or accidentally deletes it, we are happy to resend the e-gift card if they contact us through our online contact form and/or via email at store@studentfilmmakers.com.
WORKSHOPS
Workshop Cancellation and Refund Policy
Please read the policies regarding refunds, transfer credits and other important items before you register.
Withdrawals & Refunds
Registration fees are non-refundable unless a participant provides StudentFilmmakers.com with written notice that he or she intends to withdraw from a workshop. See the following details below.
- Written withdrawal notice must be received by the StudentFilmmakers.com
at least 30 days prior to the workshop. - Withdrawals or requests for a refund may not be made by telephone.
- Please note that absence from workshop does not constitute notice of withdrawal.
- Full refund minus a $25 admin fee up to 30 days out of your scheduled training.
- 50% refund after that up to two weeks out from the scheduled date.
- No refund within two weeks of the training date.
- An exception will be made for an unexpected illness, and a refund of 50% or a credit to attend an up-coming workshop can be issued.
- You can only receive a refund in the original payment method.
- In lieu of a refund, you can also transfer your spot to someone else. We can transfer tickets up until the day before the event.
No Show
When a participant is confirmed in a workshop and fails to attend, the participant will be charged the full workshop fee.
Workshop Cancellations
StudentFilmmakers.com reserves the right to cancel any workshop, and you will be issued a full refund for your registration. StudentFilmmakers.com is not responsible for any loss or damage as a result of a substitution, alteration or cancellation/postponement of an event. StudentFilmmakers.com shall assume no liability whatsoever in the event this conference is cancelled, rescheduled or postponed due to a fortuitous event, Act of God, unforeseen occurrence or any other event that renders performance of this conference impracticable, illegal or impossible. For purposes of this clause, a fortuitous event shall include, but not be limited to: war, fire, labor strike, extreme weather or other emergency.
Please note that while speakers and topics were confirmed at the time of publishing, circumstances beyond the control of the organizers may necessitate substitutions, alterations or cancellations of the speakers and/or topics. In case of a speaker's cancellation a substitute speaker of equivalent level or higher will be provided. As such, StudentFilmmakers.com reserves the right to alter or modify the advertised speakers and/or topics if necessary without any liability to you whatsoever. Any substitutions or alterations will be updated on our web page as soon as possible.