Knowledge is Power. Having a firm understanding of the current landscape will empower you to make the best choices for your film.

What is a Distributor Actually Going to Do?

• Determine what they deem the market value of your film and who the audience is. Based on the territory they’re working in – North America, Latin America, etc.
• Determine the markets, the timing of the release window, and the marketing strategy.
• They will market and release your film. Hopefully to incredible success!
• Distributor will assume residuals payments to guilds/unions like SAG, WGA, PGA. However, if you use IATSE crew, it’s unlikely they will pay it out.

<aside> <img src="/icons/light-bulb_purple.svg" alt="/icons/light-bulb_purple.svg" width="40px" /> All-rights buyers don’t pay MGs (minimum guarantees) the way they used to because they don’t make as much money; SOME SVOD (Netflix, Amazon) are all-rights buyers; the TVOD/AVOD players are rev-share only, so they don’t give you money up front.

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What Windows and Rights are Available?

Festival

• Festival rights are just that - and some festival require premiere status (world premiere, national premiere, state or city), so make sure to check on what rights each festival requires before accepting the invitation!
• Sometimes you might work with a sales agent on a festival strategy, in which case they will help you navigate (and monetize) festival rights, typically only for very high profile projects

Theatrical

• These are the rights to bring your movie to theaters
• You want release commitment (guaranteed number of screens & cities) set in stone as much as possible
• Size of release commitment (how many theaters, what does P&A really mean)

Digital

• SVOD (subscription video on demand) - Netflix, etc