Commonly a number of non A list European festivals will pay a stipend (they get govt support). Also niche festivals - LGBTQ+ and Jewish festivals. Often in general smaller festivals will have a budget for this - sometimes will offer it or it can be asked for in lieu of travel expenses. Partly of course it all depends on how much they want a film - but Jeffrey Winter at The Film Collaborative's model is based on these fees - and many foreign sales companies have someone on staff specifically to book these and collect the fees. In this case the fee is commonly split with the filmmaker 50/50. Perhaps a post about this is in order in the future.
It's interesting how INTERNATIONAL sales agents provide festival strategy/booking as part of their service, but the US Sales Agents & "Producers Reps" don't. Filmmakers are left to their own devices in planning out a US strategy and thus we've fallen into this idea that films are supposed to sell at the first opportunity.... instead of using the festival circuit to grow audience and value. Slow It Down!
Thanks for the link Jon, I love the Few Festivals Approach and it makes me wonder, what film festivals split revenue and pay fees. I actually asked this very same question on LinkedIn and have yet to get a single positive answer. Please tell us!
I looked ahead to some of the posts I have planned. Currently on 9/16 I will drop more of Non-dependent Film Distribution Playbook -- but mine is not the stepxstep process others have provided. Mine is driven by underlying principles or even dare I say... philosophy. The post of mine pleading to "Slow It Down" is part of that. So is this one: https://tedhope.substack.com/p/you-have-to-ask-the-questions-if
This is a great post Ted. I think I will start giving it to clients especially when they are starting to figure out the goals for their releases. I especially love - what do you love and why do you love it - as well as how are you going to leave the ecosystem better off than before - And of course excellent to remind people they need an audience! Perhaps you should be my first interview podcast to discuss distribution!
Our meet up with you, prior to embarking on our active distribution campaign for INVISIBLE NATION, was crucial in helping Vanessa and me both recognize and prioritize our goals.
Commonly a number of non A list European festivals will pay a stipend (they get govt support). Also niche festivals - LGBTQ+ and Jewish festivals. Often in general smaller festivals will have a budget for this - sometimes will offer it or it can be asked for in lieu of travel expenses. Partly of course it all depends on how much they want a film - but Jeffrey Winter at The Film Collaborative's model is based on these fees - and many foreign sales companies have someone on staff specifically to book these and collect the fees. In this case the fee is commonly split with the filmmaker 50/50. Perhaps a post about this is in order in the future.
It's interesting how INTERNATIONAL sales agents provide festival strategy/booking as part of their service, but the US Sales Agents & "Producers Reps" don't. Filmmakers are left to their own devices in planning out a US strategy and thus we've fallen into this idea that films are supposed to sell at the first opportunity.... instead of using the festival circuit to grow audience and value. Slow It Down!
Thanks for the link Jon, I love the Few Festivals Approach and it makes me wonder, what film festivals split revenue and pay fees. I actually asked this very same question on LinkedIn and have yet to get a single positive answer. Please tell us!
I looked ahead to some of the posts I have planned. Currently on 9/16 I will drop more of Non-dependent Film Distribution Playbook -- but mine is not the stepxstep process others have provided. Mine is driven by underlying principles or even dare I say... philosophy. The post of mine pleading to "Slow It Down" is part of that. So is this one: https://tedhope.substack.com/p/you-have-to-ask-the-questions-if
This is a great post Ted. I think I will start giving it to clients especially when they are starting to figure out the goals for their releases. I especially love - what do you love and why do you love it - as well as how are you going to leave the ecosystem better off than before - And of course excellent to remind people they need an audience! Perhaps you should be my first interview podcast to discuss distribution!
Our meet up with you, prior to embarking on our active distribution campaign for INVISIBLE NATION, was crucial in helping Vanessa and me both recognize and prioritize our goals.