When we were ready to take Wild Boys into the world, we considered a lot of different modes of distribution. We could go with a traditional distributor, an aggregator, or choose to handle it ourselves and go the self-distribution route.

One of the hardest things for me entering this phase of filmmaking was wrapping my head around what a distributor actually does.

This week we'll talk about the pros and cons of having a distributor:

• What does a distributor do?
• What does having a distributor do for your film?
• What about self-distribution?

I was not prepared for what distributing a film entailed. If you have never gone down this path, I will shed some light on a part of the filmmaking process that most filmmakers steer clear of.

Let’s roll.

What does a distributor do?

A distributor’s primary role is to market and distribute your film.

Sounds simple, right?

Not so fast.

In many ways, distributors are gatekeepers. They hold the key to launching your film into the world.

In an ideal world, a distributor has the experience, expertise, and connections to help your film reach its audience and be successful in the market.

Distributors are not one-size-fits-all, though. Some distributors want to distribute your film across all windows, platforms, and geographical territories. Others might specialize in a specific window in a specific territory. Like theatrical release in the Nordics or Latin America.

That’s why you need to ensure you find the right distributor for you.

Think about what rights you want the distributor to handle, where you want to release the film, and what the most important deal points are for you.

Once a distributor considers your film, they will determine your film’s market value and potential audience. This will determine their release and marketing strategy as well as the offer they are willing to give you.

You’ve probably heard horror stories of filmmakers handing over their films to a distributor and then never seeing a dime.

What distributors actually do has been treated like a trade secret. And their accounting practices are even more cloaked in shadows and lingo.

This lack of awareness and transparency can end up hurting you as a filmmaker.

When you’re looking for a distributor, make sure you know what you’re getting into before you sign anything.

Get legal advice. Talk to other filmmakers. Do your due diligence.

What does having a distributor do for your film?

Having a distributor can open doors and completely change the game for your film.

It can also make it disappear and leave you feeling cheated.

The way I like to think about a distributor is as hiring an expert.

You’re bringing on a partner for your film to help increase the value of your product.

To gain this expertise, you pay money.

In the case of distributors, that’s commission based. Meaning the distributor takes a cut of the film’s gross revenue, typically 10-30%.

Where a lot of filmmakers get tripped up is that you also agree to cover all the distribution company’s costs related to the film.

This can get nebulous.

If you don’t have set spending limits or completely transparent accounting, distributors can get up to nasty trickery.

Lots and lots of filmmakers have been screwed this way.

It is YOUR job to make sure this doesn’t happen to you.

In an ideal world, a distributor gives you access to exhibitors, marketing opportunities, and press contacts that you wouldn’t have been able to reach otherwise.

They also offer expertise in navigating the marketing and distribution landscape. They help you build a strategy for releasing your film.

The distributor landscape is vast and varied, there are good ones, bad ones, and straight-up nasty ones.

If you’re considering a distributor, do your due diligence.

Here’s what to look for:

• A distributor that has successfully distributed films like yours before.
• Industry reputation - talk to filmmakers who have worked with them before.
• Fair terms and contracts - get legal advice on the terms you are offered.
• Transparency - if a distributor isn’t willing to share information with you, that’s a red flag.

The best way to vet a distributor is to talk to filmmakers who have distributed with them in the past. A filmmaker is not likely to recommend a distributor that did them dirty. This kind of research can save you a lot of pain and suffering down the road.

What about self-distribution?

With the way our industry is headed, it’s completely possible to distribute your film yourself.

You can get it on all the platforms, do your own marketing, and even get it in theaters yourself.

But it’s important to realize what you gain and what you give up.

Distributors take a large part of your revenue because what they do takes a lot of work, experience, and connections.

The biggest mistake filmmakers make when deciding to self-distribute is assuming it won’t be a lot of work.

To be 100% clear: It’s a ton of work.

You’re in charge of getting your film on platforms or in theaters.

You’re in charge of marketing.

You’re in charge of getting press coverage for the film.

Without connections and experience, this is a huge ask.

I’m not saying to not self-distribute.

I’m saying if you do, be aware that it will be a full-time job for a while.

The good news is that if you go that route, you will learn a lot and hopefully make a lot of new connections.

No matter what path you choose for the release of your film, make sure your choice is informed. Make it your business to know the pros and cons of each model, and talk to filmmakers who've been on this journey before.

And cut!

That does it for this week. Here are the key takeaways I want you to bring with you into your directing career from today:

• Distributors can be a key partner in getting your film seen, as they provide expertise in working with exhibitors and marketing your film.
• It is YOUR job to make sure you partner with the right distributor for your film. Do your due diligence.
• If you choose to self-distribute, realize that it is at least a full-time job.

As always, thanks for reading.

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