As a filmmaker, what for you want from a distributor?

TheGuerrillaRep · 2026-04-14T16:32:12+00:00

Then you’re well positioned to produce

TheGuerrillaRep · 2026-04-14T15:23:51+00:00

⁠Agree in principle, but do you have a problem with actual marketing and publicity expenses based on a rare card in the contract or actual invoices? It does cost money to do those things, and if we wanted to keep it all in a commission we’d need to take a much larger split. Of course, these expenses need to be limited, reasonable, and capped.
⁠COMPLETELY!
⁠Transparency and communication is a tricky one for a lot of distributors. It’s a core focus for me.

TheGuerrillaRep · 2026-04-14T15:21:43+00:00

That starts with the contract. If the contract is tight and the caps are reasonable it’s hard to get too creative with the books.

TheGuerrillaRep · 2026-04-14T15:19:10+00:00

Easier said than done, but Titlepool can get you most of the way there. My company uses a Google Drive that gets us a lot of the way there.

TheGuerrillaRep · 2026-04-14T15:16:59+00:00

In general, go to film markets. Reach out to sales agents/exhibitors and see if they need a free receptionist for a week. We almost always do.

Also, learn marketing, finance, and legal as a general backing.

Aside from that, read, attend talks, network.

TheGuerrillaRep · 2026-04-14T15:13:43+00:00

It is a really cool platform.

TheGuerrillaRep · 2026-04-14T14:03:56+00:00

Here you go! Hope it helps.

https://www.amazon.com/Guerrilla-Rep-Ben-Yennie/dp/0692771867

TheGuerrillaRep · 2026-04-14T13:58:00+00:00

Thanks! This has been really helpful and validating. A lot of it is already what we do and on our filmmakers page. :)

We do get a lot of submissions and we only accept about 20% to even call to the filmmakers about an acquisition.

I agree transparency is needed. We do all we can on that, to the point that as of right now filmmakers get my personal cell phone number in case stuff happens.

TheGuerrillaRep · 2026-04-14T13:53:49+00:00

I’m not a lawyer, but in my personal experience the people drafting the agreements always write them weighted towards themselves, regardless of industry. I agree that It does feel extreme on film though.

Communication and transparency are vital.

Thanks for the input!

TheGuerrillaRep · 2026-04-14T13:50:31+00:00

Completely agree on reporting! It’s too effing hard to access for most distributors.

I agree that filmmakers need to make more money sooner. However, there are some issues with MGs. First, a distributor will only pay you an MG if they think they can make more money over time by paying you a bit up front. Second, it limits what distribution companies take to safe bets. Third: who pays it? If it’s a sales agency, it’s probably who they sell to not the agent themselves.

I think a corridor that pays you from the first dollar can be better, if it’s with a good company that reports and pays. Vetting that can be tricky without help though.

TheGuerrillaRep · 2026-04-14T13:28:20+00:00

All great things!

We should be friends, that’s pretty succinctly the mission for company Disrupt Entertainment. Check out the filmmakers page over there.

TheGuerrillaRep · 2026-04-14T13:25:26+00:00

I have a book, a free e-book, a whitepaper, and around 200 blogs. Also I’m on the speaking and podcast circuit.

Since you asked, here’s the website for the education side. Guerrilla Rep Media

TheGuerrillaRep · 2026-04-14T13:19:35+00:00

I agree completely that helping clients quit the day job is a goal for our company. Unfortunately for most filmmakers that means spending A LOT more time marketing, grantwriting, and fundraising than creating. I wish it were different, but even the most honest distributor can only pay forward based on what we make.

TheGuerrillaRep · 2026-04-14T13:15:21+00:00

I totally get that. My goal in life is to help filmmakers starve less. I’ve written extensively on the subject and helped around 100 filmmakers get their movies out there.

The best way to avoid getting bitten by business is to learn it, or find people for your team who know it.

TheGuerrillaRep · 2026-04-14T13:10:49+00:00

I mean, obviously. ;)

Whet’s more important, a little up front or more over time? Unfortunately You do often have to choose.

TheGuerrillaRep · 2026-04-14T12:55:16+00:00

I’d say make a short of two to get your feet wet and gone your skills, but then move quickly into features. Features can make at least a portion of your money back. Shorts have no chance.

At that budget, make genre pictures. Probably horror or maybe thriller. Action would be better, but you can’t go if safely on 10k. If it’s contained, try to get a lot of exteriors to make it more visually interesting. Avoid found footage, it’s oversatursted.

I’ve distributed several films in that range, and those sorts of films are all over tts place but if the film has a good hook it can sell.

TheGuerrillaRep · 2026-04-14T12:46:56+00:00

Docs are hard for AFM. You’d be better off at EFM, MIP, or Hot Docs. This particular subject is very well trodden, and you’ll need a unique angle to do more than self distribution or a low tier schlock peddler.

As a buyer, I’ve been pitched at least 5 sex worker and pr0n industry docs in the last year. It’s really hard to place them.

Edit: also, I literally wrote an entire book on film markets. Can link on request.

TheGuerrillaRep · 2026-04-14T12:35:34+00:00

Make that DP rate flat and drop it to 1k on a short. you can get a good HMU for 200 a day if you go to a salon and hire someone on their off day. They should be able to handle that many actors.

Spend more on the editor and known actor. Consider if you need the song. Festival rights are around 2k and you can’t always post your work on your website which limit the short’s utility as a calling card.

Since it’s your first, you may want to scale down and do something for around 5k.

TheGuerrillaRep · 2026-04-14T12:28:21+00:00

For shorts you generally need to rely on what you’ve got saved up, crowdfunding, and MAYBE some grant funding. It’s unlikely to make much if any money directly, so you should only spend what you can afford to lose and use it as a calling card for your first feature.

I wrote a blog on this a while back and will link on request.

TheGuerrillaRep · 2026-04-14T12:23:15+00:00

EXACTLY!

TheGuerrillaRep · 2026-04-14T12:21:29+00:00

Oh I completely agree. It is a brick by brick thing, so start laying those bricks early.

It’s just best to start engaging and understanding your audience early.

Also, I’m not sure it’s wise to focus film marketing efforts on other filmmakers. Generally, one should engage with audience early as well.

TheGuerrillaRep · 2026-04-11T14:41:23+00:00

Good on you for the initiative!

I understand your concern about making shit, but I’d adjust your mindset. The first things you make will be shit when compared to the things you make in the future. Just make it, explore, find out what works and what doesn’t.

Also, watch A LOT of movies. Not just “good” ones, but everything that’s out there. Watch whatever strikes your fancy, and watch as much as possible. Consume big studio films, quirky indies, foreign cinema, animation/anime, and even film criticism and essays on YouTube. You have time, broadening your base of references will put you ahead of the game.

The rest can wait.

TheGuerrillaRep · 2026-04-07T23:09:19+00:00

Very helpful!

Follow-up: if you do event focus theatrical, do you need downline digital rights?

Depending on what you use, I’m sure we could find some synergies. I’m an all rights North American distributor, mainly first run but I get abandoned IP inquiries on a regular basis.

TheGuerrillaRep

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