“Split rights” means exactly that: You are splitting the world rights (a.k.a.You’ve graduated from an accredited film school and made an award-winning short. You’ve posted your availability on Craigslist, Mandy and Shooting People and quickly realized that no one - absolutely no one - is recruiting. ain’t hiring, William Morris isn’t looking for new talent, NBC is cutting back, Disney just laid off 200 people, the BBC is going to freelancers and HBO wants big names only. A producer is someone who has produced a movie (a.k.a.Plus, your 532 Facebook friends are all broke and not one of the 176 production companies in attendance at AFM or Cannes would even talk to you about your killer bird flu flick, even though it’s set in one room and could be shot in a single weekend. You’ve learned how to block a scene, move a dolly, mix a soundtrack, edit, color-correct a work print, watch Hitchcock and critique Spielberg - but you don’t know how to make money and you’ve got rent to pay. a feature film with a 90-minute running time) that has gotten into Sundance, Toronto, SWSX or Raindance and has a three-picture deal.Thus, after all is said and done, you should be happy with a four percent producer’s fee. It’s not big bucks, but it’s better than nothing—and hopefully just enough to pay your rent while you make your first feature film, which is to be thought of solely as your “calling card.” Let’s assume that your first feature film, your “calling card” film, gets picked up at a festival for theatrical distribution. after expenses.” As 50 percent of nothing is nothing, never accept a theatrical distribution deal without seeing some cash (a.k.a.What about for a low-budget (,000 to 0,000), independent feature film that is closer to reality? an advance) up front, which can be applied to or recouped from the profits, unless you totally accept that your film is just a “calling card” that will get your name out into the industry to secure you a Big Five agent (William Morris, ICM, CAA, UTA or Endeavor) who will get you big-budget deals with fat producer’s fees.a producer’s fee) that is equal to 10 percent of a film’s budget.
Now that you have a movie (not a film), you can cash in on your six ancillary sales, allowing a vendor in each industry (on-demand, video/DVD, pay-per-view, pay cable, basic cable and broadcasting) a one- to four-month exclusivity period (a.k.a. PLUS, there is now a breath of fresh air, revenues wise, due to the availability of almost free broadband that has created an On-demand industry that is exploding with companies like Net Flix, Hulu, Vudu, e.c that are going directly to the consumer/viewer and collecting revenues on business platforms designed around either Transactional, Subscription or Ad-Support foundations There are 35 nations and/or territories that purchase films from America, even if the film has never been released theatrically.This is commonly known as the “made-for-foreign marketplace.” To ensure that you procure these 35 sales (Italy, Japan, Korea, Brazil, India, etc.), negotiate a “split rights” deal with your theatrical distributor at the film festival where you were discovered.Stop thinking you’re a big frickin’ mogul garnering seven-digit figures and start thinking of it as a job.Film school textbooks state that a producer receives a salary (a.k.a.There are ancillary revenues to be derived from your “calling card” feature film if—and only if—you have a theatrical distributor who places at least 25 prints in 25 theaters in 25 major markets (New York, Los Angeles, San Francisco, etc.) for at least three weeks along with a minimum advertising budget of 0,000.
This is enough exposure to make 65 percent of America believe that this thing actually is a “movie.” Thus, to make money, take your film to a distributor, have them put in the P&A (print and advertising) money and give them a 50-50 net deal that will likely show you no theatrical profits but will make you the proud owner of a real movie.