Distribution : Ask Me Anything (AMA) 12/19 to 12/20- Understanding International Distribution by Alexia Melocchi

Happy Holidays, Alexia Melocchi! I'm looking forward to this AMA! Thanks for having it!

Hi Alexia,

Great you're doing this AMA!

I am wondering how much it could/would cost to do a holocaust camp movie of 115 pages? First 19 to be shot in Berlin, the rest in Latvia (think tax rebate)- partly using a studio there..

Logline:

"After an SS officer's family is accidentally sent to Treblinka, he must save them before the commandant dismantles the camp and kills all inmates."

Contrary to -- for instance "The Son of Saul" (77 pages) -- budget 1.5 mil -- it has a long action scene (15 pages) - being the revolt - at the end of the script. Could such a movie be made for 6 mil= 5 mil + 1 mil marketing? All C/B possible cast, some with A potential.

Because of the standard unescapable construction - I must cover enough standard facts ,(as a basic general camp life overview) -- I feel I can't cut away 90% of the first 19 pages (the Berlin part before they take the wrong train) where I introduce the Nazi family; I really need to make them (somewhat) likable here. As a comparison. Think of the long (partly unneeded) family intro in "Boy with the striped pajamas" to - at least - make the German son likable.

The atached director asked me to cut the script down, and right now it feels I need (even) more scenes to solve what I feel are 'time gaps' (in 5 months camp life). Helllp!

Best, Rutger

Hi, Alexia Melocchi. Thanks for taking the time out to have this AMA. What are some of the top countries to sell a film in?

Rutger Oosterhoff, thank you for explaining the scenario. Not having read the script, it is hard to judge, but I can tell you from the market perspective that Holocaust movies are no longer very sellable due to the subject matter being done over and over again. Right now, the trend is staying under 1.5 -2 with tax credits added and securing a major European cast. I think there is a way of cutting the script down if you limit your action lines (that's usually the first step for editing).

Maurice Vaughan happy holidays! Currently hot territories are Japan, Germany, France and CIS. There is a big dip in sales value of all films in all major territories but these seem to hold to their market value.

Alexia Melocchi

This is so important. As somebody who also does Directing. I think it’s crucial. I had to get my own distribution most of the time. What’s your thoughts on online aggregators? Are they really worth there salt?

Hi Alexia Melocchi! Thank you for taking the time to spend with us on this AMA. I actually have two questions if I may. 1) Do you recommend creators approach a sales agent directly or should that be done by a producer? 2) What are some of the best countries to sell science fiction and/or fantasy in? Thanks in advance!

Thanks for the answer, Alexia Melocchi. When is the best time to get a sales agent?

Alexia Melocchi, I am an aspiring creator working with a producer named Danial Zakaria on a new animated feature called "Martial Arts Pets". We are hoping to make this a Japanese-American co-production, but I'm wondering how we can secure funding as well as a producer from Japan?

Thanks for doing this, Alexia! Are there any current genres or subject matters that you recommend staying away from if we're intending to incorporate international distribution as a strategy? (for example, I have heard that comedy is generally a no-go because it doesn't translate across languages and cultures).

Hi Alexia Melocchi! Thanks for doing this AMA! Would love to know what you think are the biggest mistakes up-and-coming writers/directors make when trying to get financing?

Hi, Alexia Melocchi . Thanks so much for sharing your expertise. I hear often from directors about their difficulties in getting distribution. I am telling them to join this AMA as a starter. Happy Holidays!

Thank you so much for sharing your time with us today, Alexia Melocchi! In what ways is approaching an international distributor different than a domestic distributor? Should communication and outreach be approached differently?

Hi Alexia, What do the MGA amounts look like from global streamers for a North American license? I know cast and directors matter but assuming you have decent cast and a known director. Assume a best case scenario. If you were to fill in below with what are the best and worst offers you've seen recently. Don't name names. Just the amounts:

Tier 0 -1 indie films (budgets of 1-4M)

Offers from Global Streamers like Amazon, Hulu, Apple, Netflix

I've seen offers for Drama & Comedy go from $00K, M to about $000K, M

I've seen offers for Horror / Action go from $00K, M to about $000K, M

Can we do better if we go with a worldwide agreement and call it a day? vs selling territory by territory?

If selling territories is recommended, could you rate the following international sales agents from best to worst? I mean for a newcomer to deal with:

Bluefinch

Mr. Smith

VMI international

FilmNation

Pulsar international

Thanks for your expertise, Alexia Melocchi! I have a colleague who has a streaming site in India that is growing rapidly and they’re looking to add kdramas (and maybe additional content as well). Where should I send him? I have a lot of connections in production but not so much in distribution. Not sure where to start. Thanks for your input!

What's the best inroad to get a script to a Spanish company capable of being the centerpiece of a multi-company financing group. And on a personal note, do you know Julia Palau and where she is working these days?

@Mario Leone- it depends on the budget of the film. There is something to be said about the growing revenue streams of AVOD. If your film is very low budget with no name actors on board, it's unlikely it will have legs to sell territory by territory, and it's also a vast amount of work. You are better off going through streaming/avoid platforms (via aggregators or on your own) and then really working on your social media to draw an audience. This will save you the considerable marketing fees of the top and commissions asked by sales agents who rarely care about your movie and forget you after one market if it does not sell.

Do screenplays with settings in Europe and South America do better in the International market than screenplays set in the U.S.? Also, what platforms do you use in your search for material/screenplays?

Leonardo Ramirez, I always suggest going to sales agents via either a producer rep or a producer with a pre-existing relationship, as they can get the film or project seen and evaluated quickly. As for sci-fi futuristic genres- Asia responds to that as well as Spain and the Middle East and possibly Germany.

Maurice Vaughan I love how engaged you are always! Sales agents are seen when you have a finance plan, development funds and at minimum tax credits in place- also best to go with a in production or finished film but if you have something that is high profile it helps to get them to give you insight on the marketability of the IP - assuming you have done development and have the finance plan and some investment secured.

Cee Whirx, I suggest you go to CINANDO and look for Japanese content producers and sales agents. In order to secure a co-pro, you would have to also be open to working with Japanese animators and sharing the writing credit/s with a Japanese writer and even be open to having an Asian director at the helm.

Audrey Knox HI! There is a rise in the comedy genre as people need to laugh and be inspired and entertained. But you are correct, the comedy has to have a broad appeal such as physical and themes /characters that many international countries can identify with. For example, did you know THREE MEN AND A BABY was originally a French Comedy? I would steer away from dark and depressing American stories, (unless they take place in a particular moment in history or are biopics/true) , "out there" sci-fi and graphic horror as the market is saturated right now.

Emily J that is a fantastic question- I would say not having a finance plan that takes into consideration realistic and actual market demands (basically, don't do business plans that are cookie cutter), and having unrealistic ideas on cast and distribution potential. Using A-list names as comps is good to a point- the fact is that most A-list actors won't come on board of a film that does not have a guaranteed US release or is done/produced/directed by someone they know, even if you had all the money in the bank to pay them. I also would say relying on sales agents to fund you, they are a good measuring stick for timing of the project and can steer it and secure some gap but the presale market is pretty much dead and assuming they can fully fund a feature or series is often wrong.

Ashley Renee Smith - yes absolutely the approach is different. To begin with, it's essential to understand culture and communication styles. International distributors are hard to track down and take weeks to respond to emails. And emails MUST be short and just used to set up a time for a call or zoom . Also, they love to be wined and dined, so have a budget for that if you catch them at a US market or festival. Most business is done via a very long social interaction first....

M LaVoie - I love Mister Smith- they are honest and love great storytellers. Film Nation is above them but they only deal with A list producers /actors/writers. Blue Finch and Pulsar are great for European content and animation. Drama/Comedy range can go to streamers from 25K to 250K. Horror Action can go from 75K to 500K. (in the budget range you just gave me)

Carolyn J Carpenter you mean they are looking to buy content for India? Are they not going to the film markets? You would assume that a distributor/streamer would be attending and know where to go to secure those films. I think if they are a serious buyer but just getting into the international acquisition (non-Indian films), they should talk to me. That's what we do for our distributors: scout products for them all year round.

Doug Dilg wow, it's been ages since I have seen Julia. I think she left the business at least 15 years ago. I remember her from Goldcrest in the 90s. As for Spanish production companies- the appeal would be the finance plan/vision of the Group, having Latin Content in the slate and/or shooting some the IP there. Hope it helps you can always DM me.

Maria Soriano yes, European or Hispanic stories do better internationally but have to have an international element (director/producer/writer/author) as a preference. A lot of US stories also get picked up for development/distribution but they need to have a "package" not just a script unless it's an A list writer or from a best seller book. As for where I go when I look for IP- Stage 32 is my go to- currently working with quite a few writers I discovered here. But also through recommendations of other producers who send me IP, Agents or just an interesting random query!

Hi Alexia you said above that pre-sales market is dead now , based on previously market value 2 years ago . how much you would estimate the decline ? 20% -50% ??

Thanks, Alexia Melocchi. I love being engaged in this community and learning so much about different areas of the industry. Thank you for the answer and all of the answers! They're really helpful! Incredible AMA!

Hi Alexia Melocchi! I'm filming a feature film this coming July, a dystopian romance. It's bittersweet but ends on a hopeful note. What is the environment for a film like this?

Alexia Melocchi Do test scores affect the prices at all? If a film tests through the roof in multiple screenings, are the rates offered any higher?

Dear Alexia, it has been a year since I took your class here at Stage32, which was very helpful. I am glad to tell you that my project, Etude f Life, is moving forward, step by step. I am about to hire a Casting Director to help me find a lead actor, some European known actor. I believe that having a recognized actor as a lead would be very helpful in securing distribution? What is your take on that, especially when keeping in mind European distribution. Eha

Eha Urbsalu Hello my lovely student! I am so happy to hear about this! DM me, and I will fill you in, but a well-known European actor is a smart choice and it would indeed help the distribution/sales agency onboarding process. I would also have a list to show your top sales agent choices and let them decide as you don't want to be in a position where you lock in someone and find out they have little value.

Amy Leigh McCorkle I remember your project. If it's based on what you told me about, the social media following will make a difference. And target the indie crowd- US like Neon, Roadside Attractions, A 24 once it's shot.

M LaVoie test scores mean nothing internationally but domestic would help.

Thanks, Alexia, for all your answers!

I would love to know what is the toughest part of getting into Film Sales nowadays?