Crafty Table: How to Attach Sales and/or Distribution to Your Indie Film

A lot of filmmakers think attaching sales or distribution to their film means they’ve “made it.” But let’s be clear: a distributor or sales agent is not a stamp of success — it’s a step toward it. That said, if you approach the process smartly, with strategy instead of desperation, you can use early attachments to build credibility, raise capital, and position your project for a real release instead of a digital graveyard.

🧩 Step 1: Know What You Actually Need

There’s a big difference between sales representation and distribution, and most filmmakers blur the two.

• Sales Agents handle licensing your film to distributors, broadcasters, and streamers across the globe. Think of them as brokers — they shop your film and take a commission.

• Distributors actually release your film — domestically or internationally — whether theatrically, on VOD, or through streaming platforms.

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You might not need both at the same time. In fact, early in development, what you really need is sales packaging — something to give investors confidence that there’s a path to monetization. That could be a letter of intent from a reputable sales company (like S&R Films) or a distribution commitment for a specific territory.

💼 Step 2: Build a Package They Can Actually Sell

Sales agents aren’t emotional; they’re analytical. They look at cast, genre, budget, and audience before they look at your passion. If they can’t visualize an ROI, they’re out.

Here’s what makes your film sellable to a sales company or distributor:

• Genre clarity: “It’s a dark dramedy with horror elements” is code for “I don’t know my audience.” Pick a lane.

• Recognizable cast: You don’t need A-list, but you do need trackable value — people who move units in a specific territory.

• Budget alignment: If you’re making a $2MM drama with no names, there’s no math that works.

• Comparable titles: Be ready to name five films like yours, who sold them, and what they grossed. And for fuck’s sake, do not exclusively list the outliers that blew up at the box office; pick winners, but realistic ones lest you look like a putz to the people who know better.

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If you can’t show that your movie makes financial sense, don’t expect a sales company to spend their credibility or cash chasing deals that don’t exist.

🔑 Step 3: Timing Is Everything

The best time to approach sales and distribution depends on your leverage point.

• If you’re in development and need investors, you’re seeking a soft attachment — a letter of intent (LOI) from a known sales agent saying they’ll rep the film once it’s complete. This adds credibility but isn’t binding. Likewise, you can hard-attach a sales company in exchange they assist you in making smart casting decisions that will move the needle. Hint: no, Eric Roberts is not going to greenlight your movie.

• If you’re in production and have a strong cast, that’s the moment to secure formal representation — possibly even presales if your genre and talent justify it.

• If you’re finished, now you’re pitching from results, not promises. That’s when distributors start paying attention — especially if you have strong name talent, premiere festival placement, awards buzz, or proven data like trailer views or preorders.

  
  

The worst move is chasing distribution before you’re ready. Nothing screams “amateur” like asking a distributor to commit to a film they haven’t seen and you can’t yet deliver.

📈 Step 4: Use Sales Attachments to Raise Capital

Investors don’t want uncertainty; they want signals. An LOI from a credible sales company can act as a trust signal. It shows that your project has been vetted by someone who sells films for a living.

Just be careful not to oversell it. A letter from a sales agent isn’t the same as a guaranteed sale. If you represent it as such, you’re misleading investors (and that’ll backfire the moment someone calls to verify).

Instead, frame it honestly:

“S&R Films has agreed to represent the film upon completion. They’ve successfully sold similar titles in our budget range, and they believe this project will perform well internationally.”

That’s the right tone — confident but credible.

💣 Step 5: Don’t Lock Yourself Out of Better Deals

One of the most common rookie mistakes is locking into long-term distribution before your film even screens. Don’t.

If a distributor or platform wants to commit before premiere, great — but negotiate smart:

• If no worthwhile MG, shorter initial term (3–5 years max)

• No cross-collateralization with other titles

• Clear expense caps (studio-level won’t allow this FYI)

• Retained rights (e.g., educational, airline, or territories you can sell separately)

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Remember, early distribution is leverageable — not permanent. You can use it to raise funding, trigger tax credits, or even qualify for festivals. But never give away your movie forever just because someone sent a contract with a logo you recognize. And don’t give it away without equitable consideration (e.g. MG).

🧠 Step 6: Understand What “Attachment” Actually Means

A “sales attachment” is a relationship — not a guarantee. Until contracts are signed and deliverables are in, nothing’s binding.

If you tell investors “Voltage is attached,” make sure that’s true on paper. A simple LOI with the company’s letterhead, signed and dated, is all you need — but it must include:

• Project title

• Producer name

• Term of representation

• Commission rate

• Territories covered

• Language clarifying it’s non-binding until film delivery

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If you don’t have that, you don’t have an attachment — you have a conversation.

🎯 Step 7: Leverage Festivals, Don’t Chase Them

Distributors love momentum. A festival premiere isn’t mandatory, but it’s a powerful accelerator when done right. The trick is choosing the right festival for your film — one that buyers actually attend and where your genre fits the lineup.

Don’t chase Sundance if your thriller would kill at Fantasia. Don’t burn your world premiere on a random small-town fest that has no buyers. One smart premiere can trigger a half-dozen interested distributors in a week.

🧭 Bottom Line

Attaching sales or distribution isn’t about luck — it’s about leverage. Build something that’s worth attaching to, and then use each small win to climb to the next.

Most filmmakers chase distribution like it’s the goal. It’s not. The goal is to build a business model around your film that attracts partners instead of begging for them.

When you get there, the attachments happen naturally — because they see what you see: a film that’s actually worth selling.