Crafty Table: The Role of Sales Agents — Do You Really Need One?

When filmmakers start shopping their movie, one of the first questions they hit is whether to bring on a sales agent. For some, it feels like handing away a chunk of hard-won revenue. For others, it’s the key to unlocking markets they’d never reach alone. The truth lies somewhere in between—and understanding the role of a sales agent will help you decide if you really need one.

What Sales Agents Actually Do

A sales agent’s core job is simple: represent your film to distributors and buyers across the globe. They maintain relationships with streamers, networks, airlines, theatrical buyers, and festival programmers. They know which territories are hot for which genres, and they negotiate contracts so you’re not walking blind into a deal. More importantly, a good sales agent carries a catalog of titles—and distributors know they’ll be back with more films in the future. That leverage means your film gets treated with more care than if you’re just a one-off filmmaker trying to cut a deal alone.

The Value They Bring

The biggest benefit isn’t just the introductions—it’s the leverage. Distributors are less likely to stall payments, bury your title, or push bad terms when they know they’ll be negotiating with your sales agent again on dozens of other films. Agents can also package films, using a cast-heavy title to get smaller projects through the same door. For indies, that bundling effect can make the difference between landing on a platform or not.

They also help you avoid common pitfalls: hidden expenses buried in contracts, predatory splits, or distributors who talk a big game but won’t spend on marketing. Even if you’ve read every book on distribution, the market changes constantly. An agent who’s in the trenches every day can spot traps faster than you can.

When You Might Not Need One

That said, a sales agent isn’t always essential. If your film is very niche and you already have direct relationships with the platforms or festivals that fit, you may not need the middle layer. Likewise, if your film has strong local appeal (say, a documentary tied to a specific region or subculture), sometimes a direct DIY release makes more sense. And for ultra-low budget titles, the fees and commissions of an agent may eat into revenue you’d rather keep.

The Bottom Line

A sales agent can feel like an extra cost, but in many cases they’re your shield and your amplifier. They give you leverage, protect you from bad deals, and open doors you probably can’t reach alone. If you’ve only got one film, you may not command attention. But if you’ve got a seasoned sales agent walking into the room with your title in their portfolio, you’re suddenly not just “one filmmaker”—you’re part of a catalog distributors know they need to keep happy.

Now, I’m not saying all agents are the same. We got into this side of the business because we were on the receive end of some shady shit after already putting in hard work. But referring back to my previous article on distributors, at the end of the day it comes down to trust. You either want to have a beer with them or you don’t. Trust your gut.

In short: if your goal is global reach and you want your film to survive the shark tank of distribution without losing its shirt, a sales agent is less of a luxury and more of a lifeline.