For independent filmmakers, few experiences are more discouraging than spending two years creating a film — investing significant time, energy, and money — only to see it make little or no revenue and receive minimal viewership.

This not only impacts morale but also makes it difficult to reinvest profits into the next project. Without revenue from a previous film, filmmakers often need to return to unrelated jobs or go through lengthy funding processes before they can start production again.

However, securing minimum guarantees (MGs) from distributors is still possible today — despite the widespread belief that it’s no longer achievable. Here’s how filmmakers can make it happen.

The Harsh Reality of Indie Film Distribution

Why Many Filmmakers Never See a Profit

Working with a sales agent (who typically takes 15–20%) and a distributor (another 20–35%) often means giving away roughly half of a film’s revenue before any profit is seen.

Additionally, marketing caps — ranging from $3,000 to $15,000 — are deducted from sales before any payouts. Coupled with non-transparent accounting and questionable business practices from some companies, many independent filmmakers end up with nothing.

The Limited Reach of Sales Agents

Even reputable sales agents sometimes submit a film to as few as 25 distributors worldwide. This drastically limits opportunities. Furthermore, agents often push for worldwide rights deals, which can be less profitable than selling rights territory-by-territory.

Why Filmmakers Should Consider Acting as Their Own Sales Agent

By managing sales themselves, filmmakers can:

• Directly contact hundreds of distributors
• Negotiate deals without middlemen
• Pursue territory-specific rights sales for stronger returns

Some filmmakers who’ve adopted this approach built contact lists of hundreds of distributors — reaching out to over 200 companies per film — and achieved 15 to 20 offers, including multiple MGs, even without A-list talent.

The Power of Outreach Volume

Why Numbers Matter

• Typical sales agent approach: 25 contacts → maybe 1 deal.
• Direct outreach approach: 225+ contacts → 15–20 offers.

A larger pool of potential buyers increases the likelihood of attracting the right match. Importantly, a film doesn’t have to appeal to every distributor — just a select few who are willing to commit.

Steps to Selling a Film Independently

Step 1 – Build a Distributor Contact List

Research every possible legitimate company in every market. A comprehensive list may take hundreds of hours to build.

Step 2 – Craft a Clear & Concise Pitch

Include in the email:

• Confirmation that the film is complete
• Cast list (plus notable social media followings if applicable)
• Genre (critical for most buyers)
• A logline (one-sentence synopsis)
• Trailer link (~90 seconds)
• A line offering to share the full feature upon request

Step 3 – Sell by Territory, Not Worldwide

Selling rights territory-by-territory can yield more MGs, more diverse revenue streams, and reduce reliance on a single distributor.

Common Mistakes to Avoid

• Choosing a “name” distributor purely for prestige — Unless it’s a major platform like Netflix, the name alone rarely impacts career growth or revenue.
• Relying on one distributor — Spreading sales across 10–15 distributors reduces risk and increases reach.
• Ignoring foreign markets — Countries like Germany, Italy, Japan, and the UK can offer excellent returns for specific films.

Alternatives if Strong Offers Don’t Arrive

If no attractive MGs are secured, self-distribution becomes a viable backup. Aggregators enable filmmakers to release on platforms like Amazon and Apple TV/iTunes without a traditional distributor. Although some premium services like Hulu may still require partnerships, independent release keeps profits and control in the filmmaker’s hands.

The Bottom Line

To succeed in today’s market, filmmakers must think like entrepreneurs. Rather than depending entirely on traditional sales agents and distributors, controlling the sales process can open more opportunities, secure more MGs, and ensure films are seen in multiple regions with multiple partners promoting them.