Imagination Worldwide, LLC
What it takes to get your film distributed.

By Debbie L. Sklar

Now that your movie has been completed, what do you do? It’s a lot more detailed (and difficult to get it up on the Big Screen) than you might think.

However, a recent interview with Travis Stevens, director of Acquisitions and Marketing for Imagination Worldwide, LLC, an international motion picture sales and distribution company based in Los Angeles, sheds light on the logical next steps to get your film out there.

Formed in August 2003, IWW is owned by Chairman and CEO, Pierre David, and Reel One Entertainment. Tom Berry, president of Reel One Entertainment, serves as co-chairman. Lawrence Goebel has been president since the company's inception.

In its brief 5-year history, the company's eclectic library has grown to more than 50 titles, ranging from Pierre David's taut thrillers and Tom Berry's Science Fiction disaster films to the award-winning documentary My Date With Drew and the horror film festival favorites Shallow Ground, The Living and The Dead, The Hamiltons, Five Across The Eyes, and The Zombie Diaries.. Here’s a closer look.

Q: What are the kinds of independent films, documentaries and television programs you are seeking to represent?

A: We are a sales company and have had success with critically acclaimed genre pictures (Sci-Fi, Horror, TV quality thrillers and Festival films). We look at a wide range of films, but these tend to be our bread and butter.

Q: What is the scope of your sales to buyers (domestic, international), and the kinds of rights you want to represent (theatrical/television/DVD/digital)?

A: The majority of our business is films for the DVD and TV market. It is getting harder and harder for ‘smaller’ films to find a theatrical release, although we have had a handful that have played theatrically around the world.

Q: What are the current films and documentaries you currently represent and which are you most proud?

A: We only acquire films that we are proud to be associated with. For me personally I'd say films like The Hamiltons, Blood Trails, The Lost, Five Across the Eyes, The Living and The Dead and The Zombie Diaries are each movies that will be enjoyed by movie lovers for years to come.

Q: Please share your thoughts about what types of productions are an easy sell in the marketplace, what types of productions simply won't attract attention from buyers?

A: Genre productions with a unique twist travel well. They are also easier to get the Internet community excited about--one intriguing image can go a long way! This is becoming increasingly important as marketing has become even more important. It is harder to do with comedies and dramas unless you have a big star or director behind the production. With more regional or indigenous productions taking place all over the world, it is also easier to sell genre pictures rather than comedies and dramas.

Q: Can you offer specific ways that filmmakers and television producers can structure their productions to add commercial value and make it easy for the distributor to sell to their buyers?

A: I'd say the most important thing to keep in mind is identifying who your audience is before you make your movie. What type of person would want to see your movie? Is it the 14 to 40-year-old horror fans? Single women? Families with children? Once you have identified that audience it is important to be very honest with yourself when accessing whether or not that audience is big enough for a distributor to want spend the money on buying, marketing and manufacturing your film to. If you've decided your film is perfect for people who like quilting and nobody else, then you want to make sure you don't spend too much making it. Because the smaller the potential audience, the more unlikely a distributor (who is interested in appealing to the most number of customers possible) will want to acquire it. There is increasing room for niche films. Self releasing via the Internet is also a growing avenue--but the revenue from this is still far below that of a traditional release. So, before you go and cash in your life savings make sure you've thought the financial model through.

Q: What are the specific terms you tend to offer independent filmmakers?

A: Depends on the picture.

Q: What is the percentage of sales revenue they share with the filmmaker?

A: Again, these are negotiable. We try to structure deals that make everyone happy.

Q: What specific expenses are deducted from revenues before the filmmaker begins to see his or her share of revenue. Are expenses clearly detailed in the distribution agreement and is there a specific cap on expenses?

A: The hard costs of creating artwork, trailers, taking ads, screenings, any delivery items the producer may not have (say E&O insurance) and off course the ‘first born’ clause all sales agents demand of first time filmmakers. Namely, along with the film we get your first born. That is how we grow our ranks.

Q: What is the distributor's procedure for an independent producer who wants to send a screener in the hopes the distributor will represent them? To what address should the filmmaker send the screener?

A: Find out who the person in charge of acquisitions is and send it to them. It is also very helpful if you really research the company before sending the screener. Have they released pictures like yours in the past? If they have released family films exclusively, then you might want to save yourself the shipping costs and them the time before sending your hardcore, gonzo splatter film. You can visit most company Web sites and get the proper contact info there. If your movie is the greatest movie in the world and does not involve quilts, then you can send it to my attention at 9107 Wilshire Blvd. Suite 625, Beverly Hills, CA 90210. I'm actually kidding. I love quilts.

Q: What background information about the film should be included with the screener? How long should the filmmaker wait before doing follow-up with the distributor and in what form should the follow-up be made?

A: Keep it simple. List any festivals the film has played and any significant cast or filmmaking talent involved. It may seem big that you have the ‘Uncredited blonde’ from Rush Hour 4 in your film, but try to limit it to actors who have played significant roles in films or TV shows that we may have heard of. You should also list any deals the film may have in place regarding distribution and/or sales.

Q: What are the best Independent films being produced today in your opinion?

A: Probably the truest … those via the Internet.