Show Notes
Thinking about attending the European Film Market (EFM) in Berlin? In this episode, I break down how EFM compares to Cannes and AFM, why it’s considered the most professional film market, and why filmmakers with finished projects and real credits get the most value from it. If you want smarter film distribution and market strategy, this one’s for you.
More from The Filmmaking Stuff Podcast
Making your movie is one part of the process. How are you going to get it out into the world? Tom Malloy breaks down the five core pillars of independent film: producers, investors and financiers, sales agents, distributors, and exhibitors and streamers. Learn who does what, how international film sales and domestic distribution connect, and why those relationships matter when you’re building a plan to revenue.
What if you already have the life you’re working toward? In this episode, I take a break from film financing and distribution to share the Mexican Fisherman Story. It’s a simple, inspiring reminder to think about what success means to you, enjoy time with your family, and appreciate what you have—because it may be exactly what you want.
Your indie film isn’t automatically worth what you spent making it. In this episode, I break down how the marketplace actually determines an indie film’s value—and why cast, genre, audience, festival exposure, buzz, timing, and buyer demand can matter far more than your production budget. I also explain why filmmakers need to understand what buyers are actually paying so they can work backward, determine a realistic market value, and build the right production budget from the beginning.
Why doesn't a $20 million movie that grosses $30 million at the box office automatically make a $10 million profit? Because that's not how theatrical movie economics work. In this episode, I break down the real numbers behind a theatrical release, including production budgets, P&A and advertising costs, the exhibitor's share of box-office revenue, and why filmmakers need to look beyond the headline gross when determining whether a movie actually made money. Using a simple $20 million film as an example, I'll show you how quickly the economics change once you account for marketing and the theaters' cut.
In filmmaking, things fall through all the time—financing disappears, actors drop out, deals change, and rejection comes with the territory. In this episode, I explain my Ant Theory and how I’ve used it throughout my filmmaking career: instead of sitting around thinking about what went wrong, figure out what you need to do next and take action. It’s a simple approach to persistence, handling rejection, overcoming filmmaking setbacks, and continuing to move toward your goal.