If you've been making movies long enough, you've definitely heard the horror stories—someone got “burned” by a sales agent or distributor.
But let's cut through the noise. What does getting burned really mean?
Too often, filmmakers complain their movie didn’t make millions and immediately blame the distributor.
Table of Contents
- What “Getting Burned” Really Means
- Forget References—Do THIS Instead
- Understand Your Contract—Or Else
- Final Thoughts on Working with Sales Agents
- Frequently Asked Questions
- Movie Distribution Glossary
Here's the harsh truth: that's not getting burned.
That's the market. And the market right now is tough.
Even when you do everything right—ads, influencers, perfect marketing—some films just won't land. That's not sabotage; that's reality.
But yes, sometimes filmmakers do genuinely get burned—and that's exactly what we're covering today.
What “Getting Burned” Really Means
Before you panic, let's define real red flags.
If your film was never properly released, if your distributor suddenly ghosts you, or if they're clearly making money but you're not seeing a dime—that’s a legitimate problem.
But not every disappointing result means you got screwed.
Learn to separate genuine scams from simple market failures. Understanding this difference can save your sanity—and your filmmaking career.
Forget References—Do THIS Instead
Here's a rookie mistake filmmakers always make: asking a distributor or sales agent for references.
That’s pointless—no one's giving you bad references!
Instead, get proactive. Use IMDb Pro or similar resources to see which movies they've handled. Then, contact those filmmakers directly.
They'll tell you everything you need to know—good or bad.
Don’t just ask one producer, ask several. Multiple perspectives will give you clarity. If everyone shares horror stories, move on.
If feedback is mixed, dig deeper before you sign anything.
For deeper insights, check out our course, Get Movie Distribution. It’s designed to help you navigate deals confidently and avoid pitfalls.
Understand Your Contract—Or Else
Once you've found a distributor or agent who passes the initial test, the next step is the contract.
And trust me, most filmmakers mess up here—not because they skip reading it, but because they don't actually understand it.
Pay attention to these points specifically:
- Distributor fees and percentages
- Allowed expenses and deductions
- Marketing obligations
- Rights reversion clauses
- The term length of your deal
Hiring an entertainment lawyer here is crucial—but pick carefully.
Some lawyers aren't current with the market realities, and others will redline every tiny detail to death, killing your deal.
I’ve personally seen great film deals collapse because a lawyer over-negotiated.
If I'm lukewarm about a film and get back a document with endless edits, it's easier to just pass.
Not because the movie isn't good—but because endless back-and-forth wastes everyone's time.
Want to confidently negotiate contracts yourself?
Consider our course Sell Your Movie System. It breaks down exactly how to navigate film distribution deals clearly and effectively.
Final Thoughts on Working with Sales Agents
Bottom line: Want to avoid getting burned? Do your homework. Check backgrounds, understand contracts, talk to other filmmakers, and pick your lawyer carefully.
The more you network, attend markets, and ask around, the sharper your instincts become. Ideally, your next sales agent experience will be positive because you've done the groundwork.
Don’t skip vetting. You've put your heart and soul into your film—you only get one shot. Make it count.
Working with Sales Agents?
If you're thinking about working with a sales agent or distributor, you've probably got a lot of questions—especially if you've heard some of the horror stories floating around the indie film world. Below are answers to the most common questions filmmakers ask about navigating these relationships the right way—without getting burned.
What does it mean to get “burned” by a sales agent or distributor?
Getting “burned” means your film was never released, your distributor ghosted you, or they made money from your film and never paid you. It doesn’t just mean the film didn’t make a profit—that’s the market.
How can I tell if a sales agent is legit?
Skip the references. Instead, look up their track record on IMDb Pro or Senado and reach out to the producers directly. They’ll give you the real story—good or bad.
What are red flags when working with a sales agent or distributor?
Red flags include: no release, no communication, and no payments even when revenue exists. These are signs of bad actors, not just bad luck.
Should I ask a sales agent for references?
No. References are curated. Do your own homework and contact past clients independently to get unfiltered feedback.
How can I protect myself before signing a distribution deal?
Research the company, talk to previous filmmakers, review the contract in detail, and hire a qualified entertainment lawyer familiar with today’s film landscape.
What should I look for in a film distribution contract?
Look at the fee structure, allowable expenses, marketing plan, rights reversion clauses, and contract term. These directly impact your revenue and creative control.
Should I hire an entertainment lawyer to review my deal?
Yes, but make sure they know indie film. An overly aggressive lawyer can redline your deal into oblivion and ruin your chances.
Why do some film distribution deals fall apart?
Not always because of the film—but because the contract was over-negotiated. If a distributor sees too many redlines, they might just walk away.
How do I avoid getting scammed by a distributor?
Check their past deals, talk to filmmakers they’ve worked with, read the contract carefully, and bring in a savvy entertainment attorney.
What’s the best way to prepare for working with a sales agent?
Educate yourself. Our course Get Movie Distribution gives you the tools and knowledge to approach sales agents with confidence and strategy.
Movie Distribution Glossary
Here are some key terms to help you navigate film distribution deals more confidently and avoid getting burned by the wrong people.
Sales Agent: A person or company that represents your film to international buyers or platforms. They help license your movie in various territories but take a percentage of the revenue.
Distributor: A company responsible for getting your film to market—whether that’s theaters, VOD platforms, DVD, or TV. Some handle global rights; others focus on a single region or format.
Getting Burned: A term filmmakers use when they feel cheated in a distribution deal—usually because their film didn’t earn money. True “burns” involve no release, no payment, or radio silence from the distributor.
Market Failure: When a film doesn’t perform well financially, despite proper marketing efforts. It’s not always someone’s fault—it’s just the risk of the industry.
Red Flags: Warning signs that a distributor or sales agent may be unethical or unreliable. Common examples include dodging communication, vague marketing plans, or suspicious contract terms.
IMDb Pro: A subscription-based tool that gives filmmakers access to film credits, contact info, and industry insights. Useful for researching sales agents and distributors.
Rights Reversion: A clause in a distribution contract that outlines when and how the filmmaker can get their rights back—important if the distributor fails to deliver results.
Expenses & Deductions: Costs that a distributor is allowed to take off the top before you get paid—can include marketing, deliverables, or even festival fees. These should always be clearly spelled out in your contract.
Entertainment Attorney: A lawyer who specializes in film and media contracts. Not all lawyers are the same—make sure yours understands current distribution practices and won’t blow up your deal with unnecessary edits.
If you want to take the guesswork out of working with sales agents and make sure your film ends up in the right hands, don’t just wing it.
Learn what really works from someone who's been there.
Get Movie Distribution is our step-by-step course that shows you how to protect your film, negotiate smarter deals, and actually get your movie out into the world. If you're serious about results, this is where you start.
