Stage four
Sales representation
Dawson's represents independent feature films for international sale. We license distribution rights territory by territory to distributors, broadcasters and streaming platforms, negotiate and close the deals, and account for the money. We take on a small number of films a year — typically around five — so that each one is genuinely worked rather than listed.
Step 14 of the method done for you.
$15,000 is payable on signing — the remaining $15,000 is credited from Stage three. Commission applies to sales in addition. All of it is set out below.
What the $30,000 is made of
It covers the whole of market execution — the film marketing work and the sales representation work, run end to end rather than quoted piece by piece. It breaks into three parts, and only one of them is new money at signing.
$15,000 — carried in from Stage three
If you came up the ladder, you have already paid this. It is not charged twice. If you are coming to us with a finished film and no Stage three behind it, this part is the work we have to do before the film can go out at all.
$15,000 — payable on signing
The only cash this stage asks for at the outset, and every dollar of it is marketing spend. None of it is a fee — we are paid on commission, when your film sells. It buys the campaign that carries your film to distributors in every territory: the materials, the market presence, the screenings, the press. That is what gives the film global reach, momentum and buzz before it is even released — a strategy unique to us. It also covers the on-the-ground market expenses of putting the film in front of buyers.
$0 — from receipts
Earned, but paid out of what the film sells rather than invoiced to you. If the film does not sell, it is not paid.
Commission
15–25% of gross receipts, depending on the film and the territories.
Commission is in addition to the amounts above, not instead of them — it is how the representation itself is paid for.
What we don't charge for is being looked at. Reading, watching and considering your film is free, and always will be.
What representation includes
A territory plan
Before anything else, a written plan: which territories to go to, in what order, with what minimum guarantee to ask for, and which buyer in each one is the realistic first call. Order matters — a strong early deal sets the minimum guarantee for everything after it.
Positioning and comparable titles
How the film gets described, who it's for, and which recent titles a buyer will measure it against. Agreed with you, not imposed on you.
Materials
We work with you to produce the trailer, sizzle, key art and one-sheet — materials built to make buyers want the film before they watch a frame. Buyers in each territory will often adapt or replace materials for their market; what we give them is a strong foundation to work from.
Market representation
We take the film to all major markets, run buyer screenings, and follow up. You get a written report after every market: who watched, who responded, what they said, what we're doing next.
Negotiation
Advances, minimum guarantees, holdbacks, term, media, sub-distribution rights. We negotiate all of it and explain the trade-offs before you decide. You see every offer, including ones we recommend refusing.
Contracting and collection
Long-form agreements, delivery co-ordination, and collection via a collection account manager. Regular statements showing gross receipts, commission, expenses against the cap, and what's owed.
How the process runs
- You send the film. Screener and script plus — synopsis, credits, festival plans, budget, marketing material. We reply within 2 working days.
- We watch it. If we're interested we'll ask to talk. If we're not, we'll tell you why and suggest where else to try.
- We agree terms. Commission, expense cap, term, territories, minimum performance. Written down before anything is signed.
- Testing, positioning and materials. Where there's time, we test the film with a recruited audience and use what comes back to set the positioning, build the sales materials and set the minimum guarantee.
- Materials and plan. Artwork, trailer, one-sheet, territory plan with minimum guarantees to ask per territory.
- Market. Buyer screenings, meetings, offers. Reported to you as it happens, not summarised afterwards.
- Deals and delivery. Negotiation, contracts, delivery, collection, statements.
Rights we handle
- Theatrical
- Non-theatrical
- Home entertainment and transactional digital (TVOD, EST)
- Subscription streaming (SVOD)
- Advertising-supported streaming (AVOD, FAST)
- Free and pay television
- Airline, maritime and hotel
- Remake and format rights, where instructed
We can take worldwide, international (all territories excluding UK), or specified territories only.
Film marketing
Most sales agencies take a film to market and hope buyers are already interested. We build that interest deliberately before the market opens.
Positioning, materials, festival strategy and a campaign that puts the film in front of the right people before they're in the room — so the conversation starts from demand rather than a cold pitch. A buyer who already wants your film pays more for it. That gap is where our commission is earned.
The work spans stages three and four. The materials — artwork, trailer, one-sheet — come out of the audience testing data at stage three. The campaign runs alongside the sale at stage four. Neither is an afterthought, and neither is outsourced.
What we're looking for
- Completed, near-completed or fully-financed feature films
- All budgets considered
- All genres — no documentaries currently
- A clear audience — not necessarily a large one
- Films where we can see the audience and therefore the buyer
We are less useful to you if: your film needs finishing funds we can't source, if the rights position is unresolved, or if you need a single-territory release you could negotiate yourself.
Questions producers ask
What's the difference between a sales agent and a distributor?
A distributor buys rights for one territory and releases the film there. A sales agent represents you and sells to distributors, in exchange for commission. The distributor's money comes from the release; ours comes from the deals we close for you.
Do you take rights or represent them?
We represent them. You retain ownership. We hold the exclusive right to license, for the agreed term and territories, and it reverts to you at the end.
What happens if you don't sell it?
The agreement has a minimum performance provision: if we haven't achieved agreed targets within the set period, you can terminate and take the rights elsewhere. Exact terms are subject to contract. It should be in every sales agreement. Read for it.
Do you handle sales estimates for financing?
No. We don't prepare sales estimates for lenders and we don't arrange or provide financing. If your financing requires estimates, the sales agencies that produce them will tell you which lenders have accepted theirs — ask that question directly.
Will you attach us to a market before the film is finished?
Sometimes, with a strong concept, existing reputation and clear delivery date. Going out too early with the wrong version is expensive and hard to undo — we'd rather wait a market than burn the first impression.
Submit your movie
Work with us directly
Consultations, the individual steps, and the five stages end to end. Everything we do is priced and published.