What we guarantee
Commitments written into the agreement rather than onto a page.
Most of this business runs on assurance rather than obligation. These are the things we will put in writing, and the conditions attached to them — stated up front, because a guarantee with conditions you discover later isn't one.
What we guarantee
The Score Movement Guarantee
Test screenings are only worth what you do with them. So: run the first screening, implement the changes we agree after it, and if the second screening doesn't show improvement in Excellent and Definitely recommend, the second screening is free.
The conditions are the point, not the small print. This works when you act on the findings. If you don't, we can't stand behind it — and we'll tell you that before you book, not after.
The Vault
No score, no comment, no verbatim, no report ever leaves this office without your written instruction. That is in the agreement, not just on this page.
Phones are collected and secured for the duration of every in-cinema screening. Every participant signs a non-disclosure agreement. No title, cast or synopsis is disclosed in recruitment beyond genre. The venue and date are never publicised.
The report belongs to you. You decide whether a buyer ever sees a number.
No fee to be considered
We don't charge to read, watch or consider your film, and we never will. If any sales agency asks you to pay to be looked at, that's your answer.
We reply either way within 2 working days.
A small slate, and no way out
We take on a small number of films a year — typically around five, though the right film matters more than the number — and we do not release a place once it is taken. If you are looking for an exit clause before you have started, we are the wrong agency, and we would rather say that now than take a place from someone who wants it.
Which guarantee applies at which stage
Every one of these is a promise about process rather than outcome — something we control, rather than something the market decides.
The Blueprint
Nothing is held back. The document is the whole method, the same fourteen steps in the same order we run them in, and it costs nothing.
The discovery call
You get the hour, whatever it takes to arrange it — if a date does not work we move it rather than let it lapse. Paying for the call takes $500 off Stage one. Valid for twelve months from the call being paid for.
Stage one — Validation
Whatever the six steps find, you get the finding. Including where the finding is that the film should not be made in its current form — that is the answer this stage exists to be able to give.
Stage two — Producing
Every departure from the locked brief is written down, and was decided rather than discovered. If the film that emerges is not the film in the brief, we say so and revalidate rather than carrying stale evidence into a test screening.
Stage three — Audience testing
The Score Movement Guarantee and the Vault, both set out above. Every screening is run to the same standard whatever the film scores: recruited to the agreed audience, phones secured, the full questionnaire, and the whole dataset handed to you rather than a summary of it. Nothing from either screening leaves this office without your written instruction.
Stage four — Market execution
A written report after every market: who watched, who responded, what they said, what we are doing next. You see every offer, including the ones we advise you to refuse. And the agreement carries a minimum performance provision, so if agreed targets are not met within the set period you can terminate and take the rights elsewhere.
At every stage
No fee to be considered, and a small number of representation slots we do not release once taken. Both apply from first contact, whether or not you ever buy anything.
What we don't guarantee
A sale. No honest sales agent can promise one. What we can promise is that the film goes to buyers with evidence attached rather than hope, and that you see every offer including the ones we advise you to refuse.
A price. Anyone naming a figure before an audience has seen the film is guessing. The whole point of testing twice is to replace that guess with something a buyer can argue with.
That you'll like the results. A test screening can tell you something you didn't want to hear. That is the risk, and it is the reason the process is worth paying for.