Jerome Courshon (distribution guru)

[VivaChiba]

Here's his site: http://www.distribution.la/
The site looks like a con-job, but he has legitimate claims to knowing his sh*t.

I've read Stacey Parks' book and it wasn't much use (to me) - she basically used to be a sales rep and talks about getting a star and sales rep. I only mention her because she comes up all the time whilst researching distribution on-line.

Anyway, back to Courshon and his course, The SECRETS OF DISTRIBUTION, Get Your Film Distributed Now!: does anybody here have experience with one of his workshops or this (grossly over-priced) course? I'd be curious as to his nutshell points.

 

[LA Producer]

Anyway, back to Courshon and his course, THE SECRETS TO DISTRIBUTION: Get Your Movie Distributed Now!: does anybody here have experience with one of his workshops or this (grossly over-priced) course? I'd be curious as to his nutshell points.

Hi VivaChiba,

The value of anything is generally borne out by it's use and/or effectiveness. No, my course isn't cheap in some people's eyes. But to say this is grossly over-priced, without having taken my course... I don’t know what value system you’re using to make that judgment. Not everyone who makes a movie is looking to have a career out of this, so if that judgment is from the level of this being a hobby, that’s totally cool and learning about distribution isn’t necessary.

What I teach is serious stuff: Powerful nuts & bolts information and strategies, designed to enable you, the Producer or Director, to actually get results with your movies and docs. REAL results, not the "Yeah, I made a deal with a distributor but got f**ked like so many others." Or, "Yeah, I got my film online, but I'm still not making any money." Either of those scenarios (and plenty of others) are crap. They don't serve filmmakers, and they certainly don't serve those desiring a sustainable film career. (By the way, there's a jpeg of the back of my Program at my site, that briefly outlines each of the 23 Sections of the Program.)

My course is literally worth many multiples of a film school course at USC, AFI, or NYU. Those courses cost $4,000 - $5,000 each. I'm sure they're valuable in terms of learning filmmaking skills or producing skills, but they don't teach the real-world skills of being profitable with what we make.

Anyway, there is so much free information at my site; did you view any of the video clips or read any of the articles/interviews? (Don't let the fact that they're free fool you into thinking they're fluff.) I have at least 30 minutes of excepts from my Program here:
http://www.Distribution.LA/Film.html

There's also a bunch of video interviews, and at least an hour's worth of articles & (written) interviews here:
http://www.Distribution.LA/Secrets.html

Take a look at that material, I think you'll see value there. (There's also testimonials on the "Testimonials" page; none of the notable people there would approve of my Program lightly.)

I am also always available by phone, anyone can call me at any time to ask questions. (My number is listed on my website's "Contact" page.) If you have a particular question, give me a shout, and I'll do my best to assist you regardless of whether you elect to take my course or not.

Good luck!
Jerome Courshon

 

[Sweetie]

I looked over Jerome's site and a lot of the information is similar to what's taught in media distribution books I've been reading lately, though tailored towards the independent film maker. There are some other additional topics that I haven't seen covered before too.

Though this is only from the impressions that I saw from the free videos that were available on his website and from the other links on his site.

While the $600 price tag for a video product is rather steep (in my opinion) but I have to admit if I wasn't already somewhat versed in the topic I would be tempted to pick it up. I've been learning this from books and I'm sure learning on video would be so much easier for me to learn. Being able to contact Jerome with questions would probably make the investment worth while.

Making a film without knowing how you're going to make money is very much like opening a business and not knowing the same thing. There are many nuances to media distribution that would change the way that you make a film, or even help you to make a decision whether to make it in the first place.

In my opinion, it should be something that all directors, producers and script writers (or those aspiring to be one) should know.

 

[VivaChiba]

Jerome/LA Producer,

Thanks for taking the time to make a post; it was never my intention to defame you or your course and am glad that you did not interpret it this way.

Firstly, the reason I referred to it as being "grossly over-priced" is because I felt that numerous books are available on the market, and scores of them could be bought for the price of your book and DVD set/course. If you run a weekend, in-person course, I did not mean to imply that this separate course was not worth the money.

Why does it look like a con-job?
Well, it's the visual appearance of the site. Reading through the content and a little about you, I was compelled to mention that you seem to (since I don't know you personally nor have tried your course, so can not make a more concrete assessment) know what you're on about. So many people have written books/courses on screenwriting without ever having landed a note-worthy sale, or were successful as a writer but their book wasn't very useful to aspiring writers, so naturally, I was curious as to the quality of your course and what members here got out of it.

Going back to the appearance of the site now, I only made the "con-job" assessment because it looks like the same kind of template as those pages which promise insecure men the solution to whatever they're insecure about (i.e. penis size, how to get girls, etc.).
I know it sucks trying to set up a web site without excellent coding skills, but if you addressed this issue, you'd - in my humble opinion - be better off for it.

Finally, it's great that you'd offer me - or anyone else - the chance to phone you for a chat! This does add a lot of credibility and were I in America, I'd probably take advantage of this.
If you ever do a more condensed course, or just the book, at a price more in line with others on the market, please let me know, but for $500, it's not something I'd take the chance on without receiving a few recommendations first.

 

[LA Producer]

Jerome/LA Producer,

Thanks for taking the time to make a post; it was never my intention to defame you or your course and am glad that you did not interpret it this way.

Firstly, the reason I referred to it as being "grossly over-priced" is because I felt that numerous books are available on the market, and scores of them could be bought for the price of your book and DVD set/course. If you run a weekend, in-person course, I did not mean to imply that this separate course was not worth the money.

You're welcome, VivaChiba.
Yes, there are a few books out on the market, but I find they miss the mark. There's always going to be a certain amount of info that's good -- assuming the book is not out-of-date. But frankly, there's only one book that's ever been published (by a colleague of mine), that I think has real value. That said, nothing comes close (IMO of course) to what I do with my Program.

My goal when I teach, and with this DVD Program, is always to take the typical Producer or Director from 0 to 60mph on the proverbial distribution "highway," so that real (and quantifiable) results are achieved. Also, one thing I do that no one else anywhere does, is include 4 full Distributor Contact lists that I curate and update regularly. (A very time consuming process, that understandably no one wants to do or maintain. And any books that contain any lists, are never complete and are out of date within 6 months to 1 year anyway.) One of the challenges for most filmmakers is knowing where to go and who to contact for the different markets for their films, including the right digital/online platforms.

Going back to the appearance of the site now, I only made the "con-job" assessment because it looks like the same kind of template as those pages which promise insecure men the solution to whatever they're insecure about (i.e. penis size, how to get girls, etc.).
I know it sucks trying to set up a web site without excellent coding skills, but if you addressed this issue, you'd - in my humble opinion - be better off for it.

I don't disagree at all; this site was set up when I started teaching (and only doing) live classes, and isn't what it should be/look like in the marketplace now. Revamping my website is on my long list of things to deal with. Your comments are valid, and thank you for sharing them.

Finally, it's great that you'd offer me - or anyone else - the chance to phone you for a chat! This does add a lot of credibility and were I in America, I'd probably take advantage of this.

I am on Skype; as it's not always on, on my computer, just message me a couple days in advance and we can set a time if you desire. I'm on Pacific Standard Time.

If you ever do a more condensed course, or just the book, at a price more in line with others on the market, please let me know, but for $500, it's not something I'd take the chance on without receiving a few recommendations first.

No worries. I have considered breaking the course up into segments, which would be easier on one's wallet; my only issue with that, then, is they're not getting the full course that they really need. This will probably sound sales-y, but my desire is to empower Producers & Directors -- not make them dependent upon me for monthly fees to access "subscriber" or "member-only information." Nor do I want filmmakers to have to hire me for consulting because what I provided wasn't enough. My "business approach" is horrible in that respect, as I'm not "monetizing" filmmakers for an ongoing revenue stream. Some of my colleagues do this, I'm sure you know who they are. I don't mean to sound like I'm judging that, it's just not "my way." I'd rather Producers/Directors learn everything they need for results & success, and move on with their careers without me as a crutch. A friend of mine calls it a "Zen thing" with me, although I'm not exactly sure what he means by that.

Jerome

 

[VivaChiba]

Jerome, can I just confirm that you're willing to entertain the distribution questions and possibly take a look at the distribution proposals of the myriads of indietalk members who are looking to pre-sale a % of their first features?

In this case, you're a damn cool bloke (albeit, I don't know where you'd get the time from)!

Could I take advantage of your kindness now and ask just how should an unknown film-maker/producer approach distribution companies? Without a producer who has proven to take X-amount of money and turn it into a cinema quality film behind them, who'd realistically entertain whatever the e-mail's content is? Who'd request your film business plan?

The other thing, which would benefit some other users here, is how could an unknown film-maker approach distributors regarding a completed film and be taken seriously?

Thanks.

 

[LA Producer]

Jerome, can I just confirm that you're willing to entertain the distribution questions and possibly take a look at the distribution proposals of the myriads of indietalk members who are looking to pre-sale a % of their first features?

VivaChiba, I am willing to entertain distribution questions; my preferred method is via phone (or Skype) for a few minutes. While I could do that here on this board every now and then, I can't commit to being available here whenever a question comes up. There's so much on my plate -- and no doubt there is for everyone here -- that carving out some consistent time online is challenging.

As to looking at distribution proposals of IndieTalk members, that isn't something I have time to take on (unless one is willing to do this under a consulting situation).

All the above said, if you or one of the mods wants to organize a date/time for a conference call with me for IndieTalk members (I can use a conference call service I have an account with), I'm more than happy to do this. I don't know if this would need IndieTalk's (or the owner's) approval, but I'll donate 60-75 minutes with the community, if there's enough interest. ("Enough interest" perhaps being at least 10 or 15 IndieTalkers joining the conference call.)

Could I take advantage of your kindness now and ask just how should an unknown film-maker/producer approach distribution companies? Without a producer who has proven to take X-amount of money and turn it into a cinema quality film behind them, who'd realistically entertain whatever the e-mail's content is? Who'd request your film business plan?

Are you speaking of those who've completed their movie? Or do you mean those who still need to raise money to get their film off the ground?

The other thing, which would benefit some other users here, is how could an unknown film-maker approach distributors regarding a completed film and be taken seriously?

There's not a one or two sentence answer to this question. At least not if I wanted to be complete in this answer.
Few key points to know, when looking for distribution with a completed film:

1) ALL distributors want to see your feature film (and many will want to see your full-length documentary, if they're in that market). This is a fact, don't believe the contrary. This is why there are acquisition execs at every single distribution company. (Unless it's small company and the owner or principals serve in that capacity as well.)

2) In the domestic marketplace (USA), it's about the CONTENT, not about the "relationships." That's why films with major names sometimes get bad distribution... it's not because the producers don't know the right people. Too many filmmakers incorrectly think they need to know the right people. That's BS. And that's what most producer reps sell; they sell "access" and "introductions." You don't need that. All you need to know is who the players are (the companies) for the markets you want to get your film into, and then call/pitch them. Have a good, short pitch (i.e., "elevator" pitch), for whoever you get hold of, even if it's just the assistant/secretary.

3) Now, assuming your film is at least okay (great is best, good is next best, but decent/okay is still doable), depending upon the genre, this will inform as to the best approach to take with these distributors. Different genres of films can require different approaches. It's not complicated, but there are a number of criteria I go into, in my Program, for the most efficacious way of approaching/interfacing with distributors. (And this is where most Producers/Directors fail. They fail because most are not business people, but creatives. They may have made a brilliant movie, but they're now entering the business world of film, and either don't know or aren't willing to learn the 'game' of distribution. Of course, the subject of distribution is boring for most, and I understand that sentiment. )

4) In the international sales arena (outside the USA), it's different. Here, it is not just about the content, but relationships matter. The relationship between the foreign sales agent (from the foreign sales company -- of which most are U.S. companies) and the international buyer is key. A buyer who trusts the sales agents who he/she has been doing business with for 5 or 10 years (or more), will continue to buy from those sales agents. They know the sales agent delivers the film on time, or if there's an issue, it gets handled, etc., etc.
This is why it's challenging for an independent filmmaker to attempt to sell their film into the overseas markets by themself. It's not impossible, of course, but international buyers tend to be skittish with individual filmmakers they haven't a track record with.

So, these are a few key points. There's of course more to this subject, and I do get into additional aspects in some of the excepts from my Program, available here: http://www.Distribution.LA/Film.html

Let me know if you or someone wants to organize the conference call idea mentioned above (and I can be messaged privately here re: logistics, time, etc.). Again, this may need some kind of approval from IndieTalk, so please contact/discuss with them as well.

Jerome Courshon

 

[Sweetie]

I'd personally love to sit in on the conference call.

 

[VivaChiba]

Are you speaking of those who've completed their movie? Or do you mean those who still need to raise money to get their film off the ground?

Off the ground.
As you probably know, it's very difficult finding investors to back the project of a new producer; back a new producer without distribution already in place? No chance.
Also, supposing that one had already contacted a few companies who in return expressed interest in paying for a placement, but only if distribution was already secure...
One company only wanted in if a cinema release was guaranteed... which of course, can not be.

My point, is that anyone without professional credits - especially as a producer - just isn't going to get a reply to their e-mail. On your site, you mentioned to call these companies, but the receptionist simply won't put unknowns through.
On the flip-side of this, sales agents, again, want credits - why would they risk their reputations on an unknown?

What I'm saying then, is that where you have good business points pertaining to completed films, those aiming for higher than a micro-budget production and need that distributor to get their project rolling, are going to run into all kinds of problems.
So, how would you suggest tackling these?

 

[LA Producer]

My point, is that anyone without professional credits - especially as a producer - just isn't going to get a reply to their e-mail. On your site, you mentioned to call these companies, but the receptionist simply won't put unknowns through.

For someone looking to raise money and/or package, true. (For those with completed films, calling is better than emailing.)

What I'm saying then, is that where you have good business points pertaining to completed films, those aiming for higher than a micro-budget production and need that distributor to get their project rolling, are going to run into all kinds of problems.
So, how would you suggest tackling these?

That's a lengthy conversation, I can't really tackle that in "print" here. Certainly not in full.
One thing many producers do, is to package their projects, for both money and co-production purposes. And if the co-production entity is also a distributor (i.e., those distribution companies that also will produce/finance), then that distribution issue is solved. If you don't have credits, but you can get something packaged, you can get doors open.

Another thing producers do, is package a film with names that will sell into various international territories, and then get pre-sales. Even if you yourself don't have a track record (no credits), if you package a film with some names, you will get interest from foreign sales companies to do this. And once you have made a number of pre-sales, getting calls returned from domestic distributors is more likely.

So one way to get the ball rolling on the higher than micro-budget productions is to get some name or semi-name actors attached. Another is of course to raise the money for production if one can do that, and then attach people. When it comes to the "catch 22" of an investor saying they need to see distribution in place before funding, the level of funding dictates the approach to take. And this gets into a lot of variables, not conducive to attempt to outline here. But I will say this: If we're not talking about multi-millions of funding, I would attempt to explain the distribution game to this investor, and say I can get him/her letters of interest from distributors. But I would also outline (I'd actually outline first in a doc/pdf the general distribution plan) and then go over/explain with the investor. And then explain which markets we could get into automatically, and which markets will take a distributor with P&A. (And then it's those markets that require a distrib with P&A money that I would look at securing a letter of interest, if necessary.)

Now, a letter of interest is not the same as a guarantee for distribution, but guarantees from the major players are not given, unless they're financing or co-financing.