Discussion Your Film Got Produced. Now Do You Actually Want to Sell It?

[Ryan]

Your Film Got Produced. Now Do You Actually Want to Sell It?​

There’s something in the film industry we strangely don’t discuss enough, even though every project ultimately depends on it.

We don’t just produce films.
We also sell them.
We work with producers, production companies, and rights holders, constantly building new partnerships. LinkedIn, Cinando, IMDb we actively reach out wherever meaningful industry connections happen.
And the story almost always starts the same way.

Introduction. Conversation. Excitement.
“Sounds great.”
“This is exactly what we’re looking for.”
“A global buyer network? Perfect.”

We discuss the details. Strategy, markets, opportunities.
We agree on commission. Clear, transparent, professional.

Then comes the obvious next step:
“Great. Let’s send the agreement.”
And then…
silence.

Not for a day. For weeks.
Follow-ups. Nothing.
Another message. Nothing.
Or the classic reply: “I’m too busy this month.”

Too busy to sign an agreement tied directly to revenue?

Which always leads to some uncomfortable yet very real questions:

If the film is truly a business project,
if investors expect returns,
if monetization is the goal…

why does momentum disappear the moment sales become real?

Production completes a creative journey.
Sales determine whether there is a business at all.
We’re always open to working with producers and filmmakers who genuinely want their films to reach audiences and generate revenue — not just exist.

So here’s the real question: Is your film a passion project or a product?

 

[Adam Films]

A sharp take and it touches a nerve many prefer not to discuss openly.

Films are often framed as artistic ventures, passion-driven journeys, creative expressions. And that is absolutely true.
But the financing reality tells a different story.
A film is rarely funded so the producer can admire it privately on a laptop.
It is funded by investors, partners, and stakeholders who at least in theory expect returns.
That expectation may not always be fulfilled. In fact, it often isn’t.

But the underlying premise never changes:
External capital enters a project with the assumption of commercial intent.
Which makes the industry behaviour around sales particularly paradoxical.
When raising money, projects are positioned as business opportunities.
When revenue structures appear, they are suddenly treated as uncomfortable obligations.
Without licensing, sales, and distribution, a film does not magically remain an “asset in waiting.”
It simply remains a cost.

Market uncertainty is real. Risk is unavoidable. Failure is common.
But avoiding engagement with monetization mechanisms does not reduce that risk it guarantees the absence of upside.

So perhaps the uncomfortable question is this:

If a film is financed with other people’s money, on what rational basis can sales and exploitation ever be considered optional?