I’m an indie film consultant who works across three key areas to help filmmakers not only survive the industry but maybe even come out ahead:

Producer’s Rep – I help filmmakers secure U.S. distribution by introducing their films to genuine buyers (not just people who nod at festivals), advising on strategy, and negotiating terms. I don’t acquire rights, I don’t collect money, and I’m not looking for backend points. I set up clean, direct deals between the filmmaker and the distributor: no middleman shenanigans, just solid matchmaking with a legal eye on the fine print.
Festival Advocate – I help you determine where your film truly belongs (hint: it’s not always Sundance) and tailor a festival run that builds momentum instead of draining your spirit. I’ve had films at all the majors (Sundance, SXSW, Tribeca, TIFF) and a ton of well-curated mid-tier fests. I will help position your film so programmers watch past the first 30 seconds.
Contract Advisor – I have a legal background, which means I actually read the contract. I don’t just cheer when an offer comes in. I redline, flag landmines, and push for better terms. Most producer’s reps are just salespeople. I’m the guy who knows what “perpetuity” actually means (and why you should probably cross it out).

Most reps just throw your film into the void and hope something sticks. I offer strategy, access, and protection so your movie doesn’t get buried, shelved, or screwed.

I charge a flat engagement fee for festival strategy and/or distribution consulting. For distribution, I also take a small commission if the film gets a deal. I don’t work on spec, I don’t do back-end-only gambles, and I don’t chase unicorns. If I take your film on, it’s because I think it has a real shot—not because I like making new email threads for fun.

A producer’s rep works for you, not as a buyer, not as a rights holder. I help sell your film, usually to U.S. distributors and platforms, and I don’t insert myself into the royalty stream. I don’t collect your money. I don’t touch your rights. I’m here to make the deal happen between you and the licensee, clean, direct, and transparent.

A sales agent, on the other hand, is more like a quasi-distributor. They license all rights (often worldwide) and then sub-license to individual territories. They do collect revenue, take their cut (plus expenses), and then maybe, if the stars align, send you what’s left. Some are great. Some will ghost you after Cannes.

Here’s the difference in plain terms:

A sales agent steps into the chain of title and becomes the middleman, often with limited transparency and limited upside.
A producer’s rep stays out of the way. We help you make the deal, not be the deal.

I focus on U.S. distribution, both streamers and theatrical/digital players. I help make sure your deal is fair, clear, and doesn’t include any “gotchas” that show up two years later when your film disappears off Amazon.

You can go in alone. Just like you can represent yourself in court or cut your own hair before a job interview.

Sure, you might get an offer. But will it be the right one? Will you know if the marketing cap is inflated? If there's a missing reversion clause? If you’re signing away a piece of your copyright for the next 25 years with no audit rights? These are not fun surprises to find out later.

Distributors tend to take submissions more seriously when they come from someone they already know, and trust. I’ve worked with nearly every reputable U.S. distributor and know what they’re likely to offer, what’s fair, and when to politely say “thanks, but no thanks.”

Hiring a producer’s rep means you’ve got someone in your corner who’s done this hundreds of times. I help you avoid the rookie mistakes, focus your efforts, and keep your film from becoming another indie that “almost got picked up but then didn’t.”

I look for films that are well-made, have a clear audience, and are ready (or close) for distribution or festivals. That doesn’t mean they have to be perfect—I’m not looking for a $30 million polish, but they need to show promise and purpose. I also need to believe there’s a path forward. If I don’t think I can help sell it or get it seen, I won’t waste your time (or mine). Life’s too short and Dropbox storage isn’t infinite.

Easy. I offer one-time strategy sessions for filmmakers who need clarity without the full commitment. Think of it as a 90-minute crash course in what not to do. It could save you a year of trial and error and a lot of regret.

I do, but my focus is U.S. distribution. If your film is in a language other than English or was made outside the U.S., we need to ensure there is a strategy in place to reach a U.S. audience. I’ve worked with international filmmakers who had something that resonated here, whether through story, theme, or sheer brilliance.

Only if your uncle runs Netflix. Otherwise? No guarantees. What I can promise is a real strategy, honest feedback, and a better shot than you'd get going in cold. I’ve been through this hundreds of times, I know who’s buying what, and when to walk away

No one can promise that. And if someone does, please back away slowly and hide your wallet. What I can do is help you submit smartly, not blindly. I’ll help you target the right programmers, craft a strategy, and, where appropriate, reach out on your behalf. Getting in is always up to the programmers. But we can make sure your film isn’t buried under a pile of half-finished vampire westerns.

That’s when the actual work starts. I help redline the contract, make sure the distributor doesn’t sneak in anything shady, and stay involved as your advocate. I don’t just drop a deal in your lap and disappear. You’re stuck with me until the ink iss dry (and sometimes after, depending on the fallout).