When you hear pre-sale agreements, contracts where distributors pay for a film’s rights before it’s made. Also known as distribution advances, they’re the lifeline for independent films that can’t rely on studios or bank loans. These aren’t just paperwork—they’re the difference between a film getting made and gathering dust in a drawer. A producer in Bulgaria sells the rights to a German distributor for a $50,000 advance. A Canadian producer locks in a deal with a streaming platform for Latin America. That money? It pays for the crew, the equipment, the location permits. It’s not speculative—it’s real cash in hand before the first shot is filmed.
Distribution deals, the backbone of pre-sale agreements don’t happen by accident. They require a strong pitch, a solid script, and often, attached talent—even if it’s just a well-known actor in a small role. Buyers aren’t gambling on potential. They’re betting on marketability: Does this film fit their audience? Can it be marketed? Will it stand out in a crowded library? That’s why many indie films use production financing, the broader system that includes pre-sales, grants, and private investors like a puzzle. One piece pays for the script, another for insurance, another for the cast. Pre-sales are often the largest, most reliable piece.
These agreements are especially common in international co-productions. A film shot in Spain might sell rights to France, Italy, and Japan before filming even begins. That’s how indie film funding, the process of raising money outside traditional studio systems survives. It’s not about big budgets—it’s about smart, targeted sales. You don’t need a global hit. You just need to sell 50% of the rights in key territories to cover your costs. The rest? That’s profit, or at least, the chance to break even.
What makes pre-sale agreements tricky? Timing. Distributors want to see a finished product—or at least a trailer, a cast list, and a director with a track record. That’s why many filmmakers use a sizzle reel or a proof-of-concept short to prove their vision. It’s not about perfection. It’s about proof. And it’s why so many films on this site—like those funded through grants, crowdfunding, or private investors—still lean on pre-sales to close the gap. They’re not the flashiest part of filmmaking, but they’re the most practical.
Behind every indie film that made it to screen, there’s usually a stack of contracts. Some for insurance. Some for equipment rentals. But the ones that made it possible? Those are the pre-sale agreements. They don’t make headlines. But they keep the lights on.
Below, you’ll find real stories from filmmakers who used pre-sales to get their films made—some with just a script and a handshake, others with full distribution packages. These aren’t theory pieces. They’re battle-tested strategies from people who did it, without studio help, without a safety net, and without giving up control.
Pre-sales financing lets filmmakers secure funding before shooting by selling distribution rights internationally. Learn how it works, who it's for, and how to make it happen without giving up creative control.