The Naked Truth About Errors and Omissions Insurance in the World of Indie Film Distribution

Error and Omission Insurance [E & O Insurance] is what every filmmaker needs if they want to sign a film distribution contract.

I am not an entertainment attorney or insurance salesperson, but error and dropout insurance protects movie distributors who have signed contracts with you from a variety of litigation common in the entertainment industry.

These include alleged breach of contract, copyright infringement, defamation or product degradation [trademark on camera], privacy infringement, title infringement, slogan and many other nasty legal violations The

Insurance that protects the bottom of movie producers and movie distributors in the process of doing business in the entertainment industry.

Errors and Omissions Insurance do not address the creative aspects of filmmaking, so some indie film producers often do not plan for it within the movie budget.

However, if you want to sell the program to a movie distributor, you need to know what it is at some point.

Unless your movie distribution plan uses your own blog to sell digital downloads or DVDs online, or you leave the city on a hybrid car trunk.

I know a few indie filmmakers who sell their movies that way and make decent money without worrying about mistakes or the cost of dropout insurance.

I respect their energy and aim to sell their movies directly online or in any way. It's a post about self-distribution left another day.

Catch-22 with Errors and Omissions Insurance is involved in transactions with movie distributors.
Tim “Timbo” Beachum and I, co-producers of all distribution agreements, are involved in E & O Insurance, from indie film sales to reality programs.

After completing the movie, you will want to earn a meaningful distribution for it.
In other words, in cooperation with movie distributors, it means that it will be released from mainstream retailers in Japan and overseas in all media.

Indie film distribution is usually done in two ways. The film will be screened at various film festivals and will be drawn to the distributors and will be offered to acquire rights through film distribution contracts or to purchase the rights of the film completely.

Or skip the festival tour and contact marketing agencies directly with marketing materials such as screeners and artwork. If there is something they want to see, a distribution agreement is sent for consideration.

By this time, the euphoria of making movies had faded. You are now working on a movie making business. There are movie investors who have to repay with interest.

Even if you had your own hard earned cash to make your movie, you would want to be able to repay with interest.

All indie filmmakers produce films from a variety of economic locations, personal motives, and creative needs. The reason you really make a movie doesn't matter to the movie you distribute.

If you're dealing with a movie distribution contract, it's all business. So if you start a transaction with a movie sales representative, entertainment attorney, or your own movie and sign a movie distribution agreement, you will immediately hit the movie deliverables list.

A distributable list of films can knock filmmakers not ready. Once again, the movie artifact list is a topic left in another post.

This film production post focuses on error and omission insurance. This is one of the important deliverables that movie distributors need to respond quickly.

Like a Hitchcock movie, I mentioned Catch-22 with Errors and Omissions Insurance in a post, but now I need to use it.

Purchasing your own error and dropout insurance from a trusted company is always much cheaper than paying a movie distributor.

Catch-22 is supported by some, but not all, movie distributors to release indie films and uses E & O Insurance to increase the cost of indie filmmakers.

Movie distributors should not worry about indie filmmakers who have no errors or dropout insurance. They simply set up insurance with an insurance broker they know, pay for it, and deduct expenses from prepaid or future movie royalties.

If you don't have the money to buy your own E & O insurance, considering that no money comes out of your pocket, it's good. However, if E & O Insurance prepayment or later royalty payments are hit hard, you will feel sick.

In the end, you will pay 200% to 400% markup of the cost. As I said, not all movie distributors that support indie movie releases do this kind of BS, but there are others.

Every business has people who spoil you. Dealing directly with an agent to purchase your own error and dropout insurance will always save you money.

However, we have a complete understanding of how to make sure that we don't leave $ 100 in the budget to finally complete the movie and deal with the actual hard costs of going through the movie artifacts.

Contacting companies that specialize in producer error and dropout insurance and comparing quotes is a wise move of pre-production. Once you set these prices, you can incorporate them into your budget.

I like to include it as a line item as part of my post-production budget. As an indie film producer working on a limited budget, it reminds me that there is still a long way to get post-production and film artifacts even after wrapping the movie.

After at least signing the movie distribution agreement, you can negotiate the cost charged by the distributor, even if you know you don't have E & O Insurance money.
This is the part I call catch 44. Be careful with transactions with movie distributors who do not agree with your error and dropout insurance.

They may have special requirements such as your insurance is not from a state-approved carrier, or other reasons to decline your E & O insurance.

If you already have a contract with them before asking if your error and drop-out insurance policy meets the requirements, it can be a little fight.

You saved the money by following the rules and purchasing your own E & O insurance, but now you are worried about this issue. If you have not signed the contract, move to another distributor.

As long as your E & O insurance is from a reputable company, another movie distributor will respect your movie if you want it.

If you are signed with a dotted line, you may need to suck it up, bite the bullets, and go with a broker recommended by the movie distributor.

The insurance company does not add markup. Movie distributors are adding their juices to benefit you to cover the expenses.

The truth about errors and dropout insurance in the world of indie movie distribution is not always fair, but both are life.