a distribution decision tree
what would you want from a distribution decision tree that guides your film through the maze of achieving your goals and reaching the right audiences?
What Would You Want from a Distribution Decision Tree?
This has been bouncing around in my head for weeks. Every time I talk to another filmmaker, the same questions come up: How do I get my film out there? What’s the right path? Where do I even start? There’s no map, just a tangled mess of options, each with its own trade-offs.
What if we had a decision tree for independent film distribution?
We all know distribution is a labyrinth. Filmmakers hustle to get their movies made, then hit a wall—what now? Festivals? Streaming? Theatrical? Hybrid? Direct Distribution (the old label DIY is a misnomer)? The options feel endless, but there’s no clear way to navigate them. What if we had something that laid out the paths, the trade-offs, the real costs? Not a magic answer machine, but a tool to help filmmakers avoid the usual pitfalls and make smarter moves, sooner.
A group of us recently had a deep discussion about what such a decision tree could look like. The idea isn't to provide a one-size-fits-all answer, but rather to help filmmakers clarify their priorities, understand realistic outcomes, and navigate the available pathways with better information.
FYI I’m looking for your input. Read on and then tell me what you think and what you’d like to see incorporated.
OK so…what would a distribution decision tree look like?
Think of it like this: You start with a few core questions, and as you answer, the tree branches out, guiding you toward the most realistic paths for your film. It doesn’t tell you what to do, it just helps you understand your choices and the consequences that come with them.
So what would it tackle?
Defining Your Goals (Be Honest!)
Financial return: Are you looking to recoup your budget? Make a profit?
Career advancement: Is your priority getting industry attention, future funding, or the next big opportunity?
Social impact: Do you want your film to reach specific communities, influence policy, or start conversations?
Audience-building: Are you in this for the long game, building an audience that will follow you to future projects?
Most filmmakers want some mix of these—but you’d need to rank them. Your top priority dictates everything that follows.
Understanding Your Film’s Position
The next layer of the tree would tackle:
Budget level: Are we talking microbudget, mid-range indie, or something higher?
Festival status: Did you premiere at a major fest (Sundance, Tribeca, TIFF)? A regional fest? No fest at all?
Team bandwidth: Is the film team handling distribution, or do you need a partner (sales agent, distributor, impact campaign team, etc.)?
Time & energy: Are you all in on marketing and outreach, or are you already burned out from making the film?
Mapping Out the Distribution Paths
The tree would then guide you through some of the real options available based on your goals and resources.
Festival-first vs. direct-to-streaming: If festivals, which ones actually help? If not, what platforms make sense?
Who is part of the team: Are you handling bookings, PR, and sales, or do you need a team?
Revenue models: Are you aiming for ad-supported (AVOD), transactional (TVOD), subscription-based (SVOD), or a hybrid?
Impact and niche audience engagement: If social impact is your focus, what grassroots, educational, or community screenings will actually move the needle?
Theatrical strategy: Are you looking at traditional arthouse runs, event-driven screenings, or hybrid models like Gathr/Jolt/Kinema/Attend?
International sales & broadcast: Is your film viable for global markets? Can you realistically sell to PBS, Netflix, or an international buyer?
Or something more bespoke...
Reality Checks (Because No One Talks About This Stuff Enough)
One of the biggest takeaways from our discussion was that many filmmakers don’t think about distribution until it’s too late. The tree wouldn’t just show paths, it would also throw up red flags where needed, it would also serve as an educational tool, helping filmmakers anticipate obstacles before they arise. For example, some hard truths:
Festivals aren’t discovery engines anymore. The dream of "getting into a big festival and getting a deal" is largely outdated. Most acquisitions are pre-planned. The tree could highlight alternative routes if festivals aren’t the golden ticket.
Marketing and distribution cost money. Do you have a budget for PR, deliverables, and ads? If not, what’s your plan?
Audience isn’t automatic. If you don’t know who your film is for before you finish, you’re already behind. The tree could help you figure out how to identify and reach them.
Case studies matter. Real-world examples of films that tried different paths—what worked, what didn’t, what they’d do differently. The tree could link to case studies so filmmakers can see what’s actually possible.
How Would This Actually Work?
So the interface itself how would it lay things out:
Interactive, question-based design: Answer questions, get paths tailored to your situation.
Color-coded branches: Green = revenue-focused, blue = impact-driven, red = career-building, etc.
Live resource links: To vetted service providers, case studies, and financial guides.
Ability to retrace steps: No getting trapped down a single path if you realize it’s not the right one.
So What Do You Think?
Do filmmakers need a distribution decision tree? I think so. But what do you think? Do you even want a distribution decision tree? If yes, then what would you want? What gaps in knowledge frustrate you the most? What tools would actually be helpful? Are case studies important? Does seeing how someone did it give you energy to go forge the right path for your project?
Drop your thoughts in the comments. Let’s build something that filmmakers actually need.
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If you find yourself out on the festival circuit in the coming months please look out for a poignant documentary short I produced that’s making it’s debut. Đất Lành, Chim Đậu | On Healing Land, Bird’s Perch is directed and produced by Vietnamese American filmmaker Naja Pham Lockwood. The film tells the remarkable stories behind one of the most iconic Pulitzer Prize winning photos in history and explores the continuing aftershocks of the Vietnam War from the perspectives of both sides. 2025 marks the 50th anniversary to the end of the Vietnam War. The film will be screening at Cleveland, San Francisco, Doc10 in Chicago and Martha’s Vineyard Film Festival. It will continue it’s festival run through the year and we have many impactful community screenings in the works.
