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How to Work the Film & TV Markets


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Table of Contents


This Guidebook = Orientation + Compendium + Almanac + "How-To" Manual

Who this Book Is For

The Goal of this Book


Chapter 1 What Is a Market?

Market Establishing Shot

Exhibition Space


Educational and Networking Opportunities

What's the Difference Between a Market and a Festival?

Confusion Abounds

Festivals Versus Markets

Should You Go to Either? Both? Why?

Aren't Film and Television Totally Different Industries?

You Might Be an Independent If . . .


Chapter 2 To Hollywood, Bollywood, Nollywood - and Beyond!




Hollywood's Oligopoly

The Big Six

The Mini Majors

Fierce Film Competition

Chapter 3 The Players on the Film Market Stage

Film Distributors

International (Film) Sales Agents (ISAs)


Producer's Representatives

Collection Agents


Market Makers


Chapter 4 Le Marche du Film (The Cannes Film Market)

International Profile

The Producers Workshop

The Producers Network

"Goes to Cannes" Works in Progress Screenings

Cannes Investors Club

The Village International

NEXT Pavilion

Marche Mixers

Doc Corner


Chapter 5 The European Film Market (EFM)


Potsdamer Platz

First Timers

EFM Industry Debates

EFM Drama Series Days

American Independents in Berlin

Creative Europe Media (

EFM Asia

LOLA at Berlinale

EFM Startups

Meet the Docs

Meet the Festivals

Chapter 6 The American Film Market (AFM)

AFM Conference Series




The Film Catalogue


The Independent Film & Television Alliance (R) (IFTA)

Don't Be a Lobby Lizard

Chapter 7 Regional Film Markets


Hong Kong-Asia Film Financing Forum

Business of IP (BIP) Zone

Expo Hong Kong

Asian Film Market

Korean Blockbusters

Tokyo International Film Festival Content

Market (TIFFCOM)

Ventana Sur

London Screenings


Chapter 8 Mise en Scene

The UK and the US


The BRIC Block







Chapter 9 The Studio Scene: LA Screenings, the Upfronts (and NewFronts)

The LA Screenings

The Upfronts

The NewFronts

Staggering Odds of Scripted TV

Chapter 10 The Players on the TV Market Stage


Broadcast Networks

Cable Networks

Satellite TV

Telcos and ISPs

Over the Top Television (OTT)/Internet Networks


The Coveted 100th Episode

Strip Shows

Deficit Financing

Time Buy or Barter Syndication (Client Supplied Programming)

Station Groups



Market Makers


Chapter 11 The MIP Markets

The MIPs

Back at the Palais

Access to it all via MyMIP and Mobile Apps


Welcome to the Club(s)!

MIPDigital Fronts





MIPCancun (the Latam TV Buyers Summit)

Asia TV Forum & Market (ATF)

Chapter 12 National Association of Television Program Executives (NATPE)

Professional Pitch Opportunities

First Show of the Year

NAPTE Hotels

Live Stream Virtual NATPE

Content Without Borders: NATPE Europe


Chapter 13 Realscreen

Realscreen Summit

Luncheon Roundtables

Meet a Mentor

Meet an Expert

Speed Pitching: Now You're Talking - FAST!

30 Minutes With . . .

Master Classes

Summit Showdown Pitching Contest


Realscreen West

Realscreen London

Realscreen Magazine


Kidscreen Summit


Stream Market

Chapter 14 Regional TV and Serialized Video Content Markets

Bogota Audiovisual Market (BAM)

DISCOPs 115 DISCOP Africa DISCOP Abidjan DISCOP Johannesburg DISCOP Istanbul DISCOP Dubai Hong Kong FILMART MYCONTENT TIFFCOM World Content Market PART IV CO-PRODUCTION MARKETS Chapter 15 CineMart (IFF Rotterdam Co-Production Market) Rotterdam Lab Chapter 16 Berlinale Co-Production Market Berlinale Co-Production Market Producer's Lounge Berlinale Directors Rotterdam-Berlinale Express CoPro Series (Drama Days) Books at Berlinale World Cinema Fund Countries in Focus Chapter 17 Other Major Co-Production Markets Asian Project Market Beijing Film Market Boat Meeting CPH:FORUM CineLink Co-Production Market DISCOPRO Europe-Latin America Co-Production Forum Frontieres International Co-Production Market Holland Film Meeting Co-Production Platform IFP No Borders International Co-Production Market IDFA Forum (Docs for Sale/IDF Amsterdam) Moscow Business Square Paris Co-Production Village Arc 1950 Coproduction Village Sofia Meetings and Balkan Screenings TorinoFilmLab PART V BEFORE: PREPARATION Chapter 18 Start with the End in Mind Why Are You Going? What Can You Realistically Accomplish at This Market? But What If I'm Not Really Ready Yet? Chapter 19 Know Your Product High Concept Format, Genre and Subgenre Sitcoms, One-Hour Dramas and Dramedies Scripted Serial Renaissance Reality Formats Protect Your Reality Format Chapter 20 Know Your Target Audience(s) But my film/TV show is for everyone . . . Demographics Four-Quadrant Film Psychographics Binge Watching and Time Shifting Chapter 21 Polish Your Pitch and Marketing Materials Great Title Terrific Logline Additive Tagline Succinct Synopsis Excellent Script Should I Bring Scripts to the Market? "Send the Script" Edutainment Story: The Courage to Love Chapter 22 Develop Key Art Key Art Versus Concept Art Placeholder Key Art Low-Budget Key Art Strategies Teasers vs. Payoffs Key Art Before Actors Are Attached Raw Assets Key Art Comps Focus Groups and Gender Preferences Good, Fast, Cheap: Pick Two Facebook and Twitter Banners and Avatars One Sheets Market Catalog Video Trailers Screeners Sizzle Reels Talent Reels Presentation Tape/Completed Scenes Proof of Concept Pilot Rip-O-Matics Animatics Vision Statement Awesome Verbal Pitch Share Your Passion Pitch Perfect: Water Cooler 101 Chapter 23 What Goes Into a Pitch Package? Cast Wish Lists Bios Executive Summary Let's Talk about Comps, Man Analyze Your Comps Schedule Budget Production Budget has Zero Correlation to Box Office Prints and Advertising Think Outside the Schedule and Budget Box Sales Estimates Pre-Sales Waterfalls Production Budget has No Correlation to Box Office TV Cash Flow Analysis The Do's and Don'ts of Reality Show Pitch Proposals Chapter 24 Gearing Up For Each Event Research the Event Who Are You Looking to Meet? Research Your Prospects Research the Other Attendees Create Your Hit List Start Doing Research Study Each Company's Website The Right Titles for Your Hit List Finding the Right Sales Agent for Your Project Sort, Rank, and Order Your List Plan and Prioritize Your Market Goals and Schedule in Advance Badge Buying Advice Business Cards PART VI DURING: AT THE MARKET Chapter 25 Prudent Market Scheduling and Logistics Review Your Hit List Pay Attention to Badge Clues Don't Ignore Your Own Badge . . . Ice-Breaking Wardrobe Ice-Breaking Props Market First Timers: Don't Be Nervous Chapter 26 Taking Meetings at the Market Respect the Exhibitor's Space and Time 236 Befriend the Gatekeepers Establish Your Credibility Define the Purpose of Each Meeting Negotiating A Word of Caution: Bifurcating the Rights A Word of Caution: Check Those Definitions! What to Leave Behind (If Anything) Always Have an Answer For: "What Else Have You Got?" Post-Meeting Housekeeping PART VII AFTER: FOLLOW-UP Chapter 27 Gauging Success Deal or No Deal? Year-Round Networking PART VIII IMPORTANT ANNUAL ANCILLARY EVENTS Chapter 28 Top Ten Market-Like Film Festivals Festival de Cannes Opportunities Toronto International Film Festival Opportunities Market-Like Elements Support for Canadian Films Sundance Film Festival Opportunities Sundance Institute Labs Venice Film Festival Berlinale (Berlin International Film Festival) Berlinale Talents Market Hub SXSW (South by Southwest) Tribeca Film Festival International Film Festival Rotterdam Sofia International Film Festival Palm Springs International Film Festival Palm Springs Shortfest and Market Chapter 29 Globally Significant, Pedigree-Building Film Festivals AFI FEST Austin International Film Festival BANFF Beijing International Film Festival Buenos Aires International Independent Film Festival (BAFICI) Busan International Film Festival Champs-Elysees Film Festival Industry Days Hong Kong International Film Festival Les Arcs European Film Festival Los Angeles Film Festival Munich Film Festival New York Film Festival Raindance San Sebastian Film Festival Singapore International Film Festival (SGIFF) Telluride Film Festival (Colorado, USA) Tokyo International Film Festival Chapter 30 Television Festivals ATX Television Festival Banff World Media Festival Celtic Media Festival Edinburgh International Television Festival FESPACO (The Festival PanAfricain du Cinema et de la television de Ouagadougou) Festival International de Programmes Audiovisuels FesTVal Spain ITVFest (Independent Television Festival) Monte-Carlo Television Festival New York Television Festival SCAD's aTVFest SeriesFest VerCiencia Brazil Chapter 31 International Documentary Festivals Hot Docs International Documentary Festival Amsterdam Sunny Side of the Doc Asian Side Latin Side Chapter 32 Awards Shows Key Film Awards The Oscars (Academy Awards) Film Independent's Spirit Awards German Film Awards (the Lola; Deutscher Filmpreis) Asian Film Awards Hong Kong Film Awards Spanish Film Awards (the Goya; Los Premios Goya) The MTV Movie Awards Key Television Awards The Emmys NATPE's Reality Breakthrough Awards The Brandon Tartikoff Legacy Awards Realscreen Awards Both Film and TV Awards Shows British Academy Film and Television Awards (BAFTAs) The Britannia Awards Golden Globes The People's Choice Awards TV Land Awards Streamy Awards Razzies EGOT Chapter 33 Overlapping Industries' Events Consumer Electronics Show (CES) CinemaCon (formerly ShoWest) NAB PromaxBDA Conference US-China Film Summit The World Animation and VFX Summit Midem Internet and Television Expo (INTX, formerly The Cable Show) Chapter 34 Significant Consumer Events Comic-Con International: San Diego Entertainment Expo Hong Kong Chapter 35 Denouement Index

About the Author

Heather Hale is a film and TV director, producer and screenwriter of original programming, including the indie comedy Rolling Romance (2018), the thriller Absolute Killers (2011), the Lifetime Original Movie The Courage to Love (2000), as well as several award-winning syndicated series and two Emmy-winning PBS series. She was the Independent Film and Television Alliance's Industry Liaison for the 2013 American Film Market as well as the Vice President of Event Programming for the National Association of Television Program Executives, where she helped design and launch the TV Producers' Boot Camp. She often serves as NATPE's official pitch prep consultant, preparing producers to pitch to financiers and distribution executives. Heather speaks and consults around the world, customizing retreats and workshops and is always writing, producing, directing and raising funds for film and television projects. Stay up-to-date with Heather and Heather Hale Productions at


"For years, I've watched producers and other film creatives spend countless dollars to attend markets such as AFM, Cannes and MIPCOM only to leave discouraged. Simply put, they didn't plan ahead and understand how to work the markets. No one knows this area better than Heather Hale. With How to Work the Film & TV Markets, Heather not only provides content creators a wealth of information designed to help remove the intimidation factor and anxiety inherent in attending a market, but also provides a clear path toward maximizing your precious time and, by virtue, increasing your odds of success. This is essential reading for anyone looking to drum up interest in their projects. Not to be missed."

-Richard "RB" Botto, Actor, Producer, Screenwriter; Founder and CEO of Stage 32; Author of Crowdsourcing for Filmmakers: Indie Film and the Power of the Crowd "Years of visiting the film and TV markets provide a certain level of knowledge of this complex, global dance of finance, development, networking, co-productions, and the like. With Heather Hales' go-to guide in hand, the complexity of the annual cycle of these crucial markets is remarkably clear and easy. Hales' extensive knowledge and insider tips will guide you to a whole new experience of attending such markets, saving time, money and embarrassment. It's simply superb with constantly-updated key info and tips - worth every penny, and my planned gift to industry friends." -Gabrielle Kelly, Screenwriter, Producer, AFI Screenwriting Faculty "Heather Hale has a keen prospective on the workings on in the film and television marketplace. A must-read for anyone that has a project and needs to know how to maneuver through the challenging aspects of sales and distribution." -Valerie McCaffrey Producer, Casting Director

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