This is the same question that keeps coming up over and over again by filmmakers and everyone has their opinion. Any film that is going to see it's day in the sun is going to have to have a film rep. Its unfortunate for this, but that is the way the festivals go. If you are a filmaker and you are sending in your film to get accepted as a blind submission I regret to inform you but you have wasted your money. 60% of the films have already been decided on by the programmers who just pick films that are discovered from other festivals, that are discovered from other festivals. The festivals are unidated with submissions most of them over 1200 films. Do you really believe that 5 or 6 at the most programmers are going to watch that many films?

The filmmakers in essence are supporting and financing the " party" the one that you don't get to go to I know this first hand. On several occasions I have heard the terms, shmucks and other derogitory terminolgy to describe the filmmakers who are laughed at because they haven't figured this all out yet. That they are only being used. Every once in a while someone gets a small film gem discovered and thats what keeps the wheels turning the dream becomes alive again for the filmmaker. But what they don't tell you, and what they don't want you to know is that film has been "repped". Not a single film is know from inside the industry to simply get discovered, if you believe this, or read this your lying to yourself and you owe it to your actors, crew, writers, everyone to be honest to yourself and all those involved.

Unfortunately there are not many qualified film reps and rather impossible to secure one.
Anyone who charges moneys or fees is bogus, because any successful film rep has made their earnings from pure passion from the project and seeing it all the way through. Once I get involved I my work begins immediately my share is usually 20% TO 25 % depending on many factors. I hope this helps filmmakers in some sort of way so they won't give up, but also stop spending unnecessary funds to provide champagne for the festival parties.

Right now for me I have to be compelled to the story line of the film but also for me to fall in love with a project I have to see that the filmmaker is totally committed in the sense that there is no compromise, for me filmmakers who are willing to change anything according to their vision are not what I call the risk takers. Without taking risk a filmmaker simply falls into the cracks.

Film festivals can be like a circus. Today if there are 100 films playing at a film festival maybe 1% get distributed theatrically.

Its very competitive right now and impossible to secure a film rep or entertainment attorney willing to take on your project or film unless you have created an underground buzz for your film.
I am not a believer in the youtube or myspace filmmaker era, there is too much junk, too many young inexperienced filmmakers trying to get into the business for all the wrong reasons. The problem is most of these young people have not "experienced life" they only read about it in film books or novels.

Right now I am involved with a film that is being directed by Billy Yeager that is about the life and music of Jaco Pastorius. The main reason I got involved with this project was that Yeager's vision of the story was unique. It's not a documentary, and it's not a typical story that would be the same as reading a biography.

I presented the film to a few film investors/ producers and they all had an interest; because the way Yeager had planned to make the film and market it had them convinced that he had a vision, he wasn't just making a film for profit, and believe it or not that is what most film schools and film making books will tell you. But look at it from an investors perspective; any person knows you can find semi-famous or B actors and that won't get you anywhere yet they will all tell you that this is who you need to cast. Its all wrong, all the information out there is incorrect and Yeager not only understands the art of film making but what I call the " art of business" and the distribution process.

It is an art. If the artist realizes this and presents a coherent film package to myself then I am willing to look it over and take it on. But it's the whole overall package and concept today, no one is willing to risk there time or money in independent films without a well thought out articulated master plan.