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Legwork 10 Step Checklist

This is a series of questions intended to ensure the producer is making the best film possible, as measured against every important metric, and is not leaving any value on the table unnecessarily. All these conditions must be satisfied before we will sign off on a project.

1/ Are story, characters & dialogue at a stage where the script will attract a high enough calibre of film star to ensure international sales?

2/ Are the above-the-line talent (stars, director, etc) sufficiently attractive to international sales agents and distributors that they can envisage the film doubling its investors money?

3/ Does everyone creatively involved in the making of this film have the same vision? Is everyone trying to make the same film? Are the huskies all pulling the sled in the same direction?

4/ Is the budget right for the genre, the film’s elements and its likely income? Do sales estimates from reputable sales agents or pre-sales agreements confirm that this budget level is justified?

5/ Is the genre one that is sought after by a large enough global market to garner sales capable of doubling the investors’ money?

6/ Within an established set of genre expectations, is this story remarkable in its individuality in some way that will get significant numbers of people talking about it? Does the story or its elements innovate in a way that will differentiate it in a crowded marketplace and increase the number of territories sold, prices per sale and ancillaries within each of those territories?


Given the nature of modern, fragmented audiences, have we done all that we can to identify and allow for the engagement of possible “tribes” in the Seth Godin marketing use of the word; niches of communal interest, sizeable groups of people who can get behind the film and spread word-of-mouth?

8/ Have we done all we can to explore additional revenue streams, such as sequels, spin-offs and merchandising (books, games, art, fan sites, fan art, apps) — within reasonable and tasteful bounds and with respect to the story and the filmmakers? Are there ways these might contribute to the depth of the central dramatic work to a consumer, rather than just as added revenue or mind-share?

9/ Have we done all we can to identify all possible PR angles, in as many territories as possible, that will garner this film media attention in print, television and online, thus offering significant added value, and revenue, to that distributor?

10/ How could we be collecting emails for permission-based marketing or otherwise maximising our customer’s awareness of this and similar future films?

Robin TJ Kershaw & Laia Enrich, 2013

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