The Filmmaking Stuff Podcast

Think you can be both Executive Producer and Producer on the same film? Think again. In this episode, Tom Malloy breaks down how the producer credit hierarchy really works — from “Produced by” to “Associate Producer” — and explains why doubling up credits is a rookie mistake. Perfect for filmmakers, investors, and anyone navigating film finance and production credits.

Most filmmakers assume film festivals are where the deals happen — but the truth is, only a select few festivals actually help you sell your movie. In this episode, I break down the handful of A+ festivals that carry real industry weight, how genre festivals fit into the mix, and why film markets are still where the real money is made. Perfect for any indie filmmaker navigating the festival circuit.

Every filmmaker thinks they’re great in meetings—until they lose a buyer’s attention.In this episode, I break down the #1 mistake indie filmmakers make in pitch and sales meetings: talking too long.Learn how to nail a two-minute pitch, make your presentation efficient, and leave with real next steps. Perfect for anyone getting ready for AFM, Cannes, or their next distributor meeting.

In this episode, I break down the real film deliverables distributors and sales agents expect. Forget the outdated “wish list” and focus on the essentials: ProRes 422 masters, DME tracks, captions, stills, and trailers. If you’ve got a distribution deal or you’re aiming for one, this is the episode that will save you time, money, and stress.

Do filmmakers still need a Producer’s Rep?We break down the history of producers reps, why they mattered in the 90s, and how direct access to acquisitions execs at markets like AFM, EFM, and Cannes has changed the game. Learn when a rep might still make sense—and when you’re better off handling distribution yourself.

Should you work for free as a PA? In this episode, I share why early set experience can be more valuable than the paycheck, how to approach those first jobs strategically, and when to start demanding proper pay. Perfect for anyone trying to break into the film industry.

What’s the truth about minimum guarantees in film distribution? In this episode, we break down why MGs are really just advances, why small MGs can hurt your film with bad terms, and why revenue splits often put more money back in your pocket. Learn how to avoid the MG trap and focus on deals that truly benefit your movie.

What are the best—and worst—streaming platforms for indie films right now? In this episode, I share real-world data from my distribution company to reveal where indie films actually make money. From Amazon’s reach to Tubi’s AVOD surprises, plus why Plex and YouTube sometimes outperform expectations, you’ll get a clear breakdown of what’s working and what’s not. Perfect for any filmmaker looking to maximize revenue.

In this episode, I explain what sales agents actually do for your movie at film markets like AFM, Cannes, and Berlin. From sending lineups weeks in advance to pitching buyers face-to-face, I break down the real process so you understand how films get sold—and why the final decision always comes down to the buyer.

TVOD, SVOD, and AVOD explained.In this episode, I break down the three main types of video on demand, what each one means, and why the order of release windows is crucial to maximizing your revenue. Whether you’re an indie filmmaker or just curious about how movies make money today, this is your crash course on the new world of VOD.

Networking at film markets like Cannes, EFM, or AFM doesn’t have to be intimidating. In this episode, I share practical tips from over two decades of experience: how to break the ice, when to pitch (and when not to), and the simple strategies that make people actually want to connect with you. If you’ve ever felt awkward walking into a market, this episode is your roadmap to networking with confidence.
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Most indie films fail financially—but not for the reasons you think. In this episode, I break down the genres that sell, the ones that don’t, and why marketing can matter more than the movie itself. If you want your film to have a real shot at making money, this is a must-listen.

Your pitch deck can make or break your film financing. In this episode, I share the three biggest mistakes filmmakers make with their decks—too much text, too flashy, and too long—and show you exactly how to fix them so investors actually want to read and engage.
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In this episode, I cover the three biggest mistakes filmmakers make when signing distribution agreements—long contracts, inflated expenses, and unfair splits. If you want to keep control of your film and maximize revenue, this is a must-listen.

Your first feature film matters more than you think. In this episode, I share why branding yourself in one genre—horror, comedy, drama, action—sets the foundation for your career. Learn how shorts prepare you for features, why consistency builds recognition, and how to avoid the trap of spreading yourself too thin.

Want to know how to make a micro-budget film look like it cost $1 million? In this episode, I reveal the simple but powerful strategies—big set pieces, smart casting, and professional sound—that can transform your indie film into something that looks like a blockbuster.

What do film investors really want? In this episode, I share the three things every investor looks for: excitement, the filmmaking experience, and a chance at revenue. If you’re raising money for your film, this is essential listening.

Learn how to sell your film before you even shoot it through pre-sales. I break down what works in today’s tougher market, why legitimate cast is king, and how distributors and sales agents can boost your financing game.

Getting into major film festivals like Sundance, Cannes, or Toronto isn’t about luck—it’s about connections. In this episode, I reveal the exact ways to make sure your film gets seen by the right people.

Learn how to approach film sales agents and distributors without sounding like a rookie. In this episode, I share insider tips from AFM, EFM, and Cannes—from the exact question you should ask to why a killer trailer will make or break your pitch. Whether your film is finished or still in pre-production, these steps will help you make connections and set up real opportunities.