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 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 Forget the outdated “wish list” and focus on the essentials: ProRes 422 masters, DME tracks, captions, stills, and trailers.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?

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.