Not everyone you meet at Cannes is thinking about your project the same way. A sales agent is asking whether they can sell it. A distributor is asking whether it fits their territory and their slate. A producer is thinking about structure and what role they would play. A financier is looking at risk and return.
Understanding what each of them actually wants from the conversation — before you walk in — changes how you frame everything. This section breaks down how each type of buyer thinks in the room, what they are listening for, and what tends to move the conversation forward or stop it dead.
They are looking at whether they can sell it. They go straight to cast, genre, and positioning — who is in it, what kind of film it is, and where it sits in the market.
They will ask about the budget and whether it matches what you are describing. If the budget feels off for the type of film, that is usually where they probe more, ask you to come back with more details, or already make their mind up that things do not add up.
They will also look at what is available — what rights they could take on, and whether they can build a strategy around it. They are not looking at it as a creative project first. They are looking at how it works in different markets, who buys it, and how they would sell it.
They will also get a clear sense of where the project actually is — if anything is confirmed or still in talks, what still needs to be raised, and how close it is to moving towards production or post-production.
They are looking at whether they would buy it for their markets. They go straight to genre, cast, story, audience, and positioning — what kind of film it is, who it is for, and whether it fits what works in their territories. They are also working out timing: when it will be ready, and whether it fits their slate.
If a distributor has agreed to meet you it is a good sign. They have checked and see some potential, but will always have a series of questions about what exactly you are offering.
What they are wary of is unrealistic ambition — films that will not lead to recouping costs once marketing is covered. A big part of this is the cast. Whether it means anything in their markets, and whether the cast has agreed to do interviews. In this day and age that should already be in the contracts.
They are also quickly working out what stage the project is at and what you need from them. If it is still in pre-production and looking for funding, they will often push back if the budget feels too high for what it is. In most cases, distributors are not there to finance your project, especially if there is no track record behind it.
They will also want to know what is available for distribution — whether the territories they operate in are open, and if so, on what terms. Ideally, they want something close to finished, where they have to do as little as possible beyond releasing it. They are also looking for materials they can use to promote it.
Overall, they are asking a simple question: would we buy this, and does it sit with what we stand for and the slate of films we are known for.
They are looking at how the project can be put together and what they can do to support it — and what they get in return.
They focus on structure. Who is attached, what is in place, and what still needs to be done. They are thinking about how it comes together in practical terms, not just how it sells.
They will look at the team — director, producers, partners — and whether the people involved can deliver and have done it before. They will ask about financing: what is already in, what is still to raise, and where they could come in.
They are also working out what role they would actually play. Whether they bring a specific skill, connection, or ability to help get the film across the line, or to elevate it into multiple markets. They are also thinking about fit — whether this works for them and their partners, and how it could be structured as a co-production if that is the route.
They are looking at risk and return. They focus on the numbers — what the budget is, what is already in, what still needs to be raised, and how that gap is being covered.
They will look at the package: cast, director, and producers, and how that works in terms of recouping costs or helping raise additional funding. They are also looking at the structure of the proposed production — how the financing is put together, how recoupment works, and where they would sit within that.
They want to make sure some basic work has been done and get a sense of how transparent and feasible what is being presented actually is. If something feels unclear or poorly structured it will raise concerns about the level of risk. They will ask about timing — when the money is needed and how long it will be tied up.
They are not looking at it emotionally. They are working out if the film can be made, on the proposed budget, and whether the risk makes sense for them. They will want to review the financials in their own time if they take it further, and will likely come back with more detailed questions.
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