Pricing
Almost nobody in this business publishes what they charge. We do, because the alternative is a producer spending a week trying to work out whether they can afford a conversation.
All prices in USD. We invoice in GBP or EUR on request.
The Audience First Package · $50,000
One agreement. The film tested, recut, marketed and sold — with the evidence in the room before the minimum guarantee is discussed.
Every service we offer, applied to a single film. Audience research, a full marketing campaign, and international sales representation — under one engagement, one fee, and one point of contact throughout.
$10,000 below the value of the parts bought separately.
Commission of 15–25% of gross receipts applies to sales, in addition to the fee above. Market and marketing expenses are recoverable and capped in writing before you sign.
What we guarantee
The Score Movement Guarantee
Test screenings are only worth what you do with them. So: run the first screening, implement the changes we agree after it, and if the second screening doesn't show improvement in Excellent and Definitely recommend, the second screening is free.
The conditions are the point, not the small print. This works when you act on the findings. If you don't, we can't stand behind it — and we'll tell you that before you book, not after.
The Vault
No score, no comment, no verbatim, no report ever leaves this office without your written instruction. That is in the agreement, not just on this page.
Phones are collected and secured for the duration of every in-cinema screening. Every participant signs a non-disclosure agreement. No title, cast or synopsis is disclosed in recruitment beyond genre. The venue and date are never publicised.
The report belongs to you. You decide whether a buyer ever sees a number.
No fee to be considered
We don't charge to read, watch or consider your film, and we never will. If any sales agency asks you to pay to be looked at, that's your answer.
We reply either way within 2 working days.
Five places, and no way out
We take five films a year and we don't release a place once it's taken. If you're looking for an exit clause before you've started, we're the wrong agency — and we'd rather say that now than take the place from someone who wants it.
Individual services
Every element of The Audience First Package is also available on its own, at the same figure it carries inside the package. Bought one at a time they start at $60,000; taken together the engagement is $50,000. That is deliberate, and it is the honest way round.
Audience testing
Three stages: validate the audience before spending on a screening, test it, act on the results, and test again. Studio-scale testing runs into six figures per screening. We are built for films that can't spend that and still need to know.
Audience validation · from $1,500
Define the target audience and test whether it exists in usable numbers — before a screening is arranged. The right place to start, and the cheapest point to find out if the positioning is wrong.
Enquire →Cinema screening · from $15,000
100+ recruited viewers in a screening room, phones secured. Full questionnaire measuring Excellent and Definitely recommend scores, moderated focus group, written report within 2 working days.
Enquire →The recut session · $2,500
The full dataset worked through with you, line by line — what to change, in what order, and what to leave alone. The step between the two screenings, and the one that decides whether the second set of numbers moves.
Enquire →The second screening · from $15,000
The retest, after the changes are made. The movement between two sets of numbers is what you take into a negotiation — a single score is a fact, but a rising one is an argument.
Enquire →Trailer, title and artwork test · from $5,000
Materials tested separately from the film, because they're a different product with a different job. What makes someone choose the film isn't the same as what makes them rate it.
Enquire →The screening and the materials test can be booked together as one engagement — $20,000, the same as the two above on their own, arranged and reported as a single piece of work. Enquire →
Marketing
An audience-first campaign built before the film goes to buyers — so demand exists before the sale, not after.
Film marketing campaign · $10,000
Trailer, key art, one-sheet, trade coverage, screening strategy, and social. A fixed fee per film, because the work is defined by what the film needs rather than how long it takes.
Enquire →Representation
Two separate things, and we'd rather be plain about it than have you find out later. There is a fee of $5,000 for the representation work itself. There is also commission, between 15% and 25% of gross receipts, on what the film earns — depending on the film, the territories, and how much work it needs. The commission is in addition to the fee, not instead of it. Both are written into the agreement before you sign, along with market and marketing expenses, which are recoverable and capped at a figure agreed in advance.
What we don't charge for is being looked at. Reading, watching and considering your film is free, and always will be.
International sales representation · $5,000 plus commission
Your film represented territory by territory at the major markets, with buyers approached on the basis of evidence — positioned comparables, marketing traction, test scores where available.
Submit your film →The positioning and comparables document · $2,500
Where the film sits, what it's like, and what it should be asked for — written down, with the comparables named and the reasoning shown, so the number you go in with can be defended.
Enquire →The territory plan · $2,000
Which territories, in which order, and which buyer in each one. Written for your film rather than assembled from a list of everyone we know.
Enquire →The buyer evidence pack · $1,500
Your scores on one page, in the vocabulary buyers already use. The document that turns a set of research findings into an argument someone can act on in a meeting.
Enquire →Consulting
You describe the situation, we tell you what we'd do, and you get a short written follow-up so you have something to act on. If we can't help, we say so before you pay. Consulting sits outside The Audience First Package — it's for producers who want counsel rather than representation.
30 minute introduction · Free
Thirty minutes to find out if your film is on the right track. 4 slots remaining this month.
Book the call →5 sessions · $5,000
Five 3-hour sessions, for decisions that take longer to get right.
Arrange sessions →The calendar decides, not us
Buyers acquire in compressed windows around the markets. Working backwards from those windows is the only honest way to plan a sale.
Our cutoff is eight weeks before a market opens. That is what it takes to validate the audience, screen, recut, retest and build the campaign without rushing any part of it. For American Film Market (AFM) in November 2026, that means we need the film by September 2026. After that the next window is Ventana Sur in December 2026 — which is not a delay of a few weeks, it's a delay of a season.
| Market | Opens | We need the film by |
|---|---|---|
| American Film Market (AFM), Las Vegas | November 2026 | September 2026 |
| Ventana Sur, Buenos Aires | December 2026 | October 2026 |
| Sundance, Park City | January 2027 | November 2026 |
| European Film Market (EFM), Berlin | February 2027 | December 2026 |
| Hong Kong FILMART, Hong Kong | March 2027 | January 2027 |
| Marché du Film, Cannes | May 2027 | March 2027 |
| Toronto International Film Festival, Toronto | September 2027 | July 2027 |
Exact market dates shift from year to year, so we work in months here. Once you're talking to us we'll fix the day against that year's published dates.
What we don't do
Sales estimates and gap financing. Some agencies prepare the territory estimates that lenders lend against. We don't. If you need them, ask the agencies you're talking to which lenders have accepted theirs.
Legal advice. We'll tell you which clauses matter. Take your own lawyer to the ones that do.
Fees to be considered. We charge for the work, never for the reading. Nobody pays us to have their film looked at — if any sales agency asks you to, that's your answer.