Start Here: Tell Us About This Project

• Project title, format, and a one-sentence logline we can use when introducing this to buyers
• Which best describes the asset right now? Options: Completed and ready to deliver, In post-production (finalizing picture/sound), Pilot/first episode delivered; season pending, Library of previously licensed content, Other
• What is the content type and runtime (e.g., feature film 100m, 8×45' series)?
• Primary languages and any built-in dubbing/subtitle capabilities Options: Original language only, Subtitles available, Dubbing available, Multiple language masters, Not sure / needs work
• List the top 3 territories you believe will drive the most value (enter country codes or regions)

Who Holds the Keys — Decision Roles and Veto Power

• Who are the named decision owners for business terms, finance, and creative approvals? Options: Head of Business Affairs, CFO/Finance Lead, Creative Executive/Showrunner, Talent/Owner, Other (name & role)
• Which stakeholders have formal veto rights over deal structures or partner selection? Options: Creative (editorial), Business Affairs (legal), CFO/Finance, Talent/Owner, No formal vetoes, Other
• How aligned are those stakeholders today on pursuing pre-sale financing or territory-by-territory licensing? Options: Completely aligned, Mostly aligned with minor concerns, Split—major disagreement on approach, Not aligned at all
• Who will be our primary day-to-day contact and who must sign off on commercial terms?
• If we surface a structural deal the creative team dislikes, how would that usually be resolved? Options: Creative veto forces rework, Compromise on limited approvals, Business Affairs negotiates exceptions, Escalate to owner/CFO, Not sure

If We Miss This Deadline, Everything Breaks — Tell Us What Breaks

• What is the single hard financing or release deadline we cannot miss (date and consequence)?
• How much runway (in weeks) do you have before missing that deadline creates meaningful additional cost or risk? Options: 3+ months, <2 weeks, 2–4 weeks, 1–3 months, No clear runway
• If we fail to secure pre-sales on schedule, which of these are likely? (select all that apply) Options: Post-production halt/delay, Expensive bridge loans required, Talent or crew rebooking costs, Loss of release window/marketability, Other
• Estimate the incremental cost or downside of a missed deadline (ballpark $ or % of budget) Options: <$25k, $25k–$100k, $100k–$500k, >$500k, Prefer not to say / unknown
• How does the team feel about the pressure—calmly focused, anxious, or hopeful? Give a short color on morale and internal dynamics.

Rights & Clearances: What Could Surprise Us?

• Tell us about any known rights encumbrances or expiries that could limit saleability by territory or platform
• Which of these encumbrances apply to this asset today? Options: Existing licensing commitments (past buyers), Music not cleared for global distribution, Underlying IP chain issues (options/assignments), Talent approval required for edits/use, Territory-specific restrictions, None identified
• Are there hard expiry dates (contracts, windows) we must work around? If yes, list them.
• How easily can outstanding approvals be obtained (e.g., talent, composer, rights holders)? Options: Immediately obtainable, Requires negotiation but likely, Requires payment/compromise, Unlikely or unknown
• Have any previous buyers or partners inserted clauses that could limit competitive bidding (most‑favored nation, first-refusal, exclusivity)? Options: Yes — exclusivity-type clauses, Yes — right of first negotiation/refusal, Yes — restrictive use clauses, No, Not sure

What Would Make This Asset Worth More Than Your Current Number?

• If we could change one signal that buyers use to value this asset, which would it be (viewing data, awards, cast attach, sequel potential)? Options: Streaming viewership spikes, Festival/Award buzz, Cast/EP attachments, Strong social metrics, Exclusive bonus content, Other
• What is your target minimum deal value or revenue you need to justify moving forward (enter $ or range)? Options: <$50k, $50k–$250k, $250k–$1M, $1M–$5M, >$5M, Prefer to discuss
• Which territories do you believe offer the largest upside and why? (prioritize top 3 with reasoning)
• Have you seen recent comparable deals (comps) that materially changed expectations? If so, summarize the comp and what changed.
• How flexible is your minimum — is it an absolute floor, a negotiation anchor, or negotiable with creative protections? Options: Absolute floor, Strong anchor but negotiable with protections, Flexible depending on structure, Open to most reasonable offers

Creative Control: What Will You Not Trade Away?

• Which creative approvals are non‑negotiable for this project (edits, music changes, credits, sequel approvals)? Options: Final cut/edit approval, Music/score approval, Credit placement, Sequel/derivative approvals, Marketing/brand use approval, None are non-negotiable
• Has the creative team previously accepted deal language that later caused regret? Tell us what happened and why it matters now.
• Which deal provisions would immediately stop the creative team from signing (select all that apply)? Options: Permanent transfer of rights, Editorial control for buyer, Long-term exclusive windows, Unapproved re-edit rights, Mandatory credit changes
• Who on your team will be the champion for creative protections during negotiations?
• If a higher price required a modest creative concession, what type of concession would feel tolerable vs. unacceptable? Options: Limited promotional use, Time‑limited creative approval transfers, Minor subtitle/packaging changes, Any editorial control—unacceptable

Who Do We Want at the Table and How Do We Run the Auction?

• If you could pick the ideal buyer mix, which tiers would be top priority? Options: Global streamer (SVOD), Territory broadcaster (linear), Fast-pay VOD/TVOD, Windowed distributor, Platform bundles/aggregators, Brands/sponsors
• Are you open to a territory-by-territory approach or do you prefer global / multi-territory packages? Options: Territory-by-territory, Global package only, Hybrid (core territories packaged)
• What is your preferred auction cadence and exclusivity window for offers (days/weeks)? Options: 7–14 days, 15–30 days, 30–60 days, Rolling/continuous
• Which commercial levers are you willing to trade to drive higher price (e.g., shorter exclusivity, marketing commitments, revenue share)? Options: Shorter exclusivity, Larger marketing commitments, Revenue share/overage, Territory carve-outs, None — keep terms strict
• Do you have an existing buyer list or relationships we should prioritize? If yes, list names and why they matter.

Execution Readiness: What Must Be In Place to Launch Quickly?

• Which of these assets are ready today: delivery masters, IP chain paperwork, marketing kit, EPK, legal templates? Options: Delivery masters, IP chain paperwork, Marketing kit/EPK, Clearance logs, Legal templates (contracts), None ready
• Which partners are already committed or preferred for escrow/financing and legal support?
• Are there gaps that require immediate work before go-to-market? If so, prioritize top 3 gaps.
• Who on your team will own coordination with buyers and the agency running the bidding? Options: Business Affairs lead, Producer/Production Manager, Talent Manager, External Counsel, Other
• How comfortable is your team with a fast, high-volume bidding process where dozens of buyers may request materials and Q&A? Options: Highly comfortable, Somewhat comfortable, Wary but open, Prefer slower/private outreach

Deal Structure & Financing: Which Mechanisms Are Acceptable?

• Which financing structures would you consider (select all that apply)? Options: Pre-sale advances/licenses, Revenue-share deals, Minimum guarantee + royalties, Production financing / bridge loans, Equity/partner investment, Other
• What is the minimum portion of your budget that must be covered before production/post continues (percentage or $)? Options: <25%, 25–50%, 50–75%, 75–100%, Full funding required
• Which financing milestones or escrow conditions are non-negotiable for you? Options: Full funding before delivery, Partial upfront + milestone payments, Escrow holding until approvals, Conditional bridge financing with buyout clauses, None — open to standard escrow
• How would you rank speed vs. price when choosing between faster lower-value offers and slower higher-value offers? Options: Price > Speed, Speed > Price, Balance both equally, Depends on territory
• What repayment or recoupment structures are unacceptable (e.g., perpetual percentages, hidden recoupment from ancillary revenue)?

Hidden Risks & Negotiation Traps — Let’s Surface Them Now

• Have you or previous representatives accepted contractual terms that created downstream revenue drains or unexpected obligations? Describe briefly.
• Which contractual clauses are automatic red flags for you (select all that apply)? Options: Broad assignment of rights, Long automatic renewals, Unlimited sublicensing, Buyer editorial control, Revenue waterfall surprises
• Is there any pending litigation, dispute, or title challenge related to the asset that buyers should know about? Options: Yes — active litigation, Yes — threatened dispute, No
• Are there parties we should not contact (previous buyers, competitors, conflicted agencies)? Please list and explain.
• On a scale from 1–10, how risk-averse is the team when accepting novel deal structures that optimize value? Options: 1 (very open), 2, 3, 4, 5 (balanced), 6, 7, 8, 9, 10 (very risk-averse)

What Would Make You Sign a Term Sheet This Week?

• What concrete outcome in price, structure, or protections would cause you to sign quickly?
• Would you be willing to grant a short exclusivity window to run a focused auction? If so, what length feels safe? Options: 3–7 days, 8–14 days, 15–30 days, No exclusivity
• Who has the authority to sign a term sheet and finalize exclusivity on behalf of the project?
• What information or assurances do you need from us right now to feel confident moving to an exclusivity or term sheet?
• If we propose a phased approach (priority territories first), which territories should be in phase 1?

Practical Next Steps — Small Moves That Lead to Big Outcomes

• Which of these small immediate actions would be most helpful to you right now? Options: Valuation sketch based on comps, Buyer outreach list and interest gauge, Draft term sheet for review, Rights/clearance checklist and owner contacts, Marketing materials checklist
• Who should be included on our initial outreach and approval threads (names and contact info)?
• When would you be ready for a 30–45 minute alignment call to review our proposed go-to-market plan? Options: Within 48 hours, Within a week, In 1–2 weeks, Later — need preparation
• What would success look like in the first 30 days of our engagement? Be specific about measurable outcomes.
• Any final concerns, unspoken priorities, or red lines we haven’t asked about that would change how we approach buyers or structure deals?

Quick Snapshot: The Asset You're Asking Us to Move

• What type of asset are we assessing? Options: Completed feature film, Limited series / episodic, Feature-in-post (needs finishing), Library/catalog of titles, Short form / clip package, Other
• Please provide the working title(s), production year(s), and a one-line logline for each asset.
• Who is the legal owner or owners of the master rights for each title? Options: Production company, Independent producer(s), Studio, Distributor, Talent/entity shares ownership, Undetermined / in dispute, Other
• Do you have a packaged chain-of-title file (assignments, releases, copyright registrations) for the asset(s)? Options: Complete and packaged, Partial—some documents missing, No, needs assembly, Unknown
• If you have a chain-of-title packet, where is it stored and who is the point person we should contact to obtain it?

Who Could Stop This From Being Sold?

• Which parties hold approval or veto rights that could realistically derail a sale? Options: Lead talent / talent management, Director / creative team, Co-producers / financiers, Existing distributor, Music rights holders, Guilds / unions, No known veto holders, Unknown, Other
• For each party you listed, what specific approvals are required (e.g., final cut, marketing, sublicensing) and are those approvals documented in a contract?
• Have any approval-holders historically delayed or refused approvals on related projects? If so, briefly describe the situation and result.
• Do any contracts grant third parties rights of first refusal, first negotiation, or match rights that would restrict sale timing or buyer selection? Options: Yes—ROFR, Yes—ROFN, Yes—match right, No, Unknown
• Are there any informal but powerful stakeholders (agents, distributors, investors) who aren’t in contract but can influence approvals? Options: Yes—named individuals/entities, No, Unknown

Expiry Dates Are Not Suggestions

• How many titles in this package have licensing rights expiring within the next 12 / 24 / 36 months? Options: None, 1–3, 4–10, 11–50, 50+
• List titles with the nearest expiry dates and the exact contractual expiry or reversion date for each.
• Which licences include automatic renewal clauses, and what notice period is required to trigger renewals or prevent reversion? Options: Automatic renewal without notice, Automatic renewal with notice, Renewal subject to negotiation, No renewal allowed, Unknown
• Are there territorial or platform-specific expiries that differ from global expiries (e.g., SVOD ends in Germany in 6 months but worldwide in 2 years)? Options: Yes—territory/platform variances, No—uniform expiries, Unknown
• How do the nearest expiries interact with your financing or production deadlines (must-close dates, tax-credit draws, post-production timelines)?

Hidden Strings That Kill Deals

• What liens, security interests, or encumbrances currently attach to these rights? Options: None known, Bank/loan lien, Tax lien, Prior financier/pre-sale assignment, Judgment/liability lien, Insurance claim encumbrance, Unknown, Other
• If encumbrances exist, list the creditor, nature of the claim, secured amounts, and whether release or subordination is possible.
• Are there outstanding royalty, profit-participation, or backend obligations that travel with the rights and could reduce net proceeds to buyers? Options: Yes—royalties, Yes—profit participation, Yes—both, No significant obligations, Unknown
• Have any title or rights audits been performed previously? Were gaps or defects identified? Options: Yes—minor issues, Yes—major defects, No audit completed, Unknown
• If gaps were identified or loans exist, what remediation steps are feasible and how long would each take?

Talent, Guilds, and the Approval Gauntlet

• Would lead talent or covered guild agreements likely block buyers who request editing, exclusivity, or global sublicensing? Options: Yes—very likely, Possibly—depends on buyer, Unlikely, No, Unknown
• Which guilds or unions apply to key personnel (select all that apply)? Options: SAG-AFTRA, DGA, WGA, IATSE, PGC / Producers Guild, None / Not applicable, Unknown, Other
• Do any talent deals include approval over final cut, promotional materials, or third-party brand integrations? Options: Final cut approval, Marketing/promo approval, Sublicensing approval, No approval rights, Unknown
• Are there music elements (master recordings or compositions) that require separate sync/master licenses per territory or platform? Options: Yes—multiple tracks requiring new syncs, Yes—single track issues, All music cleared worldwide, Unknown
• How quickly can talent and music approvals be secured and under what conditions have approvals been denied in the past?

Territories, Languages, and Where It Can Actually Live

• Which territories are effectively blocked, limited, or carved out by prior deals, censorship, or regulation? Options: North America (US/Canada), UK / Europe, APAC, LATAM, MENA, All territories available, Varies by title, Unknown
• For each priority territory, what rights remain (theatrical, TV, SVOD, AVOD, EST/download, physical, merchandising, broadcast)?
• Are language rights for dubbing/subtitling cleared or are new deals required for localization in target markets? Options: All localization rights cleared, Some languages pending, No localization rights cleared, Unknown
• Are there platform carve-outs (e.g., streamer holds SVOD in territory X but seller retains EST and physical) that would complicate packaging? Options: Yes—platform carve-outs exist, No, Unknown
• Are there export controls, sanctions, or local censorship rules in key territories that will materially reduce the buyer pool? Options: Yes—sanctions/export issues, Yes—local censorship risks, No, Unknown

Buyability & Financing: What Lenders and Buyers Will Ask

• If a bank or institutional lender reviewed this package today, would they accept it as clean collateral without remediation? Options: Yes—clean collateral, Yes—with minor remediation, No—major remediation needed, Unknown
• Are there confirmed pre-sales, minimum guarantees, or LOIs already pledged against these rights? If yes, list amount, buyer, territory, and status. Options: Confirmed pre-sales / MGs, Letters of intent only, No pre-sales, Unknown
• Have these rights previously been pledged or securitized for financing? If released, describe the release mechanics. Options: Currently pledged, Previously pledged and released, Never pledged, Unknown
• What valuation comparables or recent deals do you expect buyers and lenders to reference when pricing this asset?
• What are the critical financing time pressures (closing date, completion bond draw, tax-credit deadline) and the non-negotiable funding date? Options: Immediate (<=30 days), Short (30–90 days), Medium (3–6 months), Flexible (>6 months), Unknown

Small Print That Becomes Big Problems

• Which contractual clauses in existing agreements would most likely scare off an institutional buyer? Options: Excessive termination rights, Broad indemnities, Uncapped residual or back-end payments, Change-of-control triggers, Territorial carve-ins limiting exclusivity, Audit/reporting obligations, Other, Unknown
• Do any agreements include MFN (most favored nation), minimum revenue-share, or price parity clauses that restrict negotiation or pricing? Options: Yes—MFN/minimums present, No, Unknown
• Will assignment require buyer to assume ongoing operational obligations (reporting, audit, payments to third parties) that could deter buyers? Options: Yes—ongoing obligations, No, Unknown
• List any post-closing reversion triggers, step-in rights, or conditions precedent that survive closing and could affect long-term value.
• What indemnity and warranty caps are in place today, and are any of those covered by insurance (E&O, title insurance)? Options: High / uncapped, Limited cap, Insurance-backed, None, Unknown

Fixes That Move Deals: What We Can Triage Fast

• Which remediation items could realistically be resolved inside 30 / 60 / 90 days to materially improve marketability? Options: Title clearances / assignments, Talent approvals, Music / sync licenses, Encumbrance releases / subordinations, Document packaging (chain-of-title), Insurance (E&O or title), All of the above, Other
• Who on your team or advisors will own each remediation task and who has signing authority for releases or settlements?
• Estimate the budget range you can allocate to remediation and clearance work. Options: <$5,000, $5,000–$25,000, $25,000–$100,000, >$100,000, Not budgeted / unknown
• Which items must be resolved before we begin buyer outreach versus those we can manage via escrow, holdback, or insurance during diligence? Options: Must resolve before outreach, Can be managed via escrow/holdback, Can be covered by insurance, Depends on buyer, Unknown
• Would you consider hybrid deal structures (escrows, indemnity reserves, title insurance, conditional closing) to bridge unresolved issues and accelerate financing? Options: Yes—open to hybrids, Maybe—need details, No—prefer clean transfer only, Unknown

Next Steps: What We Need From You to Make This Marketable

• Please prioritize the top three clearance tasks you want us to focus on first and explain why each is critical.
• Provide contact details for the owner(s) of the chain-of-title and any counsel or clearance specialists we should coordinate with.
• Are you prepared to sign an engagement that allows us to contact buyers and financiers under NDA to validate market interest while we remediate identified issues? Options: Yes—ready, Yes—after internal approval, No—not ready, Need more info
• What would success look like in the next 90 days—value target, financing secured, or specific territories licensed?
• Any other risks, sensitivities, or hard stops (talent schedules, legal disputes, regulatory reviews) we should know about before outreach?

Start: Tell Us the Story Behind This Project

• Briefly describe the project and the immediate reason you're exploring representation now (e.g., post-production financing, expiring catalog, new season launch).
• Which best describes the primary asset we're representing? Options: Completed feature film, Completed series/season, Expiring licensing catalog, Talent NIL/endorsement package, Ongoing IP/franchise
• Who will be the lead decision-maker for commercialization and financing conversations? Options: Head of Business Affairs, CFO/Finance Lead, Creative Executive/Showrunner, Talent Manager/Agent, Owner/CEO
• What triggered this timeline—what happens if funding isn’t secured by your target date? Options: Production delay/stop, Bridge financing required, Loss of distribution window, Talent availability conflicts, No immediate consequence
• How emotionally important is retaining creative control versus maximizing near-term financing (rank and explain briefly)? Options: Creative control is paramount, Balanced — both matter equally, Financing takes priority now

If a Financing Gap Forces a Hard Choice, What Breaks First?

• If pre-sale financing falls short by 20–40%, which organizational outcome worries you most? Options: Production schedule slips, Compromised creative decisions, Increased debt/costly bridge loans, Loss of key talent, Reduced marketing/distribution scope
• How long could you operate on a contingency plan (e.g., bridge loan, deferred payments) before it becomes harmful? Options: Less than 2 weeks, 2–6 weeks, 6–12 weeks, More than 12 weeks
• Who in your leadership team would need to sign off on using bridge financing or changing deal structure to close a funding gap? Options: CFO only, Head of Business Affairs only, CFO + Business Affairs, CFO + Creative Executive, Full executive committee
• Tell us about a past deal that went sideways due to timing or financing. What happened and what did you learn?
• On a scale from 1–10, how willing are you to accept a slightly lower valuation in exchange for faster, guaranteed funding? Why did you pick that number? Options: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10

Rights That Hide the Landmines

• Which of these rights constraints currently exist on the asset (select all that apply)? Options: Music clearances pending, Underlying IP/options unassigned, Talent approval clauses, Territory carve-outs, Previous licensing encumbrances, No known constraints
• Are there upcoming expirations, reversion clauses, or windows that materially affect saleability in any territory? If yes, list the most pressing.
• Who owns and can produce chain-of-title documents, clearance reports, and prior license agreements on request? Options: In-house legal/team, External counsel, Third-party rights administrator, Producer/individual owner, We don’t have them consolidated
• Has any buyer or financer previously flagged a rights-related reason they would not bid or would devalue the asset? Share the context.
• If we had to prioritize immediate clearance work, which would be most critical to unlock financing? Options: Music licenses, Talent approvals, Territory rights, Underlying literary/IP options, No clear priority

What Would Buyers Need to Feel Safe Enough to Commit?

• What contractual protections or deliverables do you believe buyers will insist on to underwrite financing for this asset? Options: Minimum guarantees, Escrowed funds with release triggers, Warranty & indemnities, Performance milestones, Territorial exclusivity windows
• Which buyer tiers are most likely to deliver the valuation you need? Options: Top-tier streamers (global), Regional streamers/platforms, Linear broadcasters, Aggregators/distributors, Brand/content partners
• Have you seen comparable transactions or pre-sales in the last 12–24 months that set a realistic valuation benchmark? Please list examples.
• What milestones or proof points (e.g., festival wins, talent attachments, early viewership data) would materially increase buyer confidence? Options: Festival laurels/awards, A-list talent attachment, Strong streaming performance of similar titles, Secured partial licensing deals, None of the above
• Do you have existing relationships with escrow or financing partners you prefer to use? If so, who and what are the terms we should know?

Where Creative Control and Financing Are Likely to Tangle

• If a buyer required editorial approval in exchange for higher financing, would that be acceptable? Explain the non-negotiables. Options: Not acceptable at all, Acceptable with strict limits, Acceptable if compensated/insured, Open to discussion
• What specific approval rights must the creative side retain (select all that apply)? Options: Final cut, Marketing materials & key art, Casting for future seasons, Creative use of talent's NIL, Script changes
• Which clause types are deal-breakers for your creative team (describe briefly if not listed)? Options: Editorial control, Sequel/derivative rights transfer, Exclusivity that limits future deals, Mandatory product placement, Other
• Who in your creative team has formal veto authority and how is that authority documented? Options: Creative Executive (documented), Creative Executive (informal), Talent with contract clause, Shared committee, No formal veto
• How would you weigh short-term financing versus long-term franchise/ownership value—what trade-offs are acceptable? Options: Prioritize long-term ownership, Balance both with protections, Prioritize immediate financing

How Fast and Hot Do We Need to Run the Market?

• If we launched a bidding round tomorrow, which territories must be included to hit your targets? Options: North America, Western Europe, Latin America, APAC, MENA, Other
• Do you prefer a compressed, competitive auction (e.g., 2–4 weeks) or a staged, territory-by-territory approach? Why? Options: Compressed global auction, Staged territory roll-out, Hybrid (select territories first), Unsure—need advice
• Which assets are ready for market copies and buyer outreach (select all that apply)? Options: Press kit/key art, Marketing trailer, DCP/streaming screener, Rights & clearance packet, Talent bios & attachments
• Who on your team will handle buyer Q&A and approval workflows during the auction, and are they available on short notice? Options: Business Affairs point person, Producer/EP, Outside counsel, Talent representative, No one currently assigned
• What sequencing or exclusivity windows would you be comfortable granting to secure a higher bid (describe preferred lengths)?

What’s Missing From Your Pre-Deployment Checklist?

• Which of these readiness items are already in place? Options: Signed rights & chain-of-title, Clearance reports, Standard legal templates, Escrow/finance partner agreements, Buyer target list & outreach plan
• Which readiness areas are incomplete and would block launch if not resolved? Options: Legal templates, Marketing assets, Escrow partner, Territory rights, Buyer list
• Who will own closing each readiness gap and what is their realistic deadline?
• If we identified a single high-risk gap today, what contingency would you accept to proceed (e.g., limited release, escrowed holdback, supplemental warranties)? Options: Escrowed holdback, Limited territorial launch, Insurance/warranty, Delay until resolved, Other
• What internal approvals (names and roles) must be obtained before we start buyer outreach?

The Close: What Would Make You Say Yes?

• What minimum valuation or financing outcome would you accept to consider a deal approved? Options: Specific dollar amount (enter below), Valuation uplift percentage (enter below), We prefer to discuss after bids
• Please enter the numeric target or describe the valuation criteria that constitute 'acceptable' for you.
• Which funding triggers must be satisfied for you to sign—select all that apply? Options: Full payment on signing, Escrowed funds with milestone releases, Letter of credit, Third-party financing approval, Other
• After closing, which post-sale obligations are most important to you to preserve (select up to three)? Options: Creative approvals, Revenue reporting cadence, Profit participation terms, Territory reversion clauses, Audit rights
• How would you like us to capture and communicate deal learnings and open issues after the transaction closes? Options: Shared project channel, Formal lessons-learned doc, Post-mortem meeting, As-needed updates

Start: Tell Us About Your Project

• How would you describe the asset you want us to represent? Options: Feature film (completed), Series (finished season), Documentary, Short/formatted content, Expiring licensing portfolio/library, Other
• Give us a one-sentence logline or short description of the title(s) and why you think buyers will care (audience, genre, star power, data signals).
• Who is our main day-to-day contact for this engagement? Options: Head of Business Affairs, CFO/Finance lead, Creative Executive/Showrunner, Producer/Executive, Catalog Owner, Other
• What is the current production or asset status? Options: Fully completed and locked, In post-production (edit near final), Rough cut available, Needs significant post work, Existing catalog with live expiries
• What is your ideal timeline for securing pre-sales or financing? Options: < 30 days, 30–60 days, 60–90 days, 3–6 months, Flexible/No hard deadline

Who Actually Decides — and Who Can Stop It?

• If one person could veto the deal at signing, who would that be and why? Options: Creative Executive, Head of Business Affairs, CFO, Talent/Agent, Investor/Producer, Other
• List every individual or group that must sign off before financing can fund (titles/names and their hard veto or advisory status).
• Are there contractual or third-party approval triggers we should expect (talent approvals, guilds, licensors, brand partners)? Options: Yes—talent approvals, Yes—music/rights holders, Yes—brand/partner approvals, No third-party approvals, Not sure
• Which approvals usually take the longest in your experience, and approximately how long do they add?
• Do any stakeholders require escalation steps we should build into the timeline (board review, investor committee, creative roundtables)? Options: Board/Investor committee, Creative review panel, External advisor sign-off, No escalation required, Other

What’s the Money Picture — and How Tight Is It?

• If we don’t hit financing by your deadline, what happens to the project (delay, bridge loan, scale back, cancel)? Options: Delay production, Seek bridge loan, Scale back scope, Cancel or sell rights, Other
• What minimum financing or pre-sale amount must we secure to avoid unacceptable risk? Please state a figure or range.
• Beyond a minimum, what would you consider a successful financing outcome (target valuation or pre-sale revenue)?
• Have you already received any offers, LOIs, or expressions of interest? If yes, summarize buyer, territory, value, and key terms. Options: No existing offers, Indications of interest only, One formal LOI, Multiple LOIs/offers
• How sensitive is your financing to timing (price falls if delayed)? Options: Highly time-sensitive, Somewhat sensitive, Flexible as long as within quarter, No sensitivity

Rights That Will Make or Break the Sale

• What rights, expiries, or encumbrances do you think buyers will flag first—are we sitting on any hidden landmines? Options: Expiring territory windows, Music or underlying rights gaps, Pre-existing exclusive deals, Talent approval constraints, Chain-of-title questions, None/not sure
• For any territories with approaching expiries, please list territory and expiry date (or attach a schedule).
• Are there actors, creators, or rights holders who require advance approval for specific uses (edits, territory rollouts, marketing)? Options: Yes—talent approvals, Yes—creators/producers, Yes—rights holders, No approvals required, Not sure
• Have you encountered any past buyer rejections due to clearance or rights issues? Tell us what happened and the outcome.
• Do you have documentation ready to prove chain-of-title, music licenses, and any option/assignment agreements? Options: All documents ready, Partial—some items missing, Minimal documentation, Unsure what’s needed

What Would the Creative Team Refuse to Compromise On?

• If a buyer asked for editorial input or future season approval rights, would that be a deal-breaker for creative leadership? Options: Yes—deal breaker, Negotiable with limits, Acceptable with strict guardrails, No concern
• What specific redlines must be in any contract to protect creative control (approval windows, final cut, promotional use limits)?
• How would losing control over creative decisions affect the project’s long-term value or brand?
• Are there past clauses or buyer behaviors that made the creative team lose trust—what were they and how did they impact the relationship?
• Would the creative team accept short-term concessions for a much higher upfront financing outcome? If yes, which concessions are tolerable? Options: Short exclusivity window, Marketing approvals only, Limited promo usage, No concessions acceptable, Depends on buyer

Who Do We Need to Pressure the Market — and How?

• If we targeted your ideal buyer list, which three buyers would you view as game-changing—why those three?
• Which buyer tiers should we prioritize across territories? Options: Global streamers (Tier 1), Regional platforms (Tier 2), Free ad-supported streamers, TV networks, Premium VOD/distributors, Non-theatrical/licensees
• Do you prefer an open competitive auction, staged territory rollouts, or single-buyer negotiations—and why? Options: Open auction, Staged rollouts, Single negotiations, Hybrid
• What commission or fee structure expectations do you already have (percentages, success fees, holdbacks)?
• Who on your team should be involved in buyer Q&A and offer review (names/roles), and how quickly can they respond?

Practical Readiness — Docs, Assets, and Partners

• Do you have a sales-ready package (screener, key art, one-sheet, metadata, EPK) and what’s still missing? Options: Full package ready, Partial package, Need most assets, Unsure what’s required
• What legal templates or precedent agreements do you want us to use or avoid (attach or name them)?
• Are escrow, financing partners, or a distributor already identified—if so, who are they and what role will they play? Options: Yes—escrow/financing ready, Yes—identified but not engaged, Not yet identified, Prefer us to recommend
• Do you have insurance and warranties in place (E&O, liability) that buyers will require? Options: E&O and liability ready, E&O pending, No insurance, Unsure
• What internal resources can support execution (legal counsel, business affairs, marketing) and what capacity limits should we expect?

What Does Success Look Like — and What Happens After?

• If this transaction hits your target, what immediate next three things must happen internally (post-funding priorities)?
• Which post-sale rights or ongoing approvals must be preserved for the talent or creative team? Options: Marketing approvals, Sequel/derivative approval, Merchandising rights retained, No ongoing approvals needed, Other
• How would you like us to capture lessons from this sale (deal debrief, shared channel, analytics report)? Options: Formal debrief meeting, Shared Slack/Channel, Written lessons learned, No formal capture
• What KPIs should we track to judge success beyond headline financing (valuation lift, territory penetration, future licensing uplift)? Options: Upfront financing secured, Valuation uplift %, Number of territory deals, Revenue waterfall realized, Subsequent buyer interest
• Who will manage post-closing operational tasks and ongoing buyer relations on your side? Options: Business Affairs, Producer/Operations, External Manager, Other

Let’s Make the Decision: Risks, Trade-offs, and Next Steps

• What is the single biggest risk you’re currently tolerating to keep the project moving forward?
• Which trade-off would you absolutely refuse (price, control, territory, speed) and which are you willing to bend on? Options: Price, Creative control, Territory exclusivity, Timing/speed, Commission/fees
• Realistically, when are you ready to move from discovery into a formal go-to-market plan? Options: Immediately, In 1–2 weeks, Within a month, Not ready/need more info
• What would make you feel confident signing an engagement letter with us today?
• Any final concerns, constraints, or preference notes not covered above that you want us to prioritize?