The Perfect Package: Insights from CAA’s Roeg Sutherland on Navigating Today’s Film Market

Editor in Chief of Ikon London Magazine, journalist, film producer and founder of The DAFTA Film Awards (The DAFTAs).

Key Takeaways from Berlinale’s EFM Industry Masterclass

In a candid and insightful session at Berlinale‘s European Film Market (EFM), Roeg Sutherland, co-head of CAA Media Finance, shared valuable perspectives on the current state of independent film financing, packaging, and distribution. For filmmakers navigating today’s complex market landscape, Sutherland’s remarks offer a wealth of practical guidance.

The Modern Financing Ecosystem

Sutherland emphasised that today’s film financing has evolved into an ecosystem where various stakeholders share both risk and creative investment. “Everybody on some level is an equity investor,” he noted. “Actors bring value through their marketability, directors through their vision, and financial backers through actual capital.” This collaborative approach has become essential as studios make fewer films and streamers become more selective.

The traditional model of relying solely on studio financing has given way to more independent strategies. According to Sutherland, “People try to rely less and less on established systems to be able to get what they want made.” This shift has created opportunities for independent financiers, especially as theatrical distribution slowly recovers post-pandemic.

“Everybody on some level is an equity investor. Actors bring value through their marketability, directors through their vision, and financial backers through actual capital.”

What’s Working in Today’s Market

What types of projects are finding success? Sutherland was clear: original ideas with fiscal responsibility are key. “Original ideas that are priced at the right number” stand the best chance of getting made and finding distribution. He specifically highlighted films like “The Brutalist” (made for around $9 million) and “Anora” ($6-7 million) as examples of fiscally responsible productions that allowed distributors like Neon to platform them properly.

For filmmakers, this means being realistic about budgets. “If you don’t have enough money to make your movie and you have a very specific vision… you have to fit in a box,” Sutherland advised. If a project can’t be executed properly at available budget levels, he suggests shelving it temporarily in favor of making something smaller first.

Foreign Sales and International Opportunities

A particularly encouraging note for independent filmmakers was Sutherland’s assessment of the foreign sales market: “Movies that sell are selling at pre-pandemic prices. Foreign distributors need product, and international audiences are increasingly accepting of non-American films.”

Sutherland noted that Europe has bounced back strongly post-pandemic, and markets like Southeast Asia (particularly Indonesia, Cambodia, and Vietnam) are showing significant growth potential. He also mentioned opportunities in Eastern Europe, the Middle East, and India, suggesting that filmmakers should look beyond traditional North American markets.

“Movies that sell are selling at pre-pandemic prices. Foreign distributors need product, and international audiences are increasingly accepting of non-American films.”

The Changing Value of Star Power

While having major stars can still help package a film, Sutherland indicated the landscape has evolved. Traditional box office metrics have become less relevant in an era where streaming success doesn’t translate to public numbers. Instead, he highlighted the growing importance of directors with unique visions and actors with strong social media followings or brand associations.

In fact, brands themselves are becoming increasingly important film financing partners. Sutherland mentioned work with YSL across five films, and noted interest from companies like Chanel and LVMH. “Brands actually need to find new ways of being able to connect with audiences,” he explained, creating new funding sources for independent films.

Practical Advice for Filmmakers

For filmmakers trying to get their projects noticed, Sutherland offered pragmatic guidance:

Assume people won’t read your script: Create compelling, visual presentations before anyone opens the script. “You probably have like five or ten minutes to be able to do it,” he advised.
Create concise visual materials: Rather than traditional lookbooks, develop focused presentations that effectively communicate the tone, visuals and marketability of your project.
Leverage validation: Having established producers, directors, or distributors attached helps legitimise projects to potential partners.
When approaching agents: They’re obligated to present offers to their clients, but need clear information about financing. Partner with established distributors where possible to add credibility.
Know your audience: Pre-marketing is essential – understand who your film is for before trying to get it made.

Festival and Market Recovery

Sutherland expressed optimism about the return of film markets like Berlin and Toronto, which he believes will regain their pre-pandemic strength within a year. This revival offers more balanced opportunities throughout the year for filmmakers to present their projects, rather than concentrating everything at Cannes.

Final Thoughts

Sutherland closed on a positive note about the industry’s direction, particularly highlighting international growth. “I worry less about the US and I worry more about international, and I think international cares less about the US now.” This decentralization creates more pathways for innovative filmmakers to find financing and audiences.

For independent filmmakers, the message is clear: fiscal responsibility, original ideas, strategic partnerships, and a global perspective offer the best path forward in today’s evolving film landscape.