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Buyer Profile: Sarah Lash, IFC Films

Sarah Lash of IFC Films

Sarah Lash
Director of Acquisitions, nearly three years

BACKGROUND: First film job was as acquisitions intern/reader at October Films. Also worked at Cinepix Film Properties, which ultimately became Lions Gate. At Lions Gate, Lash started out in regional publicity then gravitated toward full-time acquisitions. She grew up in the suburbs of Boston and studied English and philosophy at Colgate University

MOST IMPORTANT FILM FESTIVALS: Sundance, Cannes, Toronto.

FAVORITE FILMS OF THE LAST THREE YEARS: "Y Tu Mama Tambien," "Mondays in the Sun," "28 Days Later," "Traffic," "Before Night Falls," "Amores Perros," "City of God," "Gosford Park," "Spellbound," "Shanghai Knights."

RECENT FILMS INVOLVED WITH ACQUIRING: "Y Tu Mama Tambien," "Kitchen Stories," "Manic," "Intermission"

TYPES OF FILMS COMPANY LOOKS FOR: We are open-minded about the type of genre -- narrative or documentary, English or foreign-language, etc. The main common denominator of our films is that they are almost always director-driven. We also tend to go after films we can reasonably anticipate will be supported by critics.

HOW TO GET THE ATTENTION OF BUYERS: Even though filmmakers should concentrate their efforts on filmmaking, it is always to their benefit to know a bit about the industry landscape and the field of distributors. They should know who their ideal partners are and why. Distributors will be so much more receptive and respectful when a filmmaker/producer exhibits even a very rough knowledge of past and/or upcoming releases. Focus on the most appropriate buyers for the project. It is very obvious when a submission is sent out as a mass mailing. These submissions usually don't wind up at the top of the pile. Every company has a different protocol; make an quick inquiry to learn how the company in question likes to receive new material. In the case of pitching pre-buys, keep to meaningful info.

WRONG WAY TO GET ATTENTION: Aimless calls that begin with clueless quizzing about what our company has done and wants to do (if they know nothing about our company, then why in the world are they calling?). Repeated off-base and/or unsolicited submissions.

GENERAL THOUGHTS: Film distribution is more expensive and high-risk than ever. Don't be averse to creative offers from buyers.