I have developed a methodology to work with filmmakers to teach them how to raise funds - partly in the philanthropy side and partly in the investor side - and make their own films. I was so excited to read about one of your successful films being made for 55K. My clients have raised 50, 60, 70K from friends and family and more from investors. My clients choose to invest in working with me and just that commitment propels them to getting their films made. I had not realized that you had used genre filmmaking as part of your process; it's a foundation of mine. Part of my process is to deliver the film to the distributor without the filmmaker owing any money to anyone else OR to themselves. This method allows filmmakers to go through that first feature process without digging themselves into a financial, mental, emotional or spiritual hole. By now, I have clients on the second, third, and fourth films with me, because if you can make a feature without going into debt and without killing yourself emotionally, then you can live to make a second feature. Love this article!!!!
I definitely will tune in for the next part as well. I'm very familiar with the first time filmmaker investor pitches. It's odd that more filmmakers can't come to grips that what their pitching isn't primarily a potential profit making venture, but, something else. They don't like it when I tell them to equate it to buying a race horse. The thrill of ownership, the pomp and circumstances, even the mucking of the stables is all part of the experience they're "investing" in. So few people invest in horse racing and make tons of money. But very many invest in horse racing and have the time of their lives. As a purely financial investment, the film business really sucks.
But, if you can get investors to take a new tack, figure out a way to get them buying in (literally) to the birthing of the future of cinema and the satisfaction that goes with, "I was there when we discovered them," then you're on to something great.
I'm loving reading your articles as I'm very new to this whole world of making a feature. It's been a really helpful perspective, and I look forward to part two.
A first time filmmaker can't pitch an indie film because everyone is in denial of its audience. Even when there's a category for indie on every streaming platform. It's cognitive dissonance. Every producer I've sent a script to said the same thing. "I love it but I can't sell it. Do you have any horror?, Action? Thrillers?" Nobody wants a genre mashup of anything. Much less anything quirky, offbeat.
I saw and adored all three of those first features. More more more! And please, more ways to find and nurture new voices. And if a writer has a stack of original, fabulous first feature scripts but zero contacts and starter money, what's to do?
I look forward to the solutions. Even in publishing, the elite reign with their MFAs and workshop bonafides. In fact, all art went and got a PhD. Perhaps tomorrow you'll fill in the gaps between well-off writer, friends and first features.
First Features, just the mention of it sent me flying. There is a reason we are first features, I have gone to film festivals looking for filmmakers ready to make their first feature. That is one of my objectives. Also, I am interested in making films that are firsts. Films that tell stories in new ways, with new structures, whole new dynamics. To get a feeling of where I am coming from and where I am going, take a look at a recent podcast interview I did. It was amazing how much the interviewers were able to get out of me. https://www.youtube.com/watch?v=6ohmTp0eFQI
I have developed a methodology to work with filmmakers to teach them how to raise funds - partly in the philanthropy side and partly in the investor side - and make their own films. I was so excited to read about one of your successful films being made for 55K. My clients have raised 50, 60, 70K from friends and family and more from investors. My clients choose to invest in working with me and just that commitment propels them to getting their films made. I had not realized that you had used genre filmmaking as part of your process; it's a foundation of mine. Part of my process is to deliver the film to the distributor without the filmmaker owing any money to anyone else OR to themselves. This method allows filmmakers to go through that first feature process without digging themselves into a financial, mental, emotional or spiritual hole. By now, I have clients on the second, third, and fourth films with me, because if you can make a feature without going into debt and without killing yourself emotionally, then you can live to make a second feature. Love this article!!!!
I definitely will tune in for the next part as well. I'm very familiar with the first time filmmaker investor pitches. It's odd that more filmmakers can't come to grips that what their pitching isn't primarily a potential profit making venture, but, something else. They don't like it when I tell them to equate it to buying a race horse. The thrill of ownership, the pomp and circumstances, even the mucking of the stables is all part of the experience they're "investing" in. So few people invest in horse racing and make tons of money. But very many invest in horse racing and have the time of their lives. As a purely financial investment, the film business really sucks.
But, if you can get investors to take a new tack, figure out a way to get them buying in (literally) to the birthing of the future of cinema and the satisfaction that goes with, "I was there when we discovered them," then you're on to something great.
Thanks, Ted. Your articles help us indie producers keep the faith.
I'm loving reading your articles as I'm very new to this whole world of making a feature. It's been a really helpful perspective, and I look forward to part two.
A first time filmmaker can't pitch an indie film because everyone is in denial of its audience. Even when there's a category for indie on every streaming platform. It's cognitive dissonance. Every producer I've sent a script to said the same thing. "I love it but I can't sell it. Do you have any horror?, Action? Thrillers?" Nobody wants a genre mashup of anything. Much less anything quirky, offbeat.
I saw and adored all three of those first features. More more more! And please, more ways to find and nurture new voices. And if a writer has a stack of original, fabulous first feature scripts but zero contacts and starter money, what's to do?
I look forward to the solutions. Even in publishing, the elite reign with their MFAs and workshop bonafides. In fact, all art went and got a PhD. Perhaps tomorrow you'll fill in the gaps between well-off writer, friends and first features.
What is the first feature that you loved but couldn't sell and who is the filmmaker? Would love to see it.
First Features, just the mention of it sent me flying. There is a reason we are first features, I have gone to film festivals looking for filmmakers ready to make their first feature. That is one of my objectives. Also, I am interested in making films that are firsts. Films that tell stories in new ways, with new structures, whole new dynamics. To get a feeling of where I am coming from and where I am going, take a look at a recent podcast interview I did. It was amazing how much the interviewers were able to get out of me. https://www.youtube.com/watch?v=6ohmTp0eFQI
Can you do me a small favour and define "ambitiously authored, highly authored".