By a margin of just 31 votes out of more than 1,200 votes cast, director Ping-Wen Wang’s short film “Christmas Dance” has won the 2nd Britt Penrod Audience Award for 2014. 7 indie film finalists for the Roy W. Dean Film Grant for Summer competed for the award with voting taking place on Facebook from Sept 12th to Oct 12th. The winner’s prize of $250 will help her complete production of her project.
The Britt Penrod Audience Award is open to finalists for the Roy W. Dean Grant. Seven out of the 22 finalists for the Summer Grant competed by posting trailers for their films on Britt Penrod Audience Award App on the Roy W. Dean Grant Facebook page. Registered users of Facebook including film fans and followers of the artist and grant can then view and vote on their favorite.
“It feels great,” Ping-Wen said upon learning she had won, “and the award is truly for my Taiwanese and LMU family and friends. With their support we are able to continue and building upon our dream.”
What does she plan on doing with her prize money?
“This is the first money we’ve raised for the film. We plan on pooling it with the rest of the funds we raise to help pay our crew who will, for the most part, be working for credit and meals.”
Projects that were up for the award included short films, documentaries, and features. As with all submissions to the grant, the projects are all works in various states of production. They all adhere to the goal of the grant which is to fund unique films that make a contribution to society.
“It is a great opportunity for the talented artists applying for the grant to have their works in progress exposed to a wide audience”, commented Carole Dean president of From The Heart Productions which oversees the Roy W. Dean Grant. “These are important projects that need to be seen and supported.”
About Christmas Dance
Christmas Dance is a 15-minute short fiction film about a lonely old woman suffering from Alzheimer’s who enters a dream world and meets her long lost family and friends on Christmas Eve. She must relive her most important memories with her daughter and let go of all her regrets before she forgets everything. The 15-min short film, currently in pre-production, is a PingWen’s graduate thesis project for Loyola Marymount University.
Christmas Dance is a personal journey inside an Alzheimer’s patient’s mind. Because the disease causes her to no longer remember who she is, her mind fights tirelessly to hold on to her memories. She enters a dream world where she can be herself and share one final dance with her daughter.
By telling a touching story between a mother and daughter, Wang attempts to draw public attention to the disease as well as comfort and honor Alzheimer’s patients and their families. While most films about Alzheimer’s tend to show the sadness and the cruel nature of the disease, Wang wants to bring hope to those involved. As Ella Chen, granddaughter to an Alzheimer’s patient, states in The Long Goodbye, “I don’t know how much my grandmother can remember, but I think they’re all the happiest memories”.
A female director hailing from Taiwan, Ping-Wen Wang is dedicated to telling LGBT and women’s stories through the power of cinema. Wang’s first short “The Clown” won the Jury Award in the International Student Film Festival Hollywood, was nominated at Film Outside the Frame (FOF), and screened on Public TV in Taiwan. Her latest work “Between Us” is an official selection of the Palm Springs International ShortFest, Boston LGBT Film Festival, Barcelona International Gay&Lesbian Film Festival, Hong Kong International Gay&Lesbian Film Festival, Taiwan International Queer Film Festival and won the Special Prize of Excellence at the Screwdriver International Short Film Contest in Taiwan.
About the Britt Penrod Audience Award
Founded this year, the Britt Penrod Audience Award is a $250 prize awarded to a finalist of the Roy W. Dean Grant with the best trailer. It is only open to finalists for the Roy W. Dean Grant. Results of the award have no bearing on the grant, but give the contestants an opportunity to increase awareness of their project.
The award’s namesake, Britt Penrod, has been a good friend and longtime supporter of the Roy W. Dean Grant. When Britt made a very generous, sizable personal donation to Grant, it was put it to use in the creation of the award.
About the Roy W. Dean Grant
Now in its 23rd year, the Roy W. Dean Grant is awarded 3 times each year to films that are unique and make a contribution to society that, without its help, might otherwise never get made. Films submitted to the grant can be short films, documentaries or features from early stages of pre-production to those needing help in post.
The grant has given out over $2 million in a combination of cash, goods, and production service discounts from industry donors to date. It has been integral in making sure that talented artists with great stories get their films produced. Recent past winners of the grant that have been completed include the award winning “Heist: Who Stole the American Dream” and “The Winding Stream: An Oral History of the Carter and Cash Family” which is now showing in film festivals around North America.
About From The Heart Productions
From The Heart Productions, which oversees the Roy W. Dean Grant and the Britt Penrod Award, is a 501(c)3 non-profit dedicated to helping filmmakers get their projects made. Besides providing funding through the grant, they are also a fiscal sponsor which allows donations made to films they sponsor to be tax deductible. From The Heart has raised over $1.3 million for crowdfunding films as a partner with Indiegogo. President Carole Dean is the best-selling author of “The Art of Film Funding” which is now in its second edition.
The Bible says “love thy neighbor as thyself.” I believe that this means you need to love yourself more than anyone. This self-love allows you to love others. Operating from self-love allows you to move to any situation with confidence. That includes talking to a room full of investors.
Filmmakers are often hardest on themselves. I want you to think of all the talents you have. Most people would literally give their right arm to be able to act or produce or direct and you probably can do all three of these incredible feats.
Are you confident when you walk into a room full of investors?
Loving yourself and exuding confidence is key to funding your film. When you walk into a room people should feel your presence. They should know from your actions that you are confident and in-charge. That’s what investors and donors want. They give the money to you, not the film.
So, who are you? Are you confident? How do you talk? Are you saying, “Well, we hope to….” or “What we want to do is….” If so. you just lost the money person. They need to hear exactly what your plans are and how you will achieve them in a confident manner. If you’re not sure, how can they be about giving you money?
Most wealthy people belong to a group that operates their lives around mission, visions, and values. They have carefully created their one sentence life mission statement. They have a vision of what they want to achieve with deadlines they often hit. Their values are clearly defined and they live by them. They are self-starters and high achievers. They have detailed to-do lists to work from daily. They are looking for people who are like-minded, who have a mission and clearly defined goals.
I want you to show how much you love yourself through your self- confidence. Be like a conductor on a train from one of those great 1940’s movies. Your train is on a track at Grand Central with a clear destination. You have to get others on board. This is much easier when you operate with self-love and the confidence that your film is fully funded.
Money loves confident people. Confident people have a high regard for themselves, they love themselves and this love is a major asset.
The Divine Record: Within the Divine Record of every individual there is registered all constructive experience. Therefore when a necessity requires it and the wisdom is there to be used, naturally that is the first place to draw from. For instance if you had a book giving certain formulas of activity, you would not go to another individual who had the same kind of book, but you would look into your own book and save the time and energy. If mankind had not forgotten the Wisdom and Force stored within their consciousness, they would much more readily call upon that which is already at hand.
Ascended Master Instructions by St. Germaine Volume 4 (Page 33)
The answers to our specific questions on our personal needs are waiting for each of us. We have only to go inside to find it. I have been successful in getting answers for many problems because I know that the universal knowledge I need is available.
It’s also a great way for filmmakers to solve the myriad production, artistic, and financial decisions they need to make every day.
All you need to do is ask.
The secret is to know that you can get the information you need by asking.
For me, this means that I take the issue with at least two solutions and go to a quiet place. It could be a major decision or just a small decision that I need help with. The secret is to know that you can get the information you need by asking.
Like all practices, it works better if you put yourself into a relaxed state. That may be hard to do on a film set so find a quiet place off somewhere. First I do some regulated breaths to clear myself. I inhale to the count of 8, hold my breath for the count of 8, release my breath for the count of 8 and begin again. After three rounds I can feel my body relax. You have much greater access when you still the mind and relax the body.
Now focus on the issue you need to resolve.
State the issue as you see it. Maybe you can’t decide on an ending for your script or you’ve got an investor offering money, but with lots of strings attached. Now, state two possible solutions. Then leave it.
Give the universe time to analyze it. Stay relaxed for a while then go back to your work. The answer will come. Most of the time it will be a third way to solve the problem or handle the situation and it will be much better than what you had offered.
Sometimes it comes when you are doing the dishes or walking the dog. It just comes into your consciousness and you know that’s the answer. You feel excited when you get it and you feel joy in the knowledge that you have this power inside you. It is your own force that can seek out answers.
Once you have your answer you will feel empowered. Yes, you now realize that you have an abundance of wisdom inside of you. You feel humble knowing that all your questions can be answered. You will find great confidence through the act of going inside for knowledge.
Always know that you are more than your physical body.
You are spirit. As such you have much information stored inside you. You have complete access to information that can serve you well. Simply go inside for the answers because you do have wisdom and force stored in your consciousness.
It also gave birth to a new $500 film award for independent filmmakers.
“Not With Standing” directed by Nick Aquilino
Nick’s submission was on the history of the AIDS crisis in northern California. His work was superior. But, due to the many other exceptional works that applied, he did not make finals list.
When this news was relayed to him, he wondered what would happen to his project and others like his that hunger for recognition. He had been working on this very important project for years. But, it was increasingly difficult to him to keep going without some support, both personal and financial.
He asked Carole if she could come up with perhaps a new micro-grant. It would be for filmmakers who for years have been working on unique films that contribute to society whose projects have gone unrecognized, but should be. Winning just one grant, one award, he told Carole, “would get the other organizations to take note” of his project and others like it.
It is what has made the Roy W. Dean Grant so essential to filmmakers. The grant funds significant films that are in the process of being created. Winning the grant bestows on a filmmaker proof of concept of their project and honors their talent. This moves their films to the top of other grant consideration and funder lists.
“I know it take tenacity and unrelenting faith to keep applying for grants” said Carole Dean. “Especially when you are turned down and told you did not win. We want to honor independent filmmakers who keep going against all opposition, who have undying faith in themselves and their films.”
The Roy W. Dean Grant Jury Award will be given to an applicant of the grant who has been working on their project for 3 years or more, shows exceptional work which adheres to the grant’s mission, and who has yet to win a grant.
Another Jury Award will also be given out in this year’s Roy W. Dean Fall Grant. Deadline for applying to the grant is September 30th. Filmmakers can enter using the Roy W. Dean Grant online application form. Entry into the grant enters you in to competition for the Jury Award provided requirements for the award are met. One winner will be chosen from every subsequent grant.
What’s a PMD? Something every indie film budget needs, a Producer of Marketing and Distribution. Carole Dean’s interview with Jon Reiss was astounding in its torrent of knowledge and ideas, giving us a glimpse of the raw curiosity that drives Jon’s filmmaking. Daily Variety named him as a ‘digital director to watch.’ (Jon in Wikipedia.)
Check out his imdb.com!–fascinating films and subjects–Robotic Mayhem from Survival Research Laboratories; Bomb It featuring rave influencers Crystal Method and Moby; and Bomb It 2 exploring global graffiti leaders. His current project is producer and PMD (a dual role he doesn’t recommend) for a breast cancer awareness doc following the treatment choices, decision-making and post-treatment stories of several women.
This interview is so chockfull of smart info and brilliant ideas—I’ll share a few of the nuggets. (Listen to the interview for so much more!)
Nugget 1 – Every indie film budget needs a PMD, a Producer of Marketing and Distribution. The PMD develops and implements a marketing and distribution strategy at the start of the project. The PMD ensures early and ongoing engagement of the target audience through a storytelling platform, develops niche-influencer partnerships, and defines a festival, live event and digital strategy including merchandise and delivery. The PMD starts with a low percentage of budget and high time investment and inversely ramps up over the life of the project.
At the project’s start the PMD’s focus will be audience and partnership strategy and development, a big investment of the PMD’s time. As the project matures, the PMD’s budget will increase with live event, digital and merchandise strategy rollouts leading up to the ‘premiere’ event. Once the film is released, 100% of the budget becomes marketing and distribution related expenses.
Basically, it’s a key job that needs to be baked into today’s indie film budget if you want to “dent the media landscape,” as Jon put it. Makes sense, huh?
Nugget 2 – To engage, build and maintain your audience relationships, have a storytelling platform that lives alongside the film project. The storytelling platform will build your audience community and create a win-win relationship, nurturing partnerships with like-minded influencers and organizations in your story niche.
Jon’s example: His current breast cancer project examines the controversial questions about over-screening and overtreatment, trends in lumpectomies and mastectomies, and issues of reconstructive surgery. The breast cancer film’s storytelling platform is partnered with a like-minded charitable organization, sharing their audiences and publicity campaigns during the project. His tip for filmmakers with controversial subjects—engage influencers early and hold off on social media promotion of your topic until there are strong strategic partners with buy-in to share in diffusing controversy. A win-win for both, the breast cancer charity will ‘inherit’ the film’s storytelling platform after the film reaches distribution–a real motivator for charity buy-in.
Nugget 3 – Think about ways to engage your audience both episodically and for your one off film premiere. There was so much good advice here I’ll just touch on it so make sure you listen to Jon’s interview for more info. Powerhouses like Netflix and HBO are tapped into consumer preferences for series, gaining the advantage of repeating promo and recurring royalties for replays—but they have the ad money for series promo. Taking a cue from the series concept, Jon uses production and post-production to deliver a series of live events with film previews to elicit feedback, engage audience discussion and make adjustments for the desired impact. His idea: release discreet film clips with fanfare as a series to build fan base and excitement for the final product. Using this model, the live events format could range from mini-screening parties with interactive discussions, to publicity events…whatever suits your topic…or a mix of both during post-production. Post release, additional content not in the final cut makes great series content for ongoing audience engagement and film promotion on the storytelling platform. You can take any of this and run with it to suit your project. (This idea applies during the filmmaking and between projects, too, engaging your loyal fans until your next film is released.)
Audience development tips.
Make the media match the audience: know who your audience is and develop content that engages them directly as early as possible in the project.
Marshall geographic/regional support: If you can link your film subject to a community or region, you’ll interest local press and publicity for your project.
Strategic relationships: develop win-win relationships with both influencers and organizations in your niche subject. Having the support of celebrities, bloggers, charities, civic groups or even government agencies to develop your audience should be a win-win. To develop these relationships, just introduce yourself and connect, and be prepared to answer should they ask what you have to offer and what you want from them, such as screening outreach, dvd promotion, profit sharing, co-publicity events, etc. Jon’s breast cancer strategy started with the influencers and organizations in the breast cancer niche, then expanded to embrace influencers in women’s health.
Some last few tidbits to chew on:
One off films are easier to produce events around than a series because a filmmaker has more opportunity to dent the media landscape—but take advantage of series elements in your marketing.
Your final film doesn’t have to have a 90-minute format! 45 minutes more or less is an optimum length for a live event with publicity or a screening party with interactive discussion.
Carole Dean’s The Art of Film Funding on Blogtalkradio interview of Sheri Candler is another nugget of solid gold for independent filmmakers seeking to crowdfund or distribute their films. Sheri is on the emerging edge of marketing independent features and documentaries in the internet era. A digital marketing strategist, Sheri consults with filmmakers to develop an identifiable brand and audience that follows them from project to project.
As Director of Digital Marketing for The Film Collaborative, she helps filmmakers find strategies for retaining the rights to their work, and much more. She has co-authored two books on film marketing and distribution: Selling Your Film Without Selling Your Soul reveals strategies for US distribution of Indies; Selling your Film Outside the US tells the compelling stories of two case studies of film distribution in Europe.
Sheri’s Message to Filmmakers:
If your only way you to connect to an audience is through the filter of the funder, you are in a weak position and dependent on someone else’s audience to see your work.
The way of the past was to make a name for yourself and then you would be ‘picked’ to do more work for a studio (or a producer.) It’s time to use new strategies to create your own audience and retain the rights to your products.
The studio/producer model is always subjective in its choice of projects – there is always a hot new thing to draw their interest! A mindset change is required for filmmakers to achieve success now, not just for a film but for their creative work to be recognized and generate sustainable career options.
You don’t have to measure your success by the mainstream box office. Most filmmakers want to express their passion, change the world or connect with an audience that loves their work.
You can build an audience around you, as an artist, and make the films you want because you have developed a fan base for your work. You can make what you want as long as you are reconciled to this and can be happy with niche success rather than mass success.
Finding an Audience
A “name” attached to your film doesn’t need to be mainstream star. It could be a YouTube celebrity or a blogger with a large following.
How you will find your audience is key to getting your film seen, distributed and profitable. Indy dramas will attract marketing dollars and distribution offers when they have big names attached unless the content is edgy enough to attract a major film festival or distribution offers. Or you can develop your own audience during the project that supports successful release and distribution.
A big name has a big following, but don’t limit yourself to the mainstream entertainment world. What about YouTube celebrities or blogger with a million followers? Or a film tied into an iconic figure with millions of fans.
These have an audience that wants to see their work and it’s likely you won’t have to pay top dollar for their name. A big name in mainstream entertainment may attract the marketing dollars needed to find the audience, but a huge audience isn’t required to make a film a success. Check out the case studies for examples of that.
What’s Your Hook?
Without a big name or festival, having a hook to connect with a target audience creates an audience that will show up to see the film. When the big name and marketing dollars aren’t there to attract the audience, Sheri’s two European case studies prove that focused effort finds the target audience by getting the word out to them through social media, community, and news channels. In each case, the filmmaker developed warm, substantive relationships with their target audience and surprising success followed.
Each had one or more ‘hooks’ to defined audiences they developed with great success—one over years and the other rapidly (in the year after the film was completed!) Both films were dramas with defined target audiences: a UK-based filmmaker with an ethnic, low budget, coming of age drama; and an India-based filmmaker with a drama released in a regional Indian dialog, with lots of interest from Europe, especially the UK.
So what’s your hook and how are you connecting with the community that will care about your story? Does the community trust you and know your work? If they do, they will want to help when you make your ask for funds or support during release!
Connecting with this audience from the start of your project and asking your audience to be part of the process engages and invests them in buying and sharing the final release. Sheri gives some great examples on how to engage your audience during the process. YouTube is a way to connect with your audience but she warns that people understand social media for relationship building and usually find it a turnoff when used for marketing so use it wisely. It is valuable for some topics…like sharing about a project on an iconic star or engaging fans for their feedback on the direction you’re taking in your story or soundtrack.
Don’t Worry About Distribution If You Have Your Audience
With all the digital distribution platforms now available, distribution is no longer a challenge. But who’s going to watch it? Marketing to your audience must be your focus from the start. Filmmakers can plan audience development and marketing at the beginning of the film.
With the speed of change on the internet, distribution agents simply aren’t able to keep up with the new digital distribution strategies. Online film review publications are now incentivized (The Guardian, The Times of India) using strategies like Distrify to earn royalties on the film reviews that result in click-throughs to view a film.
When you have a hook and plan audience development into your project, magic happens. In one case study, the audience was so invested during the process that, when the filmmaker offered an affiliate program at release, 130 affiliates signed up immediately to help market the film and earn royalties on distribution.
He used Distrify to offer and host the film for streaming, providing affiliates with unique affiliate embed codes. Affiliates ‘prebought’ the film at buyin levels that increased their royalty with higher prebuy values – even up to 75% royalty. WOW. Affiliates made thousands and so did he.
There are Hundreds of Digital Platforms for European Distribution
European distribution requirements are similar to US – they are looking for celebrity names (that are known in Europe), or films shown in a large festival, or films that have a record of large domestic distribution. Some genres attract distribution regardless of names or festivals because they have large demand, i.e. horror, thematic, sci-fi and family films. Straight drama and comedy don’t always travel well to foreign markets.
The sheer number of Video on Demand services in Europe is staggering – 447 – so many more than in the US. That means that with some acclaim, your film can reach many viewers. However, these revenue streams are paying less for a title so you’ll have several deals for distribution in Europe rather than one big deal as in the US market. European catalogs are looking at buying slates so these may only pay a license fee, not a transactional fee. Collaborating with other producers to present a slate increases your film’s chance of being sold in bulk this way.
The Film Collaborative has a great program for US distribution. TFC is an ‘aggregator’ for premium platforms like Amazon and ITunes. For a flat fee, your film will be encoded and uploaded to premium platforms and you’ll receive royalties directly from TFC as a direct pass-through – no transactional fees are charged. This is a great way to get your film into domestic digital distribution.
Did you know that 89% of IndieGoGo campaigns that reach their goal will overfund by 30% or more?
Or that 1/3 of IndieGoGo’s donors are international contributors from 70 countries?
These are just a few of the juicy tidbits I picked up listening to Carole Dean’s interview of IndieGoGo’s Marc Hoffstatter, Head of Film (@theoriginalhoff) on The Art of Film Funding on Blogtalkradio.
Partnered with Indiegogo, From The Heart Productions has helped independent filmmakers raise over $1 million for their films
From the Heart has a unique partnership with IndieGoGo. As a 501(c)3 non-profit, From The Heart provides filmmakers with fiscal sponsorship which allows donors to get tax deductions. Filmmakers also get flexible funding. That means they get paid even if they don’t reach their goal. As an Indiegogo partner, From The Heart has helped filmmakers raise over $1 million to date.
I was delighted to pick up these expert insights and master tips, and give you an overview of the road map they shared.
Build Your Film Contact Database: 90% of your crowd funding comes from your list and their friends. During pre-launch, leverage your database to create excitement and get commitments for 20% of your campaign goal from funders. Then have a plan to get your committed funders to donate in the first two days of your campaign. Reaching 20% of your goal in the first 72 hours will get you noticed beyond your list by IndieGoGo fans and create momentum to fund to 100% of your goal ahead of schedule.
Aim Low – Fund High: Marc and Carole recommend being conservative in selecting your
Marc Hofstatter – Head of Film at Indiegogo
goal to fund faster and stronger. Hitting that 20% in the first few days is crucial. It shows you’ve got support and creates momentum which attracts more donors. So, even if you want to fund your entire feature at once, it’s best to start by funding just part of it. Besides, 89% of the campaigns that hit their goal overfund by 30%.
Plan to Go Beyond Your Goal. Carole pointed out that many filmmakers reach their goal early and are at a loss as to what to do for the rest of the campaign. Marc suggested creating pre-planning stretch goals to keep the momentum going. For example, imagine telling your fans how stoked you are that you’ve reached 100% of your goal early and now you can do what you had only dreamed of…shoot that scene in 3D with another $2,000 (or whatever your first stretch goal is.) That early success is the juice keeping your fans engaged and your campaign exciting.
Don’t Forget The Pictures: Marc recommends that you make your Indiegogo campaign page a strong visual representation of who you are, what you are doing and your unique style and talent. It should not be a page filled with words. Potential donors must be visually drawn in by your campaign page. They want to see your style and get a taste of what your filmmaking will achieve with their help!
No Time for Trailers. Carole and Marc agree that at the start of a campaign a Pitch Video is more important than a trailer. You need to show donors why you are making the project and why it needs to get made. Don’t forget to have an “ask” and a call to action to ask them to donate. But even your pitch video MUST represent your filmmaking vision and style AND give them a reason to click ‘Donate NOW.’ Chances are, they aren’t coming back, so close them NOW.
My own two cents? Consider this – Make a pitch video with two endings: One for pre-launch promotion and the second for the campaign ask and close. Another key element on your campaign page is your team: who is on board with you and what are their roles? Your team inspires confidence in your ability to get the job done with their money, so let your funders know you have quality business and creative talent on board to finish the project.
Pre-planning is Critical: Marc suggests to plan what you are going to do to maintain momentum and excitement at 5, 10, 17, even 22 days into your campaign. Work out predefined benchmarks for stretch goals, pre-written social media content for both during and beyond your campaign, and new and exciting perks that stimulate new funders.
Out With the Old Perks. Plan to introduce exciting new perks during your campaign that stimulate funding. Some funders may prefer a credit over a premiere ticket so changing up the perks will attract new funders. Choosing smart perks like digital downloads and experiences are easier to fulfill and have less impact on your budget than a perk you have to pay for and ship.
Your Crew is Your Team. Mark recommends having a team on your campaign of at least four. 1- outreach to those organizations and individuals aligned with your project to get their support; 2- provide regular updates, responses and new perks on your campaign page; 3- email campaign management and response; and 4- social media content and interaction. Carole and Mark emphasize that you are marketing your film already at this early stage–building a fan base, and hopefully attracting the attention of sales agents, distributors and advocates so treat it that way.
Other key points covered:
Campaign sophistication will jump in the near future with the entry of major players into the crowdfunding arena as seen in the recent campaigns for Sharknado and Rooster Teeth—this is great for getting your project noticed now by serious film fans and funders.
Crowdfunding blogs and thought leaders are interested in your campaign and your project—so add PR outreach to your planning.
Your success at funding your campaign is directly proportionate to retaining creative control of your project. Crowdfunding averages 10% to 35% of a film’s total budget funding, with the balance from grants, equity financing, foreign sales agreements.
Crowdfunding is still relatively unknown and is poised for tremendous growth as market awareness explodes and the impact of recent Title II and Title III rulings make room for crowdfunding equity financing with both accredited and unaccredited investors.
The bottom line is that crowdfunding is far from maturity and is the best tool available for filmmakers to simultaneously get exposure for their talents while marketing and funding their projects.
From the Heart’s unique partnership with IndieGoGo gives you a powerful advantage: a flexible and continuous funding platform combined with decades of experience mentoring filmmakers. Take advantage of this priceless access to this winning combination now.
Here are some cool links I found researching this article that I’d like to share with you:
His information is fascinating. He shares how he learned to send visions of his thoughts to his teacher. From this, he went on to manifest a successful career as an artist as well as writing an important, well received book.
Does your film need funding? You need to see what you want. Ken says this is the first step in manifesting. Then, “move it from your head to your heart.” We communicate through our heart chakra.
Find this heart place to send your vision to the universe. Remember how special you feel when someone says something that makes your hand touch your heart? Tell me a great story, touch my heart, and I will open my pocketbook!
I think you should send your visions with emotions. I like my requests to have“urgency”. So I send them up with joy, happiness and gratitude. Emotions heighten manifestation.
Ken talks about children who manifest what they want. They see it, they say it, or point to it. and they become relentless in their request. They get what they want through focus, focus, focus. And so can you.
Once you start focusing on a vision things happen. In our Intentional Filmmaking Class, we focus on what we want by listing it and envisioning it as completed. We list what we want and send our intentions/visions as if they have happened. That seems to be essential. You have to believe you have it. You are living in it. It is. Once you step into the reality that “it is” you can “feel” it and “see it.” This clear vision is a key to manifesting.
Ken mentions list making. That’s what we do in our class. We make a list of what we want. Short and concise so that we can read it daily and these things become reality. Ken says that a friend of his who is an out of body person could see his list of things start to manifest on the other side. Then it comes into our reality. I don’t know about this. I just know that the “how” is not important. I know the vision and imaging that you have it is the key to manifesting.
Did you know that Rhonda Burns and her crew manifested their top selling film The Secret? by using The Secret? concepts? They manifested what they wanted. They saw this film opening all over the world at once.
At that time, there was no way to download a full film. That’s how much faith they had. They envisioned the outcome they wanted. While they were making the film it became possible to download a full feature and they achieved their vision.
Ken Elliott says that your biggest enemy is fear. You can overcome it by converting your worries to action items. Put them on your calendar. I find he is right. I keep a pen and paper and when thoughts come to me that could be a fear, I write an action note to solve the problem. For some reason the brain stops worrying. Then the next day, if it is still a worry you focus on it or you let it go.
Ken says to create a movie for the future first it in your mind. Close your eyes and imagine you are in your future. See the future and live it. Be on your couch in a lovely home sitting at the end of the day and seeing your film completed.
Use the heart now by sending feelings of love and gratitude while you see the completed film and discuss your success. He says you use one of the most powerful things in the universe: gratefulness. Be grateful that you have the finished film. Charge it with gratitude and love. See this movie once a day.
This manifesting is available to all of us. Thought is real, it can create we know this from quantum physics. Why not believe you can improve your life, create more joy, make a film and fulfill your heart’s desire? Even if for only 90 days, why not use your vision, lists, focus, lack of fear and most importantly faith to create your film?
Guest blog post by my brilliant friend, By Adrienne Gould
With the onset of instant communication, we live in interesting times. The wealth of information exposes more ways for people to expand their knowledge; people are willing today, more than ever before, to accept the role “thoughts” have in realizing a better future.
Many books published in recent years give credence to the power that positive thoughts, via the use of affirmations, are directly related to your lives circumstances.
Today, there is a new way of thinking, and with Carole Dean’s class on Intentions quickly approaching, I’d like to explain the differences between affirmations and declarations.
The difference between an affirmation and a declaration is slight, but in my mind, powerful. The definition of an affirmation is “a positive statement asserting that a goal you wish to achieve is already happening. I‘m not crazy about this because what it does is bring an automatic response to your mind that says, “This isn’t true.”
The definition of a declaration is “to state an official intention out loud that takes on a particular course of action“.
A declaration is not saying some-thing is true, it’s stating that we have an intention of doing or being something.
A declaration, by definition, is also official. It is a formal statement of energy into the universe and throughout your body.
Declare your intention aloud each morning and each evening. Additionally, if you do so while looking into a mirror, it will accelerate the process even more.
Now, I have to admit that when I first heard of this, I said, “No way, too hokey for me.” But, because I was broke at the time, I decided, “What the heck, I’ll do the hokey thing, I‘d rather be really hokey and really successful than really cool and really broke.”
After achieving the goals I’ve declared, it’s no surprise that I believe in declaring intentions.
* * * * *
Here are two ‘people habits’: Doing habits and Not-Doing habits. The way to change Not-Doing habits into Doing habits is to DO them. Reading will assist you, but it is a completely different world when you go from reading to doing.
Dr. Deepak Chopra says that “If you talk to people who work in aquariums, they will tell you that when fish are separated from each other in glass tanks with a transparent partition between, preventing the fish from moving to the other tank, and then you remove that partition, the fish still will not beable to go into the other tank. They have made a commitment in their body-mind and believe that’s as far as they can go.”
He says our sensory apparatus, like those fish in the aquarium, develops as a result of our initial sensory experiences and how we are taught to interpret them. We function with a nervous system that reinforces and interprets what happened to us. It’s called a premature cognitive commitment.
Then, we commit ourselves to cognitive realities which are a result of conceptual boundaries that we have structured in our own consciousness. And our nervous system reinforces these boundaries.
I run into this daily in consultations with filmmakers. When they need to raise money, I often suggest ideas that I know to be successful. Many will say, No, I had a horrible time with crowdfunding or I had a party and we barely covered the cost of the food. Once they tried something, their body-mind has made a premature cognitive commitment.
To change this is impossible in one phone call.
A New Kind of Class
So years ago, I created The Trailblazers Class. I asked filmmakers to drive an hour to Oxnard once a month for 6 months to spend from10AM to 4PM with me in my home with lunch served. We started with the foundation of the film, pitch, proposal and trailer and we spent a month on each of these before we moved into funding ideas.
We created a vision board together cutting pictures from magazines, listened to Chopra and his Way of the Wizard audio. We listened to Bruce Lipton tell us how to change our thinking, how we are creating our future with thoughts. We began to think of things as completed and realized we must send positive images and feelings when we thought about our firms and our future. So we created completed visions of the films in our minds and saw them as successful.
Was it successful? Upon research, one woman who was just starting to make a documentary now has a brilliant, completed film and is starting another one. One of the young men in the class has won many grants and is now teaching at NYFA. Another woman artist did a stupendous job with her documentary and wrote a second book with her photos and it is published.
That’s why I’ve now created the Intentional Filmmakers Class. It’s a nine month online course (no trips to Oxnard necessary) to help filmmakers remove blocks. It will have only a small group of filmmakers who will work together to discover these body- mind commitments and remove them. I want to help filmmakers accept and embrace new concepts for funding their films.
This is a business where the only constant is change. We must be able to adapt to new concepts and let go of old ones at the drop of a hat. We can do this through new information from scientists, doctors and investigators such as Deepak Chopra, Lynn McTaggart, Brian Green, Stuart Wilde and Michael Beckwith.
Miracles happen every day. I believe that we are all connected. I believe that we care for each other and we are here to support each other. We can create our future. Impossible? I don’t think so.