The Best Film Fundraising Platform?

On the film fundraising platform offered by From the Heart Productions donors get tax deductions for donations. Filmmakers can have all their fees covered.

by Carole Dean

When you are accepted under the fiscal sponsorship program for From the Heart Productions, the benefits go beyond personal guidance and attention.

We give you a free web page for your project on our Network for Good (NFG) fundraising platform.   

Maybe I’m prejudiced as I’m president of From the Heart Productions, but I think it’s one of the best film fundraising platforms available.

Film Fundraising Platform

Short Film “Surrnder Heaven” Hit 119% of It’s Goal

For starters, NFG is a leader in non-profit fundraising.  (They are the company Facebook uses to process donations).  Created with the help of AOL and Yahoo,  NFG designed their program with donor psychology in mind.  They included behavioral economics, the concept around why people make certain decisions.  To date, they’ve helped non-profits and their projects over $2 billion.  

All of there features and technology aid you in raising funds for your film.  As a filmmaker, without From the Heart Productions, NFG would charge you $60.00 a month for this same page.  Its included when you are fiscally sponsored by From the Heart Productions. 

Other great benefits of our NFG platform include:

Donors Can Pay Your Credit Card Fees

At the time of check out when someone makes a donation to your film, your donor is asked if they want to cover the filmmaker’s fees.  This includes the credit card and fiscal sponsorship fees. 

Over 70% of the donors are paying these fees for the filmmaker.   

You Can Receive Monthly Donations

With this program you can create donation amounts with monthly payments that many more people can afford.

Let’s say that you have a gift on your page of a “Special Thank You Card” for anyone who donates $1,000.00.  That may put the donation out of the reach for a high percentage of your crowdfunding list. With NFG you can allow them to donate $100.00 a month for 10 months and they can get that award.

Simple Process for Donor Sign Up

When we only had a Paypal button for donations to offer filmmakers, we would get phone calls daily asking us for help to complete the checkout.  We’ve not received one call in 3 years working with NFG.  Their sign up is much easier and especially for older donors. 

Easy Set Up and Design

NFG has set up their platform with easy to use templates and great design tools.  You can quickly create a wonderful looking and appealing page.   You can add a trailer,  productions shots, filmmaker bios, and pie charts. 

I always say, “Touch my heart and I open my pocketbook.” NFG also knows that funding is all about telling a good story.  NFG says that fund raising is about giving your donors visuals and a trailer with a heart-felt story that connects with another person. 

Once you get that on your page,  it will lead to stronger and higher donations. 

Suggested Donation Amounts to Maximize Giving

NFG offers guidance some suggested giving amounts for you to consider.   It’s important to set up amounts that are comfortable for your list of donors.  

Everyone has a “comfort level” of giving.  Think about this, when you get ready to donate to your favorite charity, I bet you give the same amount most of the time.  That is your “comfort level.” Knowing that comfort level for your donors can benefit you when choosing these amounts.

People Can Leave Messages and Tributes After Donating

Potential donors when visting your page can see others who’ve donated along with the supporting messages they left.  That makes future donors more likely to donate.  This gets back to the behavioral economics.  NFG incorporated this ability to leave a message because it can increase your donations.

From the Heart Productions assisted filmmakers in raising over $10 million for their films through fiscal sponsorship for over 10 years.  We are always looking for new and better ways for filmmakers to increase their funding opportunities.

NFG is an exceptional fundraising platform.  The best we’ve found to date.

If you are interested in fiscal sponsorship with From the Heart Productions.   Please check out our Fiscal Sponsorship Page or email  us at

 

Carole Dean is president and founder of From the Heart Productions; a 501(c)3 non-The Art of Film Funding Podcastprofit that offers fiscal sponsorship for independent filmmakers. She hosts the weekly podcastThe Art of Film Fundinginterviewing those involved in all aspects of indie film productionShe is also the author of  The Art of Film Funding, 2nd Edition: Alternative Financing Concepts.  See IMDB for producing credits.

Documentary “The Advocates” is First Roy W. Dean Grant Winner for 2018

Film Explores the Homeless Crisis in Los Angeles and Those Working to Transform it Through Compassionate Community Action

Roy W. Dean Grant Winner "The Advocates"Oxnard, CA Sept 1st 2018 –  From the Heart Productions,  a non-profit dedicated to helping indie filmmakers get their films funded, has awarded the Roy W. Dean Grant for Spring to “The Advocates”.  Awarded 3 times each year, the Roy W. Dean Grant goes to a film that is unique and makes a contribution to society. The filmmakers behind the winning project will receive $3,500 in cash and $30k in film production services to help complete their documentary.

“Watching ‘The Advocates’, you will be shocked to see how many people are living on the streets”, commented Carole Dean, president of From the Heart Production. “You can’t watch this film and not be moved by their plight and inspired by those working to make life better for them.”

Directed and produced by Remi Kessler, Roy W. Dean Grant Winner “The Advocates” goes behind debates and headlines about homelesness with real-life demonstrations of transformation from the trenches of the crisis. Sharing insights, skills and dedication, this emotive, revelatory film is driven by two unforgettable main characters.

Both are Los Angeles natives and Latinos who give tireless, highly skilled outreach and support to people experiencing homelessness. While experts analyze the underlying causes of the current Los Angeles homeless crisis amid a changing policy landscape, these two caseworkers win our hearts with their dedication and integrity.

In addition to the $3,500 cash prize the Roy W. Dean Grant winner will receive $500 in expendable, lighting or grip equipment from Filmtools, a hard drive from G-Technology, 15% off legal services from entertainment lawyer Robert Seigel, Movie Magic Budgeting software from Entertainment Partners,  and more from heartfelt donors.

About the Filmmaker

Remi Kessler – Director

Roy W. Dean Grant Winner Remi KesslerPresident of KSA Productions, Rémi has produced shoots in locations throughout the globe. His expertise ranges from commercials to independent features to episodic television.  He has produced and line produced countless commercials for clients such as Peugeot, Renault, Chrysler, Pontiac, Mercedes, Dior, and MTV. 

He was a producer at Animatogrofo in Lisbon and Paris, one of the major European production service companies averaging 25 feature film and television productions per year. While at Atlantique Productions in Paris, Rémi line produced four television series over a period of three years and then went on to become a producer of Prime Time fiction at Protecrea, one of France’s major TV network (TF1) production companies.

About the Roy W. Dean Grant

Now in its 26th year, the Roy W. Dean Grant has awarded over $2,000,000 in cash and donated film services to films.   Grant is awarded to films budgeted under $500,000 that are unique and make a contribution to society.  It has been an important lifeline for independent filmmakers needing help to continue working on their film and to get it completed.  Without assistance from the grant, many excellent and important films may never have been made. 

Past winners of the grant that have been completed include the Emmy winning Mia: A Dancer’s Journey, the SXSW Best of Fest Music Film The Winding Stream: An Oral History of the Carter and Cash Family, and Kusama-Infinity which is just now going into theatrical release around the US.

About From The Heart Productions

From The Heart Productions is a 501(c)3 non-profit dedicated to helping filmmakers get their projects funded and made.  Besides providing funding through the grant, they offer films fiscal sponsorship which allows donations made to films they sponsor to be tax deductible.  From The Heart has raised over $3 million for crowdfunding films.  President Carole Dean is the best-selling author of The Art of Film Funding: 2nd Edition, Alternative Financing Concepts

For More Information and interview requests, please contact:

Richard Kaufman

www.fromtheheartproductions.com

 

Surviving the Stress and Succeeding on Kickstarter

How our Fiscally Sponsored Filmmaker Got Help from a Kickstarter Expert for Her Crowdfunding Campaign and Hit Her Fundraising Goal

by Carole Dean

Our fiscally sponsored filmmaker, diane estelle Vicari, feared her fundraising campaign was set to fail.   diane (both her first and middle names begin with lower case letters) is the founder of Dites-Moi and winner of the Pare Lorentz Grant for her film Sugihara, Conspiracy of Kindness.  

Kickstarter Expert

“SHADOW MAN: The story of Sammy Nestico”

Her new film, Shadow Man: The Story of Sammy Nestico, needed to raise money to finish her edit.  It had a great story.  It is a feature-length documentary film that explores the music, art, humanity, impact, and life of Sammy Nestico.  He helped mold the careers of many jazz greats.  Sammy recently turned 94 years young. His most recent Grammy nomination came only a year ago, at the age of 93!

But, she only had 3,000 names on Facebook.  You should only expect to get about 1% of your social media followers to donate.  So, obviously, that was not going to get her to her goal.  And, with Kickstarter, if you don’t reach your goal, you get zero.

Her non-profit fiscal sponsor From the Heart Productions came to her rescue.  We hooked her up with our Kickstarter expert.  Working with him as a team, she grew her social media followers, reached a larger audience, and surpassed her funding goal.  She asked for $61,500 and got over $75,000!

On The Art of Film Funding Podcast, she shared with me her experience and what she had learned.

Realizing You Need Help and Accepting It 

diane had 3,000 names on Facebook and knew she needed help to reach her funding goal.  She took the leap of faith to do a crowdfunding campaign with From the Heart Productions and our Kickstarter specialist.  

After speaking with the expert, diane realized he was right for the task as “he knew money and how to get it.”  To make this campaign work, she realized she was the artist and he was the money man. 

She began to feed him stories every day about the film and introduced him to the subject in the film.  He met Sammy and saw his loving, generous energy.  After that, the Kickstarter expert was able to help diane build the Facebook numbers up to 6,000 followers by the end of the campaign.

Facebook to the Rescue

Once she got Sammy on Facebook with the heightened energy from the campaign it was a magical time.  Sammy had never heard of Facebook.   diane had to drive hours to his home and do the postings for him.

Getting him involved on social media attracted lots of followers.   Sammy talked to people all over the world who love music and even some who had read his music books written for schools.  

This participation was the key to their last days where they raised over $10,000.00.   People are more likely to support you when they can chat with you online. 

diane posted a video of Sammy watching his trailer on Kickstarter and seeing the funds come in on the campaign.  People loved it.  She thinks he was the oldest person on Kickstarter.

Choosing the Right Amount for the Goal…Even If It’s Less Than You Need

diane knew from her Kickstarter adviser that she could not raise the full amount she needed for her final edit with her data base.  They set a goal they thought they could reach.  She did not get enough for the full edit. 

She thought she could get at least a few months of editing with these Kickstarter funds.  But after consulting with D-Word’s Doug Block, she realized that was not a good idea.  Hiring someone for 2 months and then terminating them to look for more money might mean you could not get that same editor again. 

He suggested she view all of the footage for the last 16 years and hire an assistant editor.  Then, raise the balance needed, hire the editor, and do the edit all at once.

However, now she has a successful campaign behind her.  She has lots of new donors and followers on which to build her next campaign.  Her trailer was the most watched on Kickstarter and a copy of it is on our crowdfunding page. 

Sammy was the oldest person on Kickstarter and people loved him.  There were featured by Kickstarter.  diane had 511 rewards to fulfill and she had to handle all that herself.

After 44 days of working 10 hours a Day on Her Campaign, I Asked Her “Would You Do This Again…Is It Worth the Stress?” 

Looking back over the ups and downs of the campaign, diane says “Yes, I will do this again, even with the craziness and the stress.”

“Look at the benefits we received.  We found and connected to our audience with Kickstarter.  We now have people all over the world who want to see this film made.   They stayed with us to the very end to see we hit both of our goals.  People are still finding us even weeks after the campaign and they want to donate.”

She and Sammy are dedicated to keeping their audience.  They are continuing to work on Facebook.  They are keeping their fans up-to-date on the progress of the film and Sammy is personally talking directly to his audience. 

This experience took him into a new world. He is writing again.  He has found how much people love and appreciate him. 

I believe this magic of connecting with people personally will insure another successful campaign.

 

Carole Dean is president and founder of From the Heart Productions; a 501(c)3 non-The Art of Film Funding Podcastprofit that offers fiscal sponsorship for independent filmmakers. She hosts the weekly podcastThe Art of Film Fundinginterviewing those involved in all aspects of indie film productionShe is also the author of  The Art of Film Funding, 2nd Edition: Alternative Financing Concepts.  See IMDB for producing credits.

Sharing Wisdom: From Filmmaker to Author

An Award Winning Filmmaker Decided to Write a Book.  Here is What She Learned and Her Outside-the-Box Way of Getting a Great Deal to Write the Screenplay

by Carole Dean

Many filmmakers tell me they want to write a book to go with their film.  And they want to know if the book should be published first. I decided the right person to ask is Alexis Krasilovsky.

Filmmaker to AuthorAlexis won the Roy Dean Film Grant for her global documentary feature: Women Behind the Camera, which won four “Best Documentary” awards. She also directed a second global documentary, “Let Them Eat Cake” (2014), She is a member of the Writers Guild of America West.

Written under her “nom de plume” Alexis Rafael, her most recent book is “Sex and the Cyborg Goddess”.  Set in 1969, it tells the story of Ana who arrives at Yale just as it’s going co-ed.  It tackles sexual liberation and sexual assault on campus, as well as sexual harassment in the film industry.

I interviewed her on The Art of Film Funding Podcast about filmmakers writing books.  How important is it for your film?  Here are some tips from this podcast.

What Advice Do You Have for Going from Filmmaker to Author?

“It’s often a good idea to write a book first,” suggested Alexis.  “It not only helps you to solidify your ideas, but by getting a book published first, your readership becomes your potential audience for the movie.”

“If it’s a women’s topic, that can be especially significant.  Women comprise 75% of the readership of novels.  Even though the film industry is still very male-dominated in terms of who decides what gets produced and what doesn’t, they are finally recognizing that it can be very good business to produce a film based on a book written by and for women.”

Did You Base “Sex and the Cyborg Goddess” on Your Own Experiences?

“Sex and the Cyborg Goddess” is a work of fiction, set against the backdrop of the sexual liberation era, anti-Vietnam protests and Black Panther demonstrations. It’s a portrait of a filmmaker, Ana, as a young woman who won’t let sexual harassment stop her.” 

But I am not Ana.  Unlike the Ana of this novel, I did let sexual harassment stop me.  I retreated into academia instead of going to bed with the last producer I worked for in Hollywood. The books which I wrote while a professor became a kind of R&D – research and development – for creating the character of Ana as she moves forward through the 1970s and 1980s in L.A. and N.Y.” 

But some of what Ana experiences did come from my own life. Like Ana, the Yale student, I protested against the war in Vietnam in Washington, although the real me didn’t drop acid.”

What Do You Want People to Take Away From the Book?

“I want readers to find affirmation in their right to pursue consensual sex, as well as their right to live without sexual violence. 

For those readers who are part of the “#MeToo” movement, I want my book to provide healing by furthering the discussion about Ana, a relatively isolated character, and young women today, who belong to a Sisterhood.”

What is the Unique Strategy You Are Using to Get a Deal to Write the Screenplay?

“Before embarking on the screenplay, I took time off – including a research fellowship and a sabbatical – to write a nonfiction book entitled “Great Adaptations: Screenwriting and Global Storytelling.” It was published by Routledge in NY and London last fall.” 

As a member of the Writers Guild, I thought that by establishing myself as an international expert in screenplay adaptation, I’d get a better deal on the screenplay for “Sex and the Cyborg Goddess.”  I’ve been speaking about adaptation at CBS Studios and on panels around the L.A. area.  In January, I’ll be giving a screenplay adaptation workshop at the International Academy of Film and Media in Bangladesh.”

I hope that strategy pays off. After teaching screenplay adaptation as a screenwriting professor for over two decades, you can imagine what a thrill it is to sit down at the computer, open up Final Draft, and finally, finally, go to work on my own screenplay.” 

I just sit there and laugh and laugh – not all of “Sex and the Cyborg Goddess” is tragic.”

 

Carole Dean is president and founder of From the Heart Productions; a 501(c)3 non-The Art of Film Funding Podcastprofit that offers fiscal sponsorship for independent filmmakers. She hosts the weekly podcastThe Art of Film Fundinginterviewing those involved in all aspects of indie film productionShe is also the author of  The Art of Film Funding, 2nd Edition: Alternative Financing Concepts.  See IMDB for producing credits.

Getting Creative When Creating Great Adaptations

Author Alexis Krasilovsky Explains When it’s Been Right to Move Adaptations Beyond the Original Material

by Carole Dean

AdaptationsAre you thinking of making a film or documentary by adapting a book, magazine article or TV show?  You’re not alone as many academy award winning films, Emmy winning movies, and series began as adaptations. 

There’s a ton of pitfalls.  Some, of course, are legal that could stop you before you start. Or, you could get tied up in lawsuits after you’ve invested time and money.  Other traps are creative.  How far should you or can you go in changing any aspect of the original?

Fortunately, on my recent The Art of Film Funding Podcast, I had an expert on adaptations to offer tips and guidance on adapting material. 

Roy W. Dean Grant winning filmmaker Alexis Krasilovsky is the author of Great Adaptations: Screenwriting and Global Storytelling.  Educated at Smith and Yale, with an MFA from California Institute of the Arts, her book is a compendium for anyone wanting to adapt a story from almost any source. 

How To Keep Adaptations From Being Stifling

“A good student will memorize the storyline and analyze the characters and some of the things they say – whether it’s a graphic novel, a short story, a play or a novel” noted Alexis.  “But a great student — or a professional screenwriter — needs to honor the spirit of the work without just regurgitating its storyline and dialogue.” 

The original work needs to come alive in a new medium.  Alexis says an adaptations calls for a close relationship with the original author.  But, you don’t want to be slavishly married to the book.

“It may mean divorcing yourself from the material you’re adapting in order to discover your own voice in the process,” she explains.  “That fresh perspective can be the key towards involving your audience so that they’re excited by the story and what you do with its characters, setting, and time frame.”  

How Important Is It to Stay with the Original Setting of the Story?

“Moonlight”, based on Tarell Alvin McCraney’s play “In the Moonlight Black Boys Look Blue”   was shot in Liberty City, Florida.  It’s the Miami suburb where both director  Barry Jenkins and author grew up.  But, Alexis mentions, before filmming began, there was talk about setting a in Chicago!

For some stories, like “Moonlight”, the original location is an integral part of the story and should not be altered.  Likewise, it’s hard to imagine Trainspotting taking place somewhere other than Edinburgh, “The Milk of Sorry” in any place other than Peru, or “Wuthering Heights” outside of England (although Luis Bunuel’s “Wuthering Heights”, renamed “Abismos de Pasion”, takes place in Mexico).

But many times, the creativity of changing a setting is what makes a film a winner.  One is example is Nobel Laureate Naguib Mafouz’s novel, “Midaq Alley”  The original story takes place in a run-down alleyway in poverty-stricken Cairo, Egypt.

Mexican Filmmaker Jorge Fons reset the location in his film “Midaq Alley” (El Callejon de los Milagros).  His film explores the parallel lives of characters in a run-down alleyway in Mexico City.  The film won 11 Ariel Awards in Mexico – the equivalent of our Oscars, and dozens of other international awards and nominations. 

It’s a great example of a story without borders:  It’s a story that resonates with poverty issues in both Egypt and Mexico but is also universal.

Adding to Original Material

Akira Kurosawa was famous for his many adaptations.  Alexis told a story contained in his cleverly named autobiography, “Something Like an Autobiography” in which talked about how  he combined different original stories to create a classic.

“As I cast about for what to film,” Kurosawa recalled, “I suddenly remembered a script based on the short story “In a Grove” by Ryunosuke Akutagawa. .. written by Hashimoto Shinobu.  It was a very well-written piece, but not long enough to make into a feature film”

Later the memory of it jumped out of one of those creases in my brain and told me to give it a chance.  At the same time, I recalled that “In a Grove” is made up of three stories.  I realized that if I added one more, the whole would be just the right length for a feature film.”

Then, I remembered the Akutagawa story “Rashomon.” Like “In a Grove,” it was set in the Heian period…The film Rashomon took shape in my mind.”

Kurosawa felt, that in order to write scripts, “you must first study the great novels and dramas of the world.  You must consider why they are great.”

“I’ve tried to do just that in while writing my book, “Great Adaptations: Screenwriting and Global Storytelling,” said Alexis  “I hope it will be helpful to others.”

Bonus – Alexis Krasilovsky Negotiator’s Legal Checklist for Film Adaptations

There are six basic questions that negotiators can discuss and check off when working on film adaptations:

  1. Is the basic story under copyright?
  2. Who owns the rights?
  3. Have the rights been previously granted to a third party?
  4. If in public domain, have other versions been previously made and released.
  5. Monetary negotiation with owner or agent of copyrighted version.         6.  Non-monetary negotiations (such as territory, script approval, sequel rights, credits, etc.).

Attorneys can be very expensive and therefore doing one’s homework prior to your consultation can be a worthwhile investment. The answers are discussed in detail in “Great Adaptations,” in the second chapter.

 

Carole Dean is president and founder of From the Heart Productions; a 501(c)3 non-The Art of Film Funding Podcastprofit that offers fiscal sponsorship for independent filmmakers. She hosts the weekly podcastThe Art of Film Fundinginterviewing those involved in all aspects of indie film productionShe is also the author of  The Art of Film Funding, 2nd Edition: Alternative Financing Concepts.  See IMDB for producing credits.

How a Hawaiian Prayer Can Help Fund Your Film

Hoʻoponopono, the Hawaiian prayer of forgiveness and reconciliation, can release your creativity

by Carole Dean

Hoʻoponopono

Forgiveness is a higher vibration than love

“My enemy has come to ask me for forgiveness.” 

I was in the hospital with my father who had just had a stroke.  We did not know if he would live.  Dad was staring at the door to his room when he said those words.

I said Dad, you have to forgive him and let him go.  “Darling”, he said, “I forgave him long ago.  He must forgive himself.” 

That was one of the most important moments in my life.  Since then, I have learned that forgiveness is a higher vibration than love.  It is the vibration that we all want to reach while we are on this planet. 

Then, I found a wonderful Hawaiian prayer.  It has been an important tool for healing myself and forgiving others.  It brought balance in my life and I owe much of my success to its lessons.

I teach it to filmmakers in my Intentional Filmmaking Class.  It has helped them move past the frustrations and anger artists encounter. 

It’s allowed them to be heard, be creative, and get funded.

Hoʻoponopono

‘I’m sorry, please forgive me, thank you, I love you’.

Those are the few and powerful words of the Ho’oponopono prayer.  The literal translation of the prayer from Hawaiian is ‘to put to right; to put in order or shape, correct, revise, make orderly or neat.”

Many people believe Hoʻoponopono to be a mantra of mental and spiritual cleaning that could be compared to Buddhist techniques for clearing karma.  According to the Hawaiian worldview, “errors of thought” are the origin of problems in the physical world.  The prayer begins the process of cleansing them.

When we forgive others, we are really forgiving ourselves.

Money Has Ears

Ok, how can this help you fund your film?  If you feel like you have a strained relationship with money, you can use this powerful meditation to break through personal blocks.  Creative differences, funding falling through, or family issues distracting you from reaching your goals?   This prayer can help get all of that behind you. 

With Hoʻoponopono, you take total responsibility for your own actions and everybody else’s too.   You must let go of your ego when using this prayer.  Connection, clearing, and forgiveness are much more important than ego concerns about who is right and who is wrong.

This will move you out of any feeling that you have been victimized.  It will release anger that is blocking you from moving forward.

Rejection is a Daily Occurrence for Filmmakers

Each of you has to deal with rejection on a daily basis.  Healing and forgiving are partners in this Hawaiian prayer.  When you have been rejected by a donor or a grant, this can help you accept it and move on. 

There is power in release of trauma, power in release of anger, power in the release of frustration.   All of this power you have is now being used to handle, to keep in place, all of these emotions. 

You can heal yourself and remove any unpleasant situations, rejections or loss, with Hoʻoponopono.  This is asking a lot from a prayer and I believe it works. 

Bring up a rejection of a donation to your film or bring up a confrontation with someone.  Then, say this prayer daily for a week or until you feel you are in balance with this person or issue. 

You will begin to heal that hurt and soon you can say their name without any hurt feelings.  That is when you know you’ve forgiven them.

Give it a Two Month Try Out

Those of you who want to try this, please join me and let’s do it for the months of August and September.  This would give us lots of prayers to forgive people including ourselves. 

You might use a memory trick to tie new things to some habit.  For example, like when you brush your teeth, remember your Ho’oponopono prayer! 

Give yourself time to start saying it before the day comes on you or when you go to bed.  Pick someone, some event, that you want to heal and begin your forgiveness prayer. Say it at least 5 times for one person. 

I will do it with you.  This opens up our creative forces.

Look Online for a Guided Ho’oponopono Meditation

There are prayers on line from 7 minutes to over an hour that you can use.  I suggest you find one that works for you.

I am a long-time meditator.  I put myself into a quiet place or I do this when I go to bed.  In my mind, I bring up the person or event.  Then I say Ho’oponopono, their name, and then I slowly and sincerely repeat these words:

I am sorry, please forgive me, I love you, I thank you. 

I suggest you do this 3 to 5 times for each person.  I send them forgiveness with each prayer, even when I think I am the wronged person! It does not matter, I know I must forgive them and I must forgive myself.

Forgiveness is the highest vibration on the planet and that’s where creatives want to live, where we are vibrating with the resonance higher than love.

 

Carole Dean is president and founder of From the Heart Productions; a 501(c)3 non-The Art of Film Funding Podcastprofit that offers fiscal sponsorship for independent filmmakers. She hosts the weekly podcastThe Art of Film Fundinginterviewing those involved in all aspects of indie film productionShe is also the author of  The Art of Film Funding, 2nd Edition: Alternative Financing Concepts.  See IMDB for producing credits.

 

How to Get Your Film Funded with New Tax Law

Hidden in New Tax Law are Incentives For Film Donors and Investors That Could Help Finance Your Entire Film

 

by Carole Dean

Get Your Film Funded

Did you know that when President Trump signed into law the new Tax Cuts and Jobs Act in January, 2018, new incentives for film investors were created that could help get your film funded?  I didn’t and I’m pretty sure most filmmakers we work with at From the Heart Productions did not know either (and since many in Congress had not even read the new law before it was enacted, they may be clueless as well).

Corky Kessler, Esq. is one of the top film attorneys in the US and he knows better than anyone how filmmakers can take advantage of tax laws.  When I interviewed Corky on The Art of Film Funding Podcast, he brought this incentive to my attention and revealed you can use it to get your film funded.

Bonus Depreciation

The part of the new law that relates to film, television and theater and is called “bonus depreciation, section 168.”  Bonus depreciation means when a film is first shown, at the end of that year, the investors get a 100% depreciation.

As a result, that means the investor can take a loss of 100% for the amount invested.  For example, say your donor invests in 2017 and in 2018 you have your first screening.  At the end of 2018, your investor can get his 100% depreciation for the total amount of his investment.

What a great way to attract major donors or investors to your project by giving them a massive tax deduction.

Take Advantage Before They Put Restrictions on This New Law

Before there was bonus depreciation, there was Section 181 of the tax code.  Enacted in 2004, Section 181 allowed you to eliminate your investor’s tax bill by what they’ve invested in your film.  

Corky says that, when section 181 was introduced,  it had no rules or regulations until February 2007.  Those first years were wonderful.  It was like the wild, wild west with lots of opportunities to help film investors.

This new law replaces Section 181.  And, just like the early days of that law, there are no rules and regulations for the new law.  So, the field of how to interpret things is wide open.  This is good for filmmakers.   

Putting Your Film “In Service”

Your film needs to be “put in service” to get the depreciation.  But, right now, there is no definition of what that exactly means.  We know it has to be shown somewhere.  The law just isn’t clear on where that somewhere needs to be.   A festival could qualify.  You could rent a theater, charge people a dollar, and the film is “in service.” 

But, wait.  The law does not say if it has to be shown in a theater.  It does not even say how long the film has to be shown.  

Corky says it could also be shown on YouTube or social media. The law is triggered when the film is “put into service” meaning the time that a film is first shown.   For television, it is the year it is first aired, for theater it is the year of the opening night of the theater.

The Sky is the Limit

Under  Section 181, said you could expense up to 15 or $20 million.  This new law has no limit. It could be $100 million.  Better yet, the law is retroactive and begins in 2017.   The law ends on Dec 31, 2020.

The New Law is Excellent for International Co-Productions

One carryover of Section 181 is that 75% of your service wages of the film have to be performed in the United States.  25% can be in any country you want.   

So, in theory, let’s say we have a $10 million movie.  You could spend $2,500,000 in service wages in Canada or England and take advantage of their excellent tax incentives for filmmakers. Plus, you could shoot in France with their 25% incentive or the Dominican Republic with a 25% incentive.

We can go any place that we want and spend the 25% and still qualify for the US incentive.

Bonus Deduction

Part of the new tax law is Section 199A.  It gives you a 20% deduction on taxable income for money coming back to you.  If I return a dollar to you, you pay tax on only $.80.  So, you make 20% on the incoming funds.   I believe you can write off a maximum of $350,000.

Get a Good Accountant and Lawyer

There are limitations on what you can do under this.  So, please make sure to talk to your accountant to understand them.

A good lawyer to guide you through this is advisable as well.  Corky Kessler works at Rubenstein Business Law with his partner David Rubenstein.  He can be contacted at   From the Heart highly recommends him and his services for filmmakers.

He’s been in the business for many years and he is intelligent, creative and a lot of fun to work with.

 

Carole Dean is president and founder of From the Heart Productions; a 501(c)3 non-The Art of Film Funding Podcastprofit that offers fiscal sponsorship for independent filmmakers. She hosts the weekly podcastThe Art of Film Fundinginterviewing those involved in all aspects of indie film productionShe is also the author of  The Art of Film Funding, 2nd Edition: Alternative Financing Concepts.  See IMDB for producing credits.

 

 

Finalists Selected for Spring 2018 Roy W. Dean Grant

20 Filmmakers Take Next Step Toward Winning Grant Valued at $30,000

Finalists for Spring 2018 Roy W. Dean GrantFrom over 300 submissions from around the world, 20 films have been named finalists for Spring 2018 Roy W. Dean Grant.  The grant, which is offered by non-profit From The Heart Productions, seeks unique films that contribute to society. 

The Roy W. Dean Grant winner will receive $30,000 in a combination of cash and donated from film industry professionals and companies which support independent filmmakers. 

“We are truly blessed right now having so many talented, creative filmmakers with passion for their projects shining a light on the social, environmental, and human rights issues facing our world.” said Carole Dean, President of From the Heart Productions.

Submissions included documentaries, features, short films and web series.  While most films came from U.S.,  projects were received from filmmakers in Canada, Australia, United Kingdom, Nigeria, Belgium, Chile, Spain, and Portugal.  

Out of these Roy W. Dean Grant Finalists for Spring 2018, the grant judges will select a final five from which they will choose the winner.   Announcement of the winner will be made in September.

Finalists for Spring 2018 Roy W. Dean Grant

View overview of project summaries and filmmakers for the 20 finalists for Spring 2018 Roy W. Dean Grant which include:

26 Seconds (Documentary)        

999 – The Extraordinary Story of the First Girls and First Jewish Transport to Auschwitz (Documentary)

Brown (Feature)

Detention (Documentary)

Every Second Breath (Short)

Guardian (Documentary)

It Happened Here: Warnings to the West from Dorothy Thompson & Sinclair Lewis (Documentary)

Medicine Man: The Stan Brock Story (Documentary)

Power of 7 (Documentary)

Queen of the Capital (Documentary)

Stoke (Feature)

Red Heaven (Documentary)

Rising Up to Climate Change: Storytelling with Saris (Documentary)        

Strong (Short)

The Advocates (Documentary)

The Good Detective (Short)

The MicroCosmic Cartoon Show (an animated/live action musical) (Feature)

Thirst For Justice (Documentary)

True Memories and Other Falsehoods (Documentary)

Tuesday Lunch (Documentary)

The grant winner will receive $3,500 in cash provided by From the Heart Productions as well as donations of film services and products. These include a 1TB G-Drive from G-Technology, a 30% discount in equipment rental from AbelCine Tech, Inc. NYC, 40% deduction on color, editing, and production services from ProMedia, and much more from heartfelt donors those who care about helping independent filmmakers. 

About the Roy W. Dean Grant

Awarded 3 times each year, the Roy W. Dean Grant seeks films that are unique and make a contribution to society.  There is a Spring, Summer and Fall Grant.  The Fall Grant is now accepting entries and closes September 30th.  Films submitted to the grant can be short films, documentaries or features from early stages of pre-production to those needing help in post. 

Recent past winners of the grant include the award winning “Heist: Who Stole the American Dream”, “The Brainwashing of My Dad”, and Emmy winner “Mia: A Dancer’s Journey”.  

About From The Heart Productions

The 501(c)3 non-profit was founded by Carole Dean when she saw how many filmmakers with important, new, and often controversial stories were having trouble getting financing for their films.    From The Heart offers fiscal sponsorship for films which allows donors to get a tax deduction for their donations.  Their Intentional Filmmaking Classes which teaches filmmakers the tactics on how to get funded is now open for enrollment.  Classes start in September. 

How Does Seed&Spark Get an 80% Success Rate with Crowdfunding Campaigns?

No Other Crowdfunding Platform, Not Kickstarter or Indiegogo, Can Claim This. What is The Secret to Seed&Spark’s Success?

by Carole Dean

Seed&Spark

Web Series “One True Loves”

The films that get fiscal sponsorship at From the Heart Productions have consistently received the “green light” on Seed&Spark.  This means they hit their crowdfunding goal and get the funding they raised.  This occurs more often at Seed&Spark than other crowdfunding platforms.

Recently, I welcomed Gerry Maravilla, Head of Crowdfunding at Seed&Spark, to my The Art of Film Funding Podcast.  He revealed the advice they give to filmmakers on how to have a successful crowdfunding campaign. 

Goal Setting on Seed&Spark

This is a crucial part of the entire crowdfunding campaign.  Getting this right is a one of the keys to success.

It begins with a surprising statistic and comes down to simple math.

“There’s traditionally a 1% conversion rate from social media share to a donation.”Gerry states.   This means, if you have 1,000 Facebook followers, you can expect only 1% of them to donate! 

He says that you can get 20 to 30% from your email lists.  This must be a personal email to each person, not an email blast that would bring you much less.  Personalization is the key to getting the highest percentage rate from your list.

 

 

Gerry suggests you ask your crew for their email lists.  Ask your family too for any names they will let you use to crowdfund.  Put all your names together.      

So, how much can you can raise?  The most popular donation amount is $25.00.  So, consider that 30% of the list will give you $25.00 each.  Multiply the number of names on your list by 30% and then by $25.00.  This is a goal you know you can hit.

“But this is nowhere near my budget,” you say?  Yes, but setting a goal at $100,000 when you can only expect to raise $1,000 will result in a failed campaign and no money. 

Take what you can get from this campaign.  Use the money move forward with the film and begin expanding your email list for your second campaign.

Don’t Be Afraid to Make an “Ask.”

Seed & Spark recommends that you reach out early to your list long before you start crowdfunding.  Let them know that you are planning a campaign to fund your film and give them the start date.  Say you need them to commit to make a donation for you in the first few days as that is the critical time.   

“Once you hit that 30% in the first week you can easily hit 60% in the second week,” Gerry says. 

Get your list excited and committed.  Ask them, “Can I count on your support?”  Let them know how much you need them. 

Be sure that each email you send is full of gratitude.  Gratitude is a key word in crowdfunding.  Donors appreciate this and the energy in that email will be totally different with your heart on the page.

Creating interesting emails is key to keeping people motivate.  Even if they have donated, you want them to be involved and you want them to read every email because you want them to donate again.  Use creative titles in your subject line, that will get you a higher opening rate.

Seed&Spark

Our Fiscally Sponsored Film “Two Weeks” Hit Their Goal and Were Able to Start Filmming

Campaign Preproduction is a Key to Success

Sounds crazy?  Right?  Yes, you have to treat a crowdfunding campaign just like a film.  Gerry believes this preproduction work is another important key to their 80% success rate.

You need to prepare by building your email list and putting it on a mailing platform.  (We like Constant Contact at From the Heart Productions, but there are other good ones as well).   

Find the “uniqueness” about your film.  What makes it special?  Start marketing it with that in mind.  Send links to the film or your campaign video to your list.  Let them know you will be crowdfunding soon and ask if they can share this on social media to support you.

Contact Seed&Spark early and discuss your film with them.  They’ve got great instructional videos on their website.  Learn how to build your audience.  Get your social networks and your email list ready for your campaign. 

Give yourself several months.  Study successful campaigns and learn from other filmmakers.  Don’t rush into this, plan the campaign and it will bring you a greater return.

Give Your Donors an Immediate Tax Write-Off with From the Heart Productions

Our non-profit works closely with Seed&Spark.   We are a partner with them and offer the lowest fees of any fiscal sponsor when using their platformHaving fiscal sponsorship allows donors to the campaign to get tax deductions for their donations.   That creates a powerful incentive to donate.

Gerry says you want to be sure to mention your nonprofit name on your page.  This shows your donor that a nonprofit has reviewed your film and accepted it. 

Many donors like the fact that a nonprofit is involved to see that you use the funds for the film.  They feel that you will finish the film.  We believe that sponsorship gives you more credibility with donors. 

Gerry Maravilla is available for more information at .  Anyone wanting information on crowdfunding can email

 

Carole Dean is president and founder of From the Heart Productions; a 501(c)3 non-The Art of Film Funding Podcastprofit that offers fiscal sponsorship for independent filmmakers. She hosts the weekly podcastThe Art of Film Fundinginterviewing those involved in all aspects of indie film productionShe is also the author of  The Art of Film Funding, 2nd Edition: Alternative Financing Concepts.  See IMDB for producing credits.

Creating a 2nd Successful Kickstarter Campaign for Your Film

Director Robyn Symon’s first Kickstarter campaign for her documentary “Do No Harm” reached it’s goal.  Could she make it happen again?

by Richard Kaufman

Documentary filmmaker Robyn Symon was told it was impossible for a film to have two successful Kickstarter campaigns.   Her Roy W. Dean Grant winning film “Do No Harm” raised over $100,000 on the first Kickstarter effort.   She needed to raise at least that much again to help get her film finished.

On The Art of Film Funding Podcast , she she shared with host Carole Dean tips on how she defied the naysayers and reached her goal the second time around.

Put Together a Team With Connections

“Do No Harm”, fiscally sponsored by From the Heart Productions,  reveals the sad shocking truth about physician suicides.  While their jobs are to serve as our healers , they have the highest rate of suicide among any profession.    

She knew on her second Kickstarter campaign she would need to reach new supporters and expand her followers to be successful.  To do that, she wanted to build a team who could connect with those in medical field.

She sought out those “who had vlogs, podcasts and they had like tens of thousands of followers.”  She didn’t want anyone just because they loved the film.  She selected 5 or 6 people  after “I looked at their backgrounds carefully to know that these people knew how to connect with other people.”

One of them, Dr. Pamela Wible, Roybn called her “secret weapon”.   She’s considered “the guardian angel to physicians and medical student suseptible to suicide.”  Her vlogs get 50,000 views and a Ted talk she did seen by over 380,000 views. 

With a team in place, they were getting word out about the film even before the campaign began.   

Have Money in Kickstarter Campaign Before it Starts

“You should have a few thousand dollars already committed.” Robyn suggested.   So, as soon as you pull the switch on the campaign, the money is already tallied for all to see.

“No one wants to be the first money in.”

Everyone on her team agreed to contribute $1,000 before the campaign went live. So, right at the start they already had momentum.

Robyn Raised $131,313 on Second Kickstarter Campaign

Don’t Have a Goal That’s Too High…Or Too Low

“If your goal is too high, you’re not going to be sucessful”, she said.  Conversely, you don’t want to have a goal that is too low and easily attainable.  

“Once you reach your goal its very difficult to raise more money.”   She suggests not to go for all the funding at once in one campaign.  Break it up into smaller asks. 

“You have to make it very clear what the money is being allocated for” such as pre-production.  So, when you go back for more funding, you’re not rejected by those who think you’ve already raised enough to make your film.

Consider Using a Kickstarter Campaign Expert

Because she was concerned about raising money a second time on Kickstarter and finding new supporters, she hired an Kickstarter expert.

From the Heart Productions has one expert they work with who has a fantastic track record of crowdfunding success with their fiscally sponsored films.   They hooked him up with Robyn to help her with her campaign.

“I think it was really helpful.”, explained Robyn.   “He has done so many of these campaigns that he really made the page look fantastic.”

She regretted not setting her goal higher as she reached it in a week!  Her goal was $60K, but she really needed $100k and thinks she could have raised $200k. 

“It’s tough, really tough, to go back and say “Yes, we reached our goal and we have 3 weeks left.’” 

Fortunately, she was able to refocus her campaign on raising funds for marketing and was able to get an additional $60,000. 

 

Richard Kaufman is a board member of From the Heart Productions; a 501(c)3 non-profit that offers fiscal sponsorship and the Roy W. Dean Grant for independent filmmakers.  Richard has over 25 years experience in supplying filmmakers with discounted film stock and hard drives.  He is currently a Senior Account Executive with Filmtools