Using Schumann Resonance to Create Trust and Likeability

Called the earth’s heartbeat, harmonizing your life with this electromagnetic phenomenon will help you achieve success

by Carole Dean

Scientists tell us that there is an increase in electromagnetic frequency and energy occurring now.  In this era of information, they suggest that anything not aligned with the advancement of this emerging consciousness is being brought to light. This heightened energy is being experienced within both humans and nature, generating a sense of excitement.

Schumann Resonance

UCLA studies show that when pitching projects or ideas or making presentations, people are reading you from your energy.

The history of peace gathering projects, an initiative or event aimed at bringing people together in a spirit of harmony, unity, and non-violence, shows how best to harness that energy.  Studies, including those by the Rand Corporation, showed that If people had meditated with the energy and emotions of peace, unity, and oneness, without physically doing anything, that unified community can produce results 70% of the time.

Those results include an immediate reduction of crime, warfare, and terrorism by an average of greater than 70%.

Think about it! That means that if all of us are meditating daily with the intent to live in a world that is peaceful, with no terrorism, no wars, that as a unit we can achieve this.

The heartbeat of the earth.

Physicist Winfried Otto Schumann had a hypothesis of a resonant frequency of 7.83 Hertz for the earth that is now accepted and which now bears his name.  The Schumann Resonance was established by measuring global electromagnetic resonances generated by lightning discharges in the ionosphere. It acts as a background frequency influencing the biological circuitry of our mammalian brain.

People think of this electromagnetic phenomenon as the earth’s heartbeat.  Ancient Indian Rishis, often called “the scientists of Hinduism,” referred to this as OM or the incarnation of pure sound. It also happens to be a very powerful frequency with brain wave entrainment and it’s associated with low levels of alpha. It is this range of brain waves that allows us to get beyond the analytical mind and into the subconscious.

This frequency has been associated with high levels of suggestibility, meditation, increased growth hormone levels, and increased cerebral blood flow.

The earth’s frequency and the brain ‘s frequency have very similar resonances.  Our nervous system can be influenced by the earth’s electromagnetic field.  Perhaps this is why getting into nature often provides a calming effect to all of us.

People unconsciously read your body language.

Researchers at the HeartMath Institute discovered that when an individual’s heart rate is in a state of coherence, or harmonious rhythm, it radiates more coherent electromagnetic signals into the environment. This can be detected by the nervous systems of other people as well as animals.

The heart generates the strongest magnetic field in the body, and it can be measured several feet away. This provides a credible explanation for the fact that when someone walks into a room you can feel or sense that individual’s mood or state of independent from their body language.

This is what UCLA professor Mehrabian found when he did his research on pitching projects or ideas or making presentations.  He says people are reading you from your energy.  They are reading you from the influence of your voice, your eye contact, your posture, your entire presence, and he measured how it affects the recipient.

For filmmakers this information is important for you to know and understand so that you can connect with potential donors and with other industry people to help you make your film.

This information from Professor Mehrabian’s 55-38-7% can help filmmakers in many ways.

He says that 55% of the decision-making process is based on how you handle your body. Are you proud of yourself?  Are you confident?  Do you belong here? Are you comfortable among wealthy people?

Are you carrying yourself with good posture? Do you look people straight in the eye? Are you comfortable talking to people? When you sit, are you facing them and are you present and relaxed?

38% of the decision-making process is your voice and how you sound. For pitching a project, you should be excited, you should be at the top of your game with your very best pitch totally memorized. I want you to have your film’s pitch as part of your DNA so it is very easy for you to deliver.

The balance of 7%? What is that? That’s how much the content of your pitch matters. Can you believe it?  93% of the decision-making process for presentations is based on your voice and your body language and only 7% is on what you say.

Now you understand why I was so thrilled to find this research by the HeartMath institute on the Schumann resonance.

First connect to your heart for others to like and trust you.

HeartMath Institute’s research explains how beneficial it is when an individual’s heart rate is in a state of coherence or harmonious rhythm.

If you’re going to a gathering where you’re pitching people, sit in your car for a few minutes before you get into the event.  Or,  take a walk in a quiet place. Focus on peace, love, and unity to bring your heart and mind into the Schumann Resonance.  Fall into that perfect resonance of coherence with the earth. Focus on 7.83 hertz as a frequency to balance your body and create coherence in your body and mind.

This will put you in a wonderful place to be heard and felt and seen as the carrier of important information.

Now when you begin to pitch your project you are at one with your heart and with your Schumann resonance. People will believe you; people will understand you and they will fully support you.

When you are felt by the other person, they will be more apt to believe and trust you because you are totally coherent in your being.

You will have reached a state where the energy coming off you is congruent with the earth’s energy, it’s the relaxed supportive natural energy of the planet.

 

Carole Dean is president and founder of From the Heart Productions; a 501(c)3 non-The Art of Film Funding Podcastprofit that offers the Roy W. Dean Film Grants and fiscal sponsorship for independent filmmakers.

She is creator and instructor of Learn Producing: The Ultimate Course for Indie Film Production.  26 classes which will teach indie filmmakers how to produce their films.

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 the Most Valuable Part of Film Funding…Your Trailer!

A high-quality film trailer is crucial for independent filmmakers to win grants, build an audience, and attract investors, donors, and partners.

by Carole Dean

Creating a film trailer is a very specific skill, a unique art, and science. The trailer not only has to tell a compelling story, but it also has to show that this filmmaker knows how to tell it in two minutes.  It needs to have three acts that are energy driven by music.

Film trailer

Michael Torres is a talented filmmaker and editor with whom I had the pleasure of interviewing for The Art of Film Funding Podcast. He shared his wisdom on how to create a stunning film trailer.  And we learned best practices for finding a film trailer editor.

I can speak from experience with our own Roy W. Dean Grant that a stellar trailer can be a deciding factor in which films we select as finalists and winners.

Creating your trailer is a discovery process.

“It seems like such a catch 22, right? You have to show the film so that someone gives you permission to make the film,” Michael explained.

“I really do think it’s an opportunity to conduct experiments with your film to find out what the visual language is, to find out what’s working, what’s not working. I think you can get insights into your film in this trailer editing phase because you’ll learn a lot about yourself and your material in this process.”

Trailers are not one size fits all, and there are different kinds of trailers for different purposes. A sizzle reel is very different than a funding trailer.

He described a sizzle reel as “anything from 30 seconds to two minutes. You want it fast paced, you want it to have a three-act structure, and clearly communicate an idea. I think a sizzle should be the vibe of your film, or the spirit of your film. This is really what you’re trying to articulate. What does this film feel like?”

A grant, such as the National Endowment for the Humanities, may ask you for a 15-minute excerpt from your film. For Michael, “that is really an exploration of how you intend tell the story. You need to explain, what is the film, what are the elements of the story, and then taking a complete scene and laying it out from A to Z and stringing together sequences.”

What’s the story?

Michael said that regardless of the format or length of the trailer, “I want that element of a reel right up front. And whether it’s a sizzle reel or it’s a funding trailer, in that first 30 seconds or so, I really want whoever’s watching this to know what this film is about, why we’re making it, who the main characters are, and what it is we’re trying to convey. And then we can get moody with it. But I want to answer those questions right up front.

“So, whether it’s a 30-second sizzle, a two-minute film trailer, or a 15-minute demo, we want to excite the viewer and leave them in a place where they want more. We want to tease them, so to speak.”

While it may not apply to all film genres, Michael believes all trailers should also typically convey what is the central conflict of the story.

Following the A,B,C’s

The progression a successful film trailer must include, what Michael refers to as he “A, B, C of the trailer.”

“It’s the opening, the middle and the end, the act one, act two, act three, there must be movement,” he explains. “If I’m introducing a character, there should be a change in that character. Meaning, by the end they are different from the person I met at the beginning.”

As a grantor, I look for the trailer to catch my attention in the first five to ten seconds. One of the things I don’t like is when the trailer starts with 10 to 20 seconds of titles.

A funding trailer should not have long credits at the beginning.  I am here to listen to an engaging story.  People must realize that grant judges are watching one trailer after another after another. It’s just how they do it, so to stand out over the rest, engage me with the first frame!

The faster you tell me the story, the more you engage me. We fund stories.

Tell me a “Sticky Story” that I can remember.

Michael agreed that the trailer needs to draw you in immediately. “I want a splash of cold water as soon as I step in. You don’t want to bog down the opening with your five second animated logo and a 20-second moody drone or anything like that.

“Because I don’t know what I’m watching. I want to engage with the viewer as soon as humanly possible. So, I use an inciting line, or an image, or a scene or a moment that drops me into what this film is about, what the essence and the vibe is, that’s what I really lead off with.”

For me, one of the most important parts of a trailer is to convey a “sticky story.” This is a story that the viewer can easily remember and wants to share with others. I teach this in my Intentional Filmmaking Class. I recommend a book called Made to Stick by Dan and Chip Heath, about why some ideas survive, and others disappear.

Something emotional, something credible, something shocking

They found what is most important is something emotional, something concrete, something credible, and something shocking, and tell your story around this. The reason is because almost everyone you’re going to ask for money has a significant other, mother, brother, or someone with whom they will discuss your film.

When that happens, they are now pitching your film. Your job is to make sure they get the essence of the film in your pitch or in your trailer, and something shocking, concrete, credible and emotional create “sticky stories” people can remember.

“That’s about the attention span you’re gonna get from someone too,” Michael concurred. “You may have this brilliant treatment that lays out every beat of the story, but if I can’t kick it to you in an elevator and you understand it, or understand it in two minutes, then I’ve lost you.”

I also recommend, if possible, to make different trailer versions for different purposes. One way to do it is called ‘Cover Your Bases.’ This is to get a 10-minute film trailer, a five-minute trailer, and a two-minute. Those seem to be the ones that are asked for the most if you’re going after grants.

I don’t have a time limit on my trailers, but I like a three-to-five-minute trailer.

How to find the right trailer editor?

I also spoke to Michael about his recommendations for finding the perfect trailer editor. Michael said “word of mouth is probably how I’ve gotten 99% of my work and it’s also how I go about finding editors. I want to work with people that have been recommended.

“You’re getting into a relationship when you’re bringing someone on to work on something that you love. So, I think it’s important that you vibe with the person. Just as important as their work, is how comfortable you are working with them. Giving and getting feedback means you really want to be with someone that you trust and can be vulnerable around.”

Working with an filmmaker

About his process as an editor, Michael wants “to know everything I possibly can about the film, but even more so why they’re interested in making the film.

“I really want to understand why it’s important to them and what the feeling is they’re trying to communicate. How do you want the viewer to feel about your subject after they watch this trailer? My focus is always on the quality, the feeling, the tone that we’re trying to communicate.”

The big question is, with so much content to choose from, how does an editor decide what goes into the trailer?  Michael looks for the most interesting things he has.

“So, it’s the scenes that already work, the low hanging fruit, that’s working. What do I know if I match this piece of b-roll with this interview? Sometimes it works and it conveys a message. I’m not working linear necessarily. I’m not starting at the beginning and ending at the end.

“I’m taking everything I have that I know works, building that, and then starting to find ways to connect them.”

You may want to read part 2 where we speak in depth about conducting interviews for documentaries, and how to incorporate these interviews into trailers.

Listen to entire podcast in link below:

Podcast is also available on iTunes, Stitcher, Goodpods, and Blogtalkradio

You can learn more about Michael Torres at www.mtorresproductions.com.

 

Carole Dean is president and founder of From the Heart Productions; a 501(c)3 non-The Art of Film Funding Podcastprofit that offers the Roy W. Dean Film Grants and fiscal sponsorship for independent filmmakers.

She is creator and instructor of Learn Producing: The Ultimate Course for Indie Film Production.  26 classes which will teach indie filmmakers how to produce their films.

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

Hot Films in the Making for Spring 2023

Projects Submitted to the Roy W. Dean Grant for Spring 2023 That Deserve Your Attention

In every group of submissions to the Roy W. Dean Grant, there are projects that have excellent concepts and talented filmmakers that just missed making our group of finalists.  From the Heart Productions, the 501(c)3 sponsor of the grant, calls them Hot Films in the Making.  Thirty-one films were chosen this year as Hot Films for the Roy W. Dean Grant for Spring.  You should take notice of these as you will certainly be seeing them and more from these filmmakers in the future.

Hot Films in the Making Spring 2023

“This list is our way of honoring those filmmakers and their projects.” said Carole Joyce, Director of the Roy W. Dean Grants for From the Heart Productions. “We hope by bringing them to the attention of the public, they will find the followers and supporters they deserve to help carry them to completion.”

The films chosen for Hot Films in the Making include documentary features, fiction features, short films and web series.  They represent projects from the United States and around the world. 

The Hot Films in the Making for the Roy W. Dean Film Grant for Spring 2023 are:

 

Title Type Filmmaker
“Cuando No Hay Palabras (When There Are No Words)” Documentary Short Gabriella Canal
“Tarantula” Fiction Feature Juan Patricio  Riveroll
“Mustangs: The Native American Way” Documentary Feature Kremena Doust
“#BoysToo” Documentary Feature Melinda Baum
“The Experiencer Project” Documentary Feature Daniel Cardone
“Where Did The Adults Go?” Fiction Feature Courtney Marsh
“Who In Da Mornin” Documentary Feature Jonathan Issac Jackson
“#Likes4Lucas” TV, Web, or New Media Series Dylan Dempsey
“Calamity & Mercy” Documentary Feature Daniel W. Smith
“Still Perfect” Fiction Feature Michael Fitzer
“The S.U.R.F. Story” Documentary Feature Riley Thelen
“Finding Ma” Documentary Feature Phoenix Woodall
“Leila” Fiction Feature Armon Mahdavi
“Eastbound Traffic” Fiction Feature Charles Johnson
“The Cubas Plan” Documentary Feature Sergio Vizuete
“Trash Baby” Fiction Feature Jacy Mairs
“Deepest Blue” Fiction Feature Gregory Collins
“Eden” Fiction Feature Andrew Doyle
“Mere Water” Fiction Short Debbie Peiser
“Our Guys” Documentary Feature Jennifer Johnson
“Where Do We Go From Here” Documentary Feature Geetanjali  Gurlhosur
“Lost In Love” TV, Web, or New Media Series Tiffani Matthews
“Nubovni” Fiction Feature Elk Salvera
“A Holiday I Do” Fiction Feature Paul Schneider
“Trusted Sources” Documentary Feature Don Colacino
“What’s in a Name” Documentary Feature Rose  Bladh
“The Bomb With No Name” Documentary Feature Adebowale Ajibulu
“Planning to Turn the Tide” Documentary Feature James Schwab
“The Faucet” Fiction Short Dava Whisenant
“The Breath of a Mountain” Documentary Feature Eshika Fyzee
“The Game” Documentary Feature Justin Tolliver

 

Each finalist is given the opportunity to post information on their contending film on the From the Heart Productions website.  Filmmakers can include an image from the film, filmmaker info, and loglines.  If they have available, filmmakers can include a link to their film’s website, Facebook page, or relevant social media connection. 

About the Roy W. Dean Grant

Now celebrating its 31st year, the Roy W. Dean Grant has awarded over $2,000,000 in cash and donated film services to independent films. The 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 that help to get their projects started or finished.  Without assistance from the grant, many excellent and important films may never have been made. 

Past winners of the grant include 2021 Emmy winners Belly of the Beast and The Love Bugs ,  as well as Sundance Film Festival selection Raise Hell: The Life and Times of Molly Ivins, and acclaimed documentary Kusama-Infinity.

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 film fiscal sponsorship to filmmakers.  This allows donations made to films they sponsor to be tax deductible.  From The Heart has helped independent filmmakers raise over $30 million through their fiscal sponsorship program. 

President Carole Dean is the best-selling author of The Art of Film Funding: 2nd Edition, Alternative Financing Concepts and the new online class Learn Producing: The Ultimate Course for Indie Film Production.

Roy W. Dean Grant Finalists Selected for Spring 2023 Grant

Twenty-One Filmmakers in Running for Grant Offering Cash and Production Services

Now entering its 31st year, the Roy W. Dean Grant is awarded to a film that is unique and that makes a contribution to society. Awarded four times each year, From the Heart Productions, the 501(c)3 non-profit sponsoring the grant, has named finalists for Roy W. Dean Film Grant for Spring 2023. The winner will receive $3,500 cash and thousands more in donated production goods and services to help them complete their project.

Roy W. Dean Grant for Spring 2023 Finalist – “Barbara Hammer Project”

“Every year, the projects and the filmmakers who submit them to us impress us with their originality and talent.” said Carole Joyce, Director of the Roy W. Dean Grants at From the Heart Productions. “This year is no exception.  Choosing a winner among these exceptional projects will be challenging.”

The Roy W. Dean Grant is open to filmmakers in the U.S. and around the world.  Submissions for this grant included entries from Canada, Italy, Portugal, Israel, the United Kingdom, and India. 

Along with the cash prize awarded by From the Heart Productions are donations from film industry professionals and companies $500 in grip, lighting or expendables from Filmtools, 40% deduction on color, editing, and sound & all production services from ProMedia in NYC,  $1,600 value / sound mix session from Silver Sound,  30% discount in equipment rental from AbelCine Tech, Inc. NYC and more from many heartfelt donors.

The grant is open to documentaries, narrative features, short films, and web series. The winner is expected to be announced in June 2023.

Finalists for the Roy W. Dean Film Grant for Spring 2023 are: 

Title Type Filmmaker
“Untitled Dancehall Documentary” Documentary Feature Amy DiGiacomo
“Barbara Hammer Project” Documentary Feature Brydie O’Connor
“Dick Bunny” TV, Web, or New Media Series Susie Mendoza
“Flip My Life” TV, Web, or New Media Series Marybeth Conley
“Trial by Media: The Michael Jackson Story” Documentary Feature Jin Chohan
“The Peace Piano” Documentary Feature Rupert Clague
“Goodbye Baby” Documentary Feature Katya Berger
“Minding Shadows” Documentary Feature Jenn Lindsay
“26 Seconds-ISIS Sex Slaves” Documentary Feature Kelly Galindo
“Theory of Light” Documentary Feature Illac Diaz
“Singing for Justice” Documentary Feature Christie Herring
“Nomads” Documentary Feature Vanessa Carr
“The Black Brain Film” Documentary Feature Lauren Lindberg
“Eternity One” Documentary Feature Emma Hannaway
“Big Boys” Fiction Feature Corin Sherman
“The Green Flash” Documentary Feature Jodi Cash
“7 Daily Sins” TV, Web, or New Media Series Cami Olses
“Jane Doe” Fiction Feature Bonnie Black
“Pianoman” Documentary Feature Sunny Liu
“The Gods of Puerto Rico” TV, Web, or New Media Series Michael Torres
“Unlocking Desire” Fiction Feature Barbara Neri
     

Each finalist is given the opportunity to post information on their contending film on the From the Heart Productions website.  Filmmakers can include an image from the film, filmmaker info, and loglines.  If they have available, filmmakers can include a link to their film’s website, Facebook page, or relevant social media connection. 

About the Roy W. Dean Grant

Since its inception in 1992, the Roy W. Dean Grant has awarded over $2,000,000 in cash and donated film services to independent films. The grant is awarded to films budgeted under $500,000 that is unique and that make a contribution to society. 

Offering four grants for filmmakers each year, The Roy W. Dean Grant has been an important lifeline for independent filmmakers helping them to get their projects started or finished.  Without assistance from the grant, many excellent and important films may never have been made. 

Past winners of the grant include 2021 Emmy winners Belly of the Beast and The Love Bugs ,  as well as Sundance Film Festival selection Raise Hell: The Life and Times of Molly Ivins, and acclaimed documentary Kusama-Infinity.

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 film fiscal sponsorship to filmmakers. In addition to personal guidance, free classes on fundraising and filmmaking, the program allows donations made to films to be tax deductible.  From The Heart has helped independent filmmakers raise over $30 million through their fiscal sponsorship program. 

“This list is our way of honoring those filmmakers and their projects.” said Carole Joyce, Director of the Roy W. Dean Grants for From the Heart Productions. “We hope that they find those who follow and support them as their productions progresses.”

The films chosen for Hot Films in the Making include documentary features, fiction features, short films and web series.  They represent projects from the United States and around the world. 

The Hot Films in the Making for the Roy W. Dean Film Grant for Spring 2023 are:

 

Title Type Filmmaker
“Cuando No Hay Palabras (When There Are No Words)” Documentary Short Gabriella Canal
“Tarantula” Fiction Feature Juan Patricio  Riveroll
“Mustangs: The Native American Way” Documentary Feature Kremena Doust
“#BoysToo” Documentary Feature Melinda Baum
“The Experiencer Project” Documentary Feature Daniel Cardone
“Where Did The Adults Go?” Fiction Feature Courtney Marsh
“Who In Da Mornin” Documentary Feature Jonathan Issac Jackson
“#Likes4Lucas” TV, Web, or New Media Series Dylan Dempsey
“Calamity & Mercy” Documentary Feature Daniel W. Smith
“Still Perfect” Fiction Feature Michael Fitzer
“The S.U.R.F. Story” Documentary Feature Riley Thelen
“Finding Ma” Documentary Feature Phoenix Woodall
“Leila” Fiction Feature Armon Mahdavi
“Eastbound Traffic” Fiction Feature Charles Johnson
“The Cubas Plan” Documentary Feature Sergio Vizuete
“Trash Baby” Fiction Feature Jacy Mairs
“Deepest Blue” Fiction Feature Gregory Collins
“Eden” Fiction Feature Andrew Doyle
“Mere Water” Fiction Short Debbie Peiser
“Our Guys” Documentary Feature Jennifer Johnson
“Where Do We Go From Here” Documentary Feature Geetanjali  Gurlhosur
“Lost In Love” TV, Web, or New Media Series Tiffani Matthews
“Nubovni” Fiction Feature Elk Salvera
“A Holiday I Do” Fiction Feature Paul Schneider
“Trusted Sources” Documentary Feature Don Colacino
“What’s in a Name” Documentary Feature Rose  Bladh
“The Bomb With No Name” Documentary Feature Adebowale Ajibulu
“Planning to Turn the Tide” Documentary Feature James Schwab
“The Faucet” Fiction Short Dava Whisenant
“The Breath of a Mountain” Documentary Feature Eshika Fyzee
“The Game” Documentary Feature Justin Tolliver

 

Each finalist is given the opportunity to post information on their contending film on the From the Heart Productions website.  Filmmakers can include an image from the film, filmmaker info, and loglines.  If they have available, filmmakers can include a link to their film’s website, Facebook page, or relevant social media connection. 

About the Roy W. Dean Grant

Now celebrating its 31st year, the Roy W. Dean Grant has awarded over $2,000,000 in cash and donated film services to independent films. The 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 that help to get their projects started or finished.  Without assistance from the grant, many excellent and important films may never have been made. 

Past winners of the grant include 2021 Emmy winners Belly of the Beast and The Love Bugs ,  as well as Sundance Film Festival selection Raise Hell: The Life and Times of Molly Ivins, and acclaimed documentary Kusama-Infinity.

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 film fiscal sponsorship to filmmakers.  This allows donations made to films they sponsor to be tax deductible.  From The Heart has helped independent filmmakers raise over $30 million through their fiscal sponsorship program. 

President Carole Dean is the best-selling author of The Art of Film Funding: 2nd Edition, Alternative Financing Concepts and the new online class “How to Fund Your Film”

Unleashing Potential: Granting Documentary Dreams

Through their initiatives, the Catapult Film Fund aims to nurture unique voices and stories that might otherwise go unheard

by Carole Dean

I had the honor of interviewing Megan Gelstein and Theresa Navarro from the Catapult Film Fund on my The Art of Film Funding Podcast.

Catapult Film Fund

The Catapult Film Fund was launched in 2010 with the intent to support documentary filmmakers with development funding at the earliest stages. Catapult offers early funding and mentorship to propel films forward and supports filmmakers with authentic voices who tell stories with integrity, creativity, a cinematic vision, and a strong perspective.

The fundamental idea was to provide funding for documentaries at a stage where there was very little support.  At this point of development, filmmakers often had no proof of concept, sample, or trailer.  Catapult is dedicated to supporting nonfiction filmmakers with critical early stage funding and mentorship to launch distinctive, story-driven, and cinematic films

“We look for filmmakers who are envisioning a film that asks really engaging questions and embraces the language of cinema. Whether or not they’re clear on the exact forward motion of the story, at its core we’re looking for great stories with great characters.”

Catapult offers two primary grants, the Development Grant and the Research Grant.

The Development Grant is Catapult’s flagship program, launched in 2010. These grants are $25,000 in non recoupable grant funding and are designed for, “filmmakers who have a clear sense of the project that they want to make, they have access to their characters, and they’re pretty well ready to go.”

Catapult takes a personal approach with the filmmakers they support. Megan went on to say that the “we look at the application as an opportunity for us to get to know the filmmaker, and then ultimately for the filmmaker to get to know us.”  Catapult staff serve as ongoing advisors and advocates for supported filmmakers, sharing industry knowledge and introducing them to members of the film industry who can fund and provide meaningful guidance for their work.

Catapult Film Fund reviews applications for the Development Grant in two rounds per year. The first round is open from January – mid February, with  final decisions by June. The second round is open from June – mid July.  They make final decisions by early  November. The Development Grant is open to domestic and international filmmakers and,  “our final annual slate tends to have an equal number of domestic and international filmmakers,” said Megan.

The Research Grant is the newest expansion and expression of Catapult’s commitment to providing support when it is riskiest to give and hardest to find. Launched in 2021, the Research Grant was designed specifically to help filmmakers in early stages of development for their projects, when filmmakers don’t have all the questions answered, when their projects are not yet fully “buttoned up.”  It was created to support filmmakers whose projects are at an earlier stage than would be required to be eligible for the Development Grant.

The Research Grant awards a combination of $10,000 of non recoupable grant funding and six months of professional mentorship. It is open to US based filmmakers only. 

Through this program, a cohort of filmmakers with projects in the research stage will be selected by Catapult staff and the Catapult Advisory, which is made up of experienced filmmakers and industry members. Selected filmmakers will receive funding and participate in a six-month mentorship program, which will include peer support and one-on-one mentorship from both Catapult staff and members of the Advisory.

Listening to the director’s voice.

Rather than focusing on the importance of the subject matter of the film, their priority is to get to know the filmmaker and their unique take on the subject. 

“One of the key bits of advice that I might give to a filmmaker thinking of applying to Catapult,” Megan pointed out, “is we are really interested in hearing your particular voice and understanding your vision as a filmmaker.”.

“I think we have a pretty good sense of what the key issues are that filmmakers tend to gravitate towards. So as opposed to highlighting, the urgency of climate change, kind of fair more towards how you as a director want to tell that particular story.”

Expand your creativity in a supporting environment.

About the mentorship aspect, Megan believes that “especially in the research stage, it’s such a prime opportunity to take risks, to think of different ideas, to hear other people kind of weigh in on what you’re trying to do, and that can accelerate that path of thinking.”

The application window opens for the Research Grant once a year in October, and final decisions are made by January.

I asked about the application process and what they are looking for from their applicants.

“The process of applying both for the Research Grant and for the Development Grant are very similar,” per Megan. “The application can be found on our website at catapultfilmfund.org.

“The questions are pretty straightforward and it’s not too difficult of an application. Mostly, we’re asking for generally who those filmmakers are, what their background is, and what they’re interested in. It’s not necessarily tied to a particular project. We don’t ask for a super buttoned up log line, but we do ask for general ideas of what you’re thinking of.”

Rough Cut Retreat

In addition to the two grants, Catapult offers another very unique program called the Rough Cut Retreat. Theresa explained that the program “is a partnership that we run with the True/False Film Festival and CMP (Community, Media and Philanthropy – also known as Chicago Media Project).

“Every year, for five days in the summer, we invite five film teams who have a project at the rough-cut stage. Essentially, we also invite five experts from the industry. Sometimes these are editors, sometimes these are directors, sometimes these are film executives who have a lot of experience of giving pointed feedback on a project at a particular time.

“This is really a chance to be in community, to be in nature and to really have dedicated time and conversation around your project that is both with structured time including screenings that are dedicated to your film with folks who are giving feedback for your particular film, as well as time where people can just be together, sharing meals, maybe sitting by a river or at a swimming hole and naturally, organically, conversation can arise.”

Applications for the Rough Cut Retreat open in March, and decisions are made by late May or June. The retreat takes place in late July.

We are so lucky to have the Catapult Film Fund. This is a terrific resource for non-fiction filmmakers in early phases of development. I highly encourage filmmakers to consider applying for their supportive grants and programs. You can learn more at catapultfilmfund.org.

You can listen to the entire interview in link below.    

The Art of Film Funding Podcast is available on iTunes, Stitcher, Goodpods, and Blogtalkradio.   

 

Carole Dean is president and founder of From the Heart Productions; a 501(c)3 non-The Art of Film Funding Podcastprofit that offers the Roy W. Dean Film Grants and fiscal sponsorship for independent filmmakers.

She is creator and instructor of Learn Producing: The Ultimate Course for Indie Film Production.  26 classes which will teach indie filmmakers how to produce their films.

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

Exclusive Funding for Environmental Projects

The Redford Center is one of the only non-profits in the U.S. dedicated solely to environmental impact filmmaking.

by Carole Dean

I had the opportunity to interview Heather Fipps from the Redford Center for The Art of Film Funding Podcast. Heather was an amazing guest and this was one of the most important interviews we’ve done on the show.

I wanted to share some of the highlights from the interview, and let you know the incredible work the Redford Center is doing to support filmmakers making films about protecting the environment.

Redford Center

Roy W. Dean Grant winner “Impossible Town”, a documentary concerning toxic contamination threatening a community, was also a recipient of a Redford Center Grant. The world premiere will take place on May 26th at Mountiainfilm Festival in Telluride.

The Redford Center has been instrumental in driving the environmental movement for almost two decades. It was co-founded in 2005 by Robert Redford, and his son James Redford. It is a non-profit organization that advances environmental solutions and promotes awareness through filmmaking and storytelling. It’s one of the only non-profits in the U.S. dedicated solely to environmental impact filmmaking.

As the Program Manager at the Redford Center, Heather cultivates opportunities for environmental filmmakers, produces impact media projects and campaigns. She is also a filmmaker and producer of multi-platform stories. She is the co-founder of the Hollywood Climate Summit, an annual conference for cross-sector creative industries to build a coalition of climate conscious storytellers.  It is supported by Netflix, Paramount, NBC Universal, and more. We were very fortunate to have her as a guest!

An environmental middle school program

The Redford Center has supported over 150 film and media projects with grants and other services. All in all, they have dispersed more than $12,000,000 to support environmental film projects. They have produced three award-winning feature documentaries and more than 40 short films. Their Youth Stories Program, an environmental curriculum aimed at middle school classrooms, has led to the creation of more than 550 student films.

Heather gave some insight into the environmental films and projects The Redford Center is supporting.

“The Redford Center has funded stories of people doing work to care for our earth, change the way that we live, show our relationship and connection with nature, participate in community activism, advocacy, and really take up action, in moments where it can feel like we’re overwhelmed and there’s nothing we can do.”

Redford Center has two grants for environmental stories.

“We’re telling stories of people who are doing something and who are centering and prioritizing the impact that these stories can have,” explained Heather. “So, we are not only telling the story, but pushing out resources, and connecting with organizations who are doing this work daily.

“We are advancing and shifting the conversation to an attitude of we still have work to do, we’re in it, and we’re building resiliency and courage to face the many diverse environmental crises that we are facing worldwide.”

She went on to explain that The Redford Center tries to focus on stories that are going to advance the conversation to people who may not feel invited into the conversation yet.

There is perhaps no more important issue facing our planet today than our environment. With film being such an important medium for advancing environmental protection and action, many filmmakers in this field are faced with a surprising lack of resources and support.

Heather shared that “we have found in our landscape mapping a stark gap of funding for environmental films, particularly independent environmental filmmakers. There are only eight grants available globally that are regularly available for filmmakers telling environmental stories specifically.

“The Redford Center provides two of those eight grants. Whereas at the Redford Center, that is explicitly what we support consistently… these are the stories that we need to help us make sense of our rapidly changing world, give us hope and solutions and resilience in this time of rapid change that we’re going to need to undergo together.”

Impossible Town was funded by both From the Heart Productions and The Redford Center

Impossible Town, one of our Roy W. Dean Grant winners, was also a recipient of a Redford Center grant. The film, by filmmakers Meg Griffiths and Scott Ferris, documents toxic contamination threatening a community which leads to an outbreak of cancer, and the efforts to relocate and seek justice for the citizens of this town. The Redford Center not only provided funding for the film but continued to stay in touch and support the film throughout its development.

Heather describes The Redford Center Grants program as “a two-year program where the film projects that we support have an opportunity to let us know how they’re doing in their first year, what their impact goals are, and what it will take for their film to reach the finish line.

“And we’re so thrilled to support them with second year funding, which is something that we do through our grants program. We funded (Impossible Town) in 2020 and 2021. We are in very good touch with our filmmakers. We’ve also had the chance to write some articles about the film and their story.”

Bringing filmmakers together to share information and resources.

This is what truly sets the Redford Center apart. Not only do they support the underrepresented niche of environmental filmmakers, but go above and beyond to create a community of support.

“We’re trying to build community,” Heather clarified, “and not just with the capacity that we have on our staff, but really bring filmmakers together to connect with one another, and be cohorts and mentors to each other.”

The Redford Center Grants program supports documentary, feature films, and docuseries. It runs on a two-year cycle. They do not have an open call this year but will have one next year.

You can visit their website and subscribe to their newsletter at www.redfordcenter.org to get the first announcement of when the next open call begins. The grant supports projects for up to two years. The first award is a gift of $20,000 toward the project, with several different bespoke in-kind services they offer.

She described how they “plan a grantee story summit where we invite all of our grantees to come and meet with our Redford Center advisors, which is an advisory board of just incredible filmmaking and climate and environmental experts who coach these filmmakers on tools for success for their project and provide them with different levels of resources.”

At these summits, they also check in with grant winners from the previous years to see where their films are –at and what their impact goals are, and to potentially give them additional funding, sometimes in a substantially greater amount.

Short filmmaker grants and opportunities to pitch to audiences and professionals.

The Redford Center also offers a second, unique grant for short films.  It is a pitch opportunity and a professional development opportunity called, Nature Connection Pitch. This consists of a gift of support for the films, but mostly an exposure and professional development opportunity for the filmmakers. 

They get to pitch their short film ideas to an audience and a panel of professional groups that are interested in supporting their short films.  And who also might provide additional resources for them or hopefully development opportunities for them, or distribution.  

This year, participants received awards of $5,000 for their films. Last year had a competitive format where the winning team received an award of $25,000. What a wonderful program!

Learn more about the Redford Center

I thanked Heather for taking the time to share all the remarkable resources they have for environmental filmmakers. This interview was so rich, and what I’ve shared here is just the beginning. I will very likely put out another blog to cover all the resources and insights that Heather shared.

You can learn more about the Redford Center, their grants, and all the wonderful resources, events, and programs they offer for environmental filmmakers at www.redfordcenter.org. You can listen to the full interview on BlogTalkRadio here. It is also available on iTunes, Stitcher, and Goodpods.

From the Heart thanks Heather and the Redford Center for all of the work they have done to support film and to protect our precious environment!

You can listen to the full podcast here:

The Art of Film Funding Podcast is available on iTunes, Stitcher, Goodpods, and Blogtalkradio 

 

Carole Dean is president and founder of From the Heart Productions; a 501(c)3 non-The Art of Film Funding Podcastprofit that offers the Roy W. Dean Film Grants and fiscal sponsorship for independent filmmakers.

She is creator and instructor of Learn Producing: The Ultimate Course for Indie Film Production.  26 classes which will teach indie filmmakers how to produce their films.

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

Funding Your Film Through the Quantum Field

The answers about how to raise money and create your project are all around you.  Tune in and trust your gut. 

by Carole Dean

Have you ever thought about film funding by using your intuition? It’s one of your greatest attributes and rarely used to its potential. Dean Raiden, in his book The Conscious Universe, concludes after the 300 pages where he explained the rigorous technical methods he used in his parapsychology experiments,  that everyone is psychic. “Get over it, just enjoy it,” he said.

 

 

Realizing How Powerful You Are

Because filmmaking is so complicated, being both a startup business with every production as well as an art form, there are many things you need to learn.

  • I think you must be a paralegal to handle the legal aspects.
  • You need to be able to write.
  • You must learn to pitch your film, that’s acting.
  • You want to memorize the pitch.
  • You need to be a good salesperson to bring in the money.
  • You must be a good writer to win grants.
  • And you have to be a good manager and producer to create the film.

These are a lot of skills for one person, but that is what is required of filmmakers.

So, I am suggesting that you realize that you are connected in some way to a higher source.

Dean Raiden would say that you have extra sensory perceptions that came with you at birth.  And by using this gift, you can enhance your life and create your film faster and better. Because the more you use this ESP, the stronger it becomes.

I know that most of you recognize that you have this inner knowledge.  It is now just a matter of trusting it.  Go along with it, no matter how silly it sounds.  Once you do, you will find that it has a purpose, that it is valid, and the next time that you get the little message you will see how helpful it can be.

We Are All Psychic!  Your ESP is Shared with All of Us

Dr. Deepak Chopra says that guidance and information comes to us through the gap between other thoughts.  That is how it happens to me.  I recently got a brilliant idea while writing the grocery list.  It just popped in between the bananas and the celery.

Sometimes you hear the little voice when you are driving.  That’s great because when you’re driving is a wonderful time to relax and that’s when you get some really good ideas, and you also get good ESP.

There are so many decisions that you need to make daily that have to do with you making and funding your film.  When you begin using this inner knowing, this ESP, it can help you make more reliable decisions.  And you will get “short cuts.”  Yes, you may quickly see how to go from A to Z much faster than you had planned.

We are all psychic.  Once you take this into your consciousness and say OK, I am psychic, you can use your instincts to improve your life and create your film.

Ask and You Shall Receive

Start asking questions of yourself and of the universe.  Give yourself time to listen for those answers. They sometimes come in very strange ways.

I’ve seen the answer to my question on a billboard.  I know that sometimes people start talking to you on another subject, but they answer what you needed to know!  That’s always amazing to me.

Don’t be surprised if the answer to your questions comes in unusual ways.  Normally, your answers come within a reasonable amount of time.

Here’s one funny example.

I decided to give up coffee so I was considering if I should drink hot tea to get off my coffee addiction.

I asked the universe; can I replace coffee with tea?

That very night I went to watch a TV show and within the first 5 minutes this woman had a shock and the detective said to her, “what you need is a nice cup of hot sweet tea! That’s exactly what I needed to hear. Believe me, this works, the universe is listening.

The Answers to Your Questions are All Around You

That’s what we’ve heard from Doctor Joe Dispenza.  He writes that the quantum field, the energy that’s all around us, is a recorder and that it has recorded all the information from the beginning of time.

That means the answers to your questions are all around you. It’s simply tuning into it. Trust your gut feelings, trust your inner voice.

That’s what I want you to please do to enhance your life and put your film on the fast track.

 

Carole Dean is president and founder of From the Heart Productions; a 501(c)3 non-The Art of Film Funding Podcastprofit that offers the Roy W. Dean Film Grants and 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

 

 

A Life Full of Joy

A remembrance of my talented, irreverent, and irreplaceable son, Rick Dean

By Carole Dean

“I’ll see your bet and raise you $5.00,” I said with my best poker face.  Looking at my two pair and the cards my challenger had showing, I just knew I could win my five-card stud hand.  It was a joy to rake in those chips and in doing so I felt my first contraction.  Rick Dean had decided to arrive just as I was on a winning streak.  The timing was perfect.

Rick Dean

Besides being a wonderful actor, Rick loved to paint

It was late April and, as you may know, you can’t rush a Taurus.  So, he didn’t make his entrance for 24 hours.  My son was born the next evening on April 29th at 9:30pm in Dallas, making him a fourth generation Texan.

When Rick was 2 years old, he and I drove across the country to Los Angeles. We found a home in Hollywood.  I worked all day, so when Rick turned four, I enrolled him in Hollywood Professional School, where children of actors and other Hollywood creators spent the day.

By the time he was five he was teaching the other children math.  When his teacher said he was having trouble reading, I was shocked. She said come to see me and I will show you. In the meeting, she said, “watch this.”  She then asked Rick to read for us and he read about 4 pages perfectly.

Then she opened the book to the middle and covered the pictures.  Now read this, she requested.  Well, he couldn’t!  What happened? She shared with me how astonished she was when she realized he had memorized every word from the pictures. Once he knew the game was up, he got with it and became a good reader.

He excelled at Hollywood Professional school so much that when I put him in public school, they advanced him a year.  I thought that was wonderful, but the principal called me in and made me watch him on the playground. 

He was a year and half younger than the other children, so he was not participating in sports.  She wanted me to put him back a year.  I did not like that idea so we agreed that she would give him an I Q test and we would let that decide.

When I went to hear the test results, she said to me, “His IQ is higher than yours and most people.”  You will have problems with him, she warned me, because he will get bored easily. 

She sent us to a child psychologist whose job was to advise me how to raise a gifted child.  This helped because I learned to listen closely to Rick and to talk things over with him.  He had good insights.  He had great people and problem-solving skills that benefitted both of us.

He learned to play tennis at 9 and he loved school.  He went to Notre Dame High School in North Hollywood and was so gifted in philosophy that they gave him a one-on-one class with a philosophy teacher.  After he graduated, he went to college and hated it. 

While in Notre Dame he was in a play, and he played a woman.  I remember fastening his brazier and thinking this would be the end of acting! Thank God, I thought to myself, he can get acting out of his mind.  Then, he can get on with a law degree and use his tennis skills to get to know professional people.

Rick Dean

Rick and me at Christmas. You can tell by the ornament!

This idea backfired.  He loved the theatre.  He asked to apply for The American Academy of Dramatic Arts and of course he was accepted for two years.

He took acting lessons constantly and thrived on preforming on stage and on camera. He met and fell in love with Cinda Jackson at the Loft Theatre while studying with Peggy Feury and William Traylor.  Sean Penn, Angelica Houston, and Michele Pfeiffer were fellow students. 

Roger Corman found Rick to be a talented actor and included him in many pictures. They included “Nam Angels,” “Heroes Stand Alone,” “Stripteaser,” and “Naked Obsession.”   He also appeared in many great television series such as “Matlock,” “In the Heat of the Night,” “Dragnet,” and many more. 

Later, Rick met Susanna Schulten and they were happy together for many years.

I started the Roy W. Dean Film Grant in 1992 when Rick’s grandfather, the grant’s namesake, passed away.  Rick said to me that creating that grant was the “craziest thing you ever did.”  After 4 years of receiving, reviewing applications, and giving grants to filmmakers, he told me, “That grant was the best thing you ever did.” 

He helped me review submissions.  He read every word and looked at their reels and made notes to share with them.

Together, we made it a point to call everyone who entered and tell them how talented they were. We always found what we thought was their gift and encouraged each of them to keep applying for grants and never give up.  Filmmakers loved to talk to Rich.  He always encouraged them and left them feeling empowered.

We all miss Rick Dean.  Today is his birthday, April 29.

I like to think he is surrounded by angels and creating a script for his next life.

 

Carole Dean is president and founder of From the Heart Productions; a 501(c)3 non-The Art of Film Funding Podcastprofit that offers the Roy W. Dean Film Grants and 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

 

 

Silent No More: The Heroines of Old Hollywood

by C.M. Conway

When embarking on a journey to make my first film, I studied the history of women filmmakers and discovered a hidden treasure: a large society of prolific female filmmakers before the era of “talkies.”

In fact, the silent film industry was led by women producers, directors, writers and actors (many multihyphenates). We owe a great debt to them, as they pioneered the way to form the foundations of the art and craft of cinema.

The careers of many of these women soured when sound was introduced in movies. Theories abound as to why this occurred, ranging from the director-orientated system transitioning to studio-orientated; to good old-fashioned capital and the industrialization of movies. In an article from the 1920s, Terry Ramsaye was quoted in Photoplay stating, “Every element of the creative side of the industry is being brought under central manufacturing control.”

Mary Pickford’s contributions to silent film are well documented, and she’s one of its

Mary Pickford

most recognizable faces. In 1916, Pickford not only starred but had full reign over the making of her numerous films. In 1919, Pickford, D.W. Griffith, Charlie Chaplin, and Douglas Fairbanks gathered to form United Artists, adding distribution to Pickford’s versatility. 

But hidden in history are the stunning contributions of a worldwide community of female filmmakers in silent film, a sample listed below. Countless left established studios and founded self-named companies and did it all: acting, writing, producing and directing. Some partnered with their husbands in forming companies. All broke barriers.

Lois Weber was a major director and producer at her own company and made over 400 films.

Gene Gauntier was an influential actress and writer who co-founded a company. Wrote the first script of Ben-Hur.

Flora Flinch was an actress and director of her own films. Made 250 shorts with John Bunny.

Cleo Madison was a writer and director at Universal Films.

Ann Brody (Goldstein) was a groundbreaking film actress. Performed on stage over 50 years.

Mabel Normand was an actress, writer, director and founder of her own company. She was a major influence on Charlie Chaplin and the early Keystone comedies.

Marion Leonard acted with Mary Pickford and one of the first actresses to be billed on screen.

June Mathis wrote over a hundred produced screenplays, the first female executive at Metro Pictures and a founding member of the Academy of Motion Picture Arts and Sciences.

Texas Guinan was an actress, producer and considered the first cowgirl in movies.

Dorothy Davenport Reid was from an entertainment family and produced, directed, wrote and formed her own production company. She notably employed female writers.

Alla Nazimova was a skilled actress born in Crimea, producing risky and experimental work.

Marion E. Wong was a Chinese American actress, producer, director and screenwriter who founded her own production company in Oakland.

Beatriz Michelina was a Mexican actress and producer.

Tressie Souders

Tressie Souders was one of first female African American directors, and started a company.  

Maria P. Williams was an African American who started a company.

Alice Guy-Blaché was a French immigrant and pioneer filmmaker, credited as one of the first to make a narrative fiction film and direct a film (from any gender). Owned a film studio.

Lillian Gish was a director and prolific actress.

Anna Hofman-Uddgren was Sweden’s first female director and a savvy businesswoman.

Elvira Notari was a director and considered Italy’s first female filmmaker responsible for the Golden Era of Italian Cinema. Her films were censored by the Italian government in the 1920s.

Dorothy Arzner was one of the first women to direct a talking picture and join the Directors Guild of America.

Germane Dulac was an influential director, thought-leader and leader of French film unions.

Fatma Begum is considered India’s first female director, an innovator in fantasy film and special effects.

Additional women who formed their own film-related companies: Helen Gardner (one of the first), Clara Kimball Young, Eve Unsell, Marion Fairfax, Lillian Case, Leah Baird, Norma Talmadge, Lucille McVey Drew, Anita Stewart, Florence Turner, Florence Lawrence, Constance Talmadge and Helen Holmes (also choreographed her death-defying stunts on-camera).

These filmmakers made it possible for women like me to obtain my dream of making a feature film. It happened after I ditched Hollywood and moved back to my roots in the North Bay, California. I wrote the screenplay that’s become the new completed film, “How to Successfully Fail in Hollywood.” Inspired by my own bodacious blunders as an actress, it’s a funny “how-not-to” guide, revealing the secrets inside Tinseltown. An ode to all struggling artists with a dream.

As much as I’ve experienced doors slamming in my face in Hollywood, I was amazed at the momentum that occurred when I took the reins as a filmmaker. It just took hard work, the efforts of a dedicated cast and crew; and a remarkable, grassroots effort in the Bay Area, Los Angeles and Sonoma County (many local businesses star in the movie).

In producing, directing, writing, editing and co-starring in a movie; I was emulating the very heroines I deeply admire in the silent film era. They are silent no more.

______________________________________________________________________

Author C.M. Conway

In her first feature, “How to Successfully Fail in Hollywood,” filmmaker C.M. Conway filmed in the Bay Area and L.A.The funny, poignant narrative film about friends, fantasies and fails has its premiere digital release on April 1st, 2023. Find it on your favorite platform at FunnyFailureFilm.com. The grassroots indie is a champion of women, gender equity, diversity and authentic representation of the Latinx and LGBTQIA+ communities. Award-winning Lisa Stoll provided cinematography; and experienced engineer Daniel Hess provided sound services.

Sources: Book: Pink-Slipped by Jane M. Gaines (2018)

Article: “10 Influential Female Directors From the Silent Film Era” by Sarah Nour (2022)

IMDb.com

Recommended Viewing: The Movie, “This Changes Everything” (2019)

Article submission for Women’s History Month (March, 2023). Copyright © 2023, C.M. Conway

How to Escape Survival Mode and Release Your Creativity

“Who looks outside dreams; who looks inside, awakes”  Carl Jung

by Carole Dean

Every other Saturday we have a film funding class. We’ve learned that the power of your mind is a major asset in funding and making your film.  I read mind power books for the class and share my understanding of the book with our fiscally sponsored filmmakers.

We are currently working on Joe Dispenza’s book Becoming Supernatural: How Common People are Doing the Uncommon.  You will find that it’s as if he is talking to filmmakers.  There is so much similarity in what he says and what filmmakers deal with on a daily basis.

Release Your Creativity

How Living in Survival Mode Holds Us Back

In his brilliant book, Joe explained that the long-term effect of living in survival mode. 

In time, we begin to thrive on it and we become addicted to stress chemicals. The result is a frenzied state where we shift our attention from one person to one problem to one thing in our environment.  We live on constant high alert because we view our external environment as unsafe.

Because the outer world appears more real than our inner world, we’re addicted to someone or something in our external environment.  The longer we live in this state the more our brain waves move into high beta brain waves which causes us to feel pain, anxiety, anger, impatience, and aggression.  As a result, our brain waves can become incoherent.

Where You Place Your Attention Is Where Your Mind Goes

When the emotions of survival are controlling us, we focus on the external world on finances, terrorism, dislike for your job, and we’ve become preoccupied with what we think could be causing that problem.

When this happens, we’re living in a self-fulfilling prophecy.

Where you place your energy is where your attention goes so if it is on a problem in the external world, you’re giving your power away to someone or something else. And your energy is stuck in the material world, where you are constantly reaffirming your present reality.

What is happening is you are tied to the energy of the known trying to predict the future based on the past. For you to make a change in your life, you need to step into the unknown because that’s where things can change, says Dr. Joe.

The more you live in stress the more you’re trying to affect matter. Matter trying to fight and force and manipulate for an outcome. As a result, everything you want to change is going to take a lot of time because in this space-time reality you must move your physical body through space to create the outcome you want.

Finding Room for the Unknowns

The more you’re living in survival, that’s the first three chakras, the more you’re using your senses to define reality, the more you’re separating yourself from a new future.

Between where you are now and where you want to be is based on how you think and predict it should happen. 

But if you’re predicting then your thinking is based on knowns, there is no room for an unknown or a new possibility in your life.

Let’s say you want a new job so you might take the time to create a resume get online and start looking for positions and go on interviews. Now this requires time.  We all look at time as linear.  So you must project it’s going to take you maybe a week to get a good resume, two or three weeks of research, and then interviews.  After that,  you might have a job in so many months.

All of that takes time because you are matter trying to influence other matter.  There is a distinct separation in space and time between where you are and where you want to be.

Focusing Our Attention Outward

Because we don’t have those things we feel lack and separation, so we live in a state of duality. We want things we don’t have and that’s how we create things.

When we experience separation from our future desires, we think and dream of what we want and then we set about a series of actions to get them. Example, if we’re always under financial stress, we want money.  If we have a disease, we want health and if we’re lonely we want a relationship.

Because of this experience of duality, we are driven to create. And he reminds us we are matter focused on matter trying to influence matter to get money or health, so we’ve established it’s going to take quite a bit of time and energy.

While we’re doing these things like looking for the new job, we are waiting for something outside of us to change how we feel internally.  However, when something in the outside world doesn’t happen or it seems to be taking a long time then we have more lack. 

We feel even more separate from what we’re trying to create and our emotional state of lack, and frustration keeps the dream at a distance further increasing the time for the outcome.

Let’s Talk About Quantum Laws

Quantum inward expression of the laws of nature is an invisible field of information.  It is the energy that unites everything material.

Now this material field organizes and connects all the laws of nature.  It’s a dimension where there’s more time and space.  In other words, it’s a dimension where time is eternal.

We want to get beyond time. We want to get beyond this self and go from the consciousness we have of being somebody to nobody.  OK?

We want to go from the consciousness of something to nothing.  We want to move from the world of the senses to the worlds beyond the senses, stepping into the quantum to create the future we want.

Joe Dispenza’s Walking Meditation

That’s why Joe Dispenza created his walking meditation.  In it, you must constantly give up who you are, where you are, and what you are.  You go into the nothing, into the  world of nothing, feeling nothing. 

It is through this that you can reach the quantum field and move through time and space because in the quantum field everything is unified you are one with the field.  Things can happen quickly.

As we begin to surrender all aspects of self and remove from the external world of people and things and places, we move to the inner world of energy, vibration, frequency, and consciousness. This is where magic happens.

Joe says that when we take our attention off objects and matter and open our focus to energy and information then different parts of the brain work together in harmony.  This unification of the brain is what makes us feel more whole.

Connecting to the Quantum Field

When we do this properly, our hearts begin to open and become more coherent.  As our heart moves into coherence, so too does our brain. Meaning we’ve gotten beyond our body and we are eliminating things that allows us to move to the alpha and theta brain waves patterns.  There we connect with our autonomic nervous system.

When this becomes activated, its job is to restore order and balance causing coherence and wholeness. It is in this state where we begin to connect to the quantum unified field.

The Wye Cottage

Back in the 80s, I had a friend who owned a large 10,000-acre sheep farm in New Zealand. On a visit to see him we were driving down a country road and we slowed down to go over a one-way bridge. On the left side of the bridge was a cottage sitting on a river with the name “the Wye cottage.”

I jumped out of my seat and said oh what a lovely place. I could go there and write a book.  He paid no attention.  He just kept driving we crossed the bridge, went to his sheep farm, and I started daydreaming about that house. I saw myself living in the house.

It had a veranda on three sides with a huge wisteria plant covering most of the porch with gorgeous pink blossoms. I got into the energy of the area.  I felt the peace and serenity.  New Zealand has this feeling you pick up of independence. It gives you a feeling that you can do your own thing.

I went back to the United States thinking I could buy that house and have a wonderful life.  In fact, I thought, I could live there forever. Then I got into the real world and forgot the dream.  But I put it in the quantum field and it stayed and began manifesting.

Making My Move

Fast forward to 2001. I sold my New York & Chicago & LA companies and was looking for what to do with the rest of my life.  In my quiet daily meditations, I started seeing the house in New Zealand as if it was waiting for me. Then 9/11 happened and I decided I needed to have a safe place outside of the United States and the white cottage was no longer a dream but a strong possibility.

I called my friend in New Zealand and said I’m really interested in purchasing the Wye cottage. No, he said there is a sweet couple living in the house. They’re very happy they don’t want to sell but come on over anyway, so I did.

This couple were interested in selling all I had to do was ask. I bought the house I went back to The United States, and I had to wait six months to come back.

What Was I Thinking?

When I got back to New Zealand and looked at the house I was in shock. The inside and outside had not been painted in 30 years. The gutters were falling off the house. It needed a better roof.  It was in a terrible state. There was just so much that had to be done and why didn’t I see that before?

Because I was feeling into the energy and the joy that the house could give me.  I saw the house in the state it became while I lived there.  I loved every minute I spent in that house. It was an early 1900’s Craftsman house that was moved from the city into the country.

I will always believe that my Intentions of living there, my visions of happiness in that house and my vision of growing a garden and becoming part of the community we’re all instrumental in bringing the house to me.

Yes, it took years from the time I saw the Wye cottage until I bought it but that’s because I put imitations on when I could buy it.  Once I sold my business, the time was right for me, and the house was waiting.

Seeing and Acting on All the Eternal Possibilities 

In the world of the quantum, where time is eternal, everything is happening in the eternal present moment. As you move through time, you experience other space, other dimensions, other planes, other realities, and infinite possibilities.

It’s like you are standing between two mirrors and looking both ways at yourself into indefinite dimensions and the mirrored images represent an infinite number of possibilities that you’re living now.

Your future could be any number of possibilities. It’s up to you to choose what you want.

I believe that one way to get into a lower state of brain waves is meditation.  When you sit in a quiet place with no phone or interruptions you lower brain waves and allow yourself to connect your vision to the quantum field.  This is where you can attract what you want.

I attracted The Wye cottage. When I moved into the house, I promised to restore it to its former glory, and I did.  I put a lot of attention and love in it. I painted the house myself I took great joy in owning and restoring it. I gave a grant for a writer’s retreat and sent writers to the Wye cottage for a month.   I think the cottage loved to house these creatives.  We all enjoy it.

Using Meditation to Realize Your Dreams

Meditation is a quiet place where you can imagine feeling into and become the person you want to become. Perhaps becoming the award-winning filmmaker, you truly are.

Think back in your life and see if you’ve created things you envisioned. Where  you wanted something, or some person and you focused on a vision, and it happened?

Perhaps you can use that energy and that memory to empower you to spend time daily to move yourself into this quantum field through walking meditation or sitting meditation.  Whatever it takes to allow you the quiet time with lower brain waves to get into the quantum field and plant your dream.

To me this information about going inside to create your future is exactly how to do it. Many people use meditation to lower brain waves and visualize.

I’ve been meditating since 1974 normally twice a day, this is most important to me.  I think this has given me better health an easier life and has allowed me to achieve my goals.

See the Future You Want

To bring them fast, outside of our time-based reality, we must get in a quiet place and live like the goal already exists. This is how you can compress time and bring it to you quicker.  Be in the no one, no place, nothing space to create and attract.

We did this as children. We had no past to limit us.  We saw something we wanted, and we asked someone in our family for it. We went to bed visualizing we had it and we got it.  Life was that simple for most of us. 

To get back to this immediate request and immediate fulfillment, we need to drop the past and see the future we want, not be influenced by the outside information, go inside, and create your own reality, live it, feel it, breath it and achieve it.

 

Carole Dean is president and founder of From the Heart Productions; a 501(c)3 non-The Art of Film Funding Podcastprofit that offers the Roy W. Dean Film Grants and 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