Carole Dean – The Art of Film Funding Blog

Confidence and Creation: Using “I AM” to Shape Your Filmmaking Future

August 24th, 2024

Imagine having the power to shape your own destiny as an indie filmmaker using just two simple words

by Carole Dean

Neville Goddard, a visionary author who penned fourteen influential books on the power of the mind, believed that our thoughts are the architects of our reality. His teachings, still relevant today, offer profound insights that can empower filmmakers to build the confidence needed to secure funding and bring your creative visions to life.

In our recent Film Funding Guidance Class for our fiscally sponsored filmmakers, we explored the transformative power of the words “I AM.”

These words hold the key to manifesting your desires. They are not just words but powerful affirmations that can elevate your consciousness and influence your filmmaking journey.

The Power of the “I Am” Factor in Creating Your Future

As “light beings,” a concept often found in ancient texts, we are vessels of consciousness. Goddard teaches that “all things, when they are admitted, are manifested by the light: for everything that is made manifest is light.” This light, this consciousness, is the essence of who we are, capable of manifesting our dreams across various levels of reality.

Neville writes that there is “no one that is not all that is; for consciousness though expressed in an infinite series of levels is not divisional. There is no real separation or gap in consciousness. I AM cannot be divided. I may be a rich man, a poor man, a beggar man or a thief, but the center of my being remains the same regardless of the concept I hold of myself. There is only one I AM manifesting, and I AM that I AM.

“We are each individually part of a greater whole.  All of us are one yet we are self. 

“I AM Is this self-definition of the absolute. The foundation on which everything rests, I AM is the 1st cause substance. I AM is a self-definition of the universal being. 

“I AM is the feeling of permanent awareness. The very center of consciousness is the feeling of I AM.

“I may forget who I am, where I am or what I am. I AM is that which is ever the same. This great discovery of cause reveals that good or bad, man is the arbitrator of his own fate, and that it is his concept of himself that determines the world in which he lives. His concept of himself is his reactions to life.”

In other words, if you are unsure about your ability to raise the money for your film, the I AM factor, the power of the words, will allow you to capture anything.  You can achieve the confidence that you need to acquire the money and produce the film. 

Neville continues with, “I AM is that reality to which whatever happens, we must turn for an explanation of the phenomena of life. It is I AM’s concept of self that determines the form and location of its existence.”

You are creating yourself.  You’re setting your limitations; you are the one responsible for creating your future.

Pretend Your Future Has Happened

What do you see for your future? This is what you are attracting.  Do you see a future? 

This is one of your many gifts, the ability to create the future you want.  I know you want a lot of things.  But the universe works on visions and belief systems.  It’s your job to see yourself in the future and get into that consciousness. 

Pretend it has happened and live like you would if your vision was real.  How would you feel?  What would you say and how would you think if you were at the filmmaking height of Scorsese or Spielberg? 

When you think, I can’t do that, stop and ask yourself why can’t you do that? Where is the restriction?  Whatever the restriction is you can overcome that.  You might find it’s something you got from your childhood that no longer serves you.

You determine your future with your thoughts. Your thoughts are things, they are bundles of energy waiting to manifest. Watch your thoughts and do not limit yourself.  Once you realize how powerful your mind is, then you realize that the magic power words to bring you into the state of consciousness to achieve your goals are the two words I AM.

In stating those words, you come to the center of your being, you are aware of your consciousness.  In that state of realization, you can then form the future you want.

Raising Money for Your Film Requires No Doubts

Start with the simple statement:  I am confident. With confidence you will move into a stronger, higher vibration and people will feel your confidence.

You will emit an energy that allays all fears.  Your confidence will convince people you can achieve your goal.  Your “being” lets them know you are honest and truthful. That you absolutely know you are successful.

Raising money requires that you have 100% confidence in yourself and your film.  To raise money and to produce films, you can have no doubt about the success of your film.

The I AM principle is to take you to the center of your being, so you are in an all-knowing state of consciousness. You recognize that you are alive and your power to create. You realize that you came here with goals and strong intent to achieve in this lifetime.

When you realize the God-given talents you have, you realize that to reach this goal you need to take control of your life. Bring yourself into a state of knowing that you are a talented creator. You were given these gifts to use to nurture and support your fellow human beings.

I AM is that reality to which, whatever happens, we must turn for an explanation of the phenomena of life. It is the I AM concept of self that determines the form we wish to create.

Neville wrote “That which it will not affirm as true of itself cannot awaken in this world.” 

In other words, if you can’t state what you want clearly you will not bring it into this world; you cannot awaken it.

Creating a Vision of the Future You Want

You must identify your desire, feel it, know it, in every cell in your body.  Your desire is your future. 

Express it in the I AM statement if you want it to appear in your life. You have this power; it is up to you.

Your concept of yourself such as, “I am strong, I am secure, I am loved” — determines the world in which you live. When you say “I am a woman, I am a father, I am an American,” you are not defining different I AM’s.   You are defining different concepts or arrangements of the one I AM.

When you know that consciousness is the one and only reality this knowledge can strengthen itself to be something good, bad, or indifferent. You are in control. You are free from the tyranny of second causes; free from the belief that there are causes outside of your own mind that can affect your life. 

THIS IS POWERFUL INFORMATION. YOU CAN CREATE YOUR FUTURE.

It is in the state of consciousness that you find the explanation of the phenomena of life. Meaning you recognize your control of yourself, THROUGH the words I AM. Your concept of yourself being what it is, everything in the world is possible when you take up the mantle and the recognition of your power through your creative power words I AM.

Remember that I AM is infinite. You are infinite. The I AM takes you to the consciousness that survives throughout all time. You may come into this life in a body, and you leave the body when you cross over. This consciousness is who you are, this is the I AM.

Making Your Confidence Part of Your DNA

You are the creator of your fate; you are the manifestor. You are the one that can bring joy, prosperity, enlightenment to people through your life’s work.  Be who you truly are. Empower people through your consciousness through your ability to support and nurture your fellow man.

The most important aspect of fundraising is the pitch. You must have 1000% confidence in the fact that you can raise the money and can make the film. This is where the I AM can sincerely benefit you. 

Say to yourself “I am confident I can raise my budget” and believe it. You might have to say this ten times a day for months to get that confidence into your DNA.  But, if that’s what it takes, that’s what you want to do because you must carry that confidence in your body.

People of money recognize and feel your energy.  If it has the slightest bit of disbelief, they will recognize this as insecurity and not invest or donate to your film. Think about this.

What can you create for your own personal needs with the words I AM that can take you to the level of confidence that you need to make and fund your film?

Neville teaches that if you are sick, you say I AM healthy. If you are poor, you say I AM wealthy.  

Your job is to create what you want and to use your consciousness to achieve your goals.  You want to realize your unlimited personal power.

Manifesting your Filmmaking Future

This begins when you have a clearly defined vision of what you want to achieve. You’ve been given the ability to turn your life around at any point.

Neville says, “The changes that take place in your life because of your changed concept of yourself always appear to be unenlightened to be the result, not of a change of your consciousness, but of chance, other cause, or circumstance. Do not believe this.

“Because the fate governing your life is the fate determined by your own concepts, your own assumptions; for an assumption, though false, if persisted in, will harden into fact.”

Many of us are working on assumptions that may be holding us back. Perhaps we created belief patterns around things that were our parent’s beliefs and assumptions.  When you find yourself making a choice based on an assumption, check and see is that true for you in this day and time?  Is that your feeling? Do you believe this?

To achieve your goal, you must remove limitations. These could be ones acquired early in life through difficult experiences or by taking on incorrect information. One great way to determine fact from fiction is to ask yourself, has this ever been done before? And if it has? How did they do it? If it’s been done before then you know it’s possible.

When you know what you aspire to have others have achieved, this alone should be a green light to you to recognize that it is possible. If he/she, did it then I can do it is what you want to  believe.  This knowledge should give you confidence.  You need confidence to use the power words I AM. When you say these words, you are making a statement to the universe that this is who you are.

You want to use these words to create this reality.

I AM confident I can produce profitable films. I AM confident I can direct movies. I AM confident of my limitless future.

Using your consciousness and the I AM statements are the first part of your ability to move into your new consciousness.  Now you must realize that the ideal, the goal you seek will not manifest or be realized by you until you have imagined that you are already living that goal.  This is where daydreaming becomes an asset to you.

Turning Daydreams into Reality

When we were children, we daydreamed all the time. Did you ever see things on television you wanted? Did you pretend you had it, and you saw yourselves playing with it?

This daydreaming is part of our natural ability to manifest.  Think back about your first bicycle and how you saw yourself riding it and then on a special occasion, you were given what you wanted.  This has happened to you before, so you know this is real. 

You saw something you wanted, you pretend you had it and you manifested it into your reality. You got what you wanted with your mind. Daydreaming is a major asset to creatives.   It allows you to visualize and live in the future you want.  Please give yourself daydreaming time each day.

I think we came in with this ability to manifest and somewhere in our lives we lost our magic.  School can sometimes take confidence away from you.

Whatever happened in your life matters not for you can change it once you put your mind on the vision you want to achieve.

Neville says, “all transformation is based upon suggestion, and this can work only when you lay yourself completely open to an influence. You must abandon yourself to the ideal for complete abandonment of self to the goal is how to unite you to your new self.”

“To reach a higher level of being, you must assume a higher concept of yourself. If you cannot imagine yourself as other than what you are then you remain as you are.

If you believe that you are the person you want to be, that’s who you will become.

Perhaps that is an award-winning filmmaker or an award-winning director. Perhaps an award-winning first-time producer or an award-winning editor. All of these are available.

Recognizing that you are a conscious being and using your consciousness along with the power words I AM to shore up your confidence and then using daydreaming of you living your new life will insure you will achieve this new life.

Carole Dean is president and founder of From the Heart Productions; a 501(c)3 non-profit 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.  Essential classes for indie filmmakers on how to produce their films.

She hosts the weekly podcast, The Art of Film Funding, interviewing those involved in all aspects of indie film production. She is also the author of  The Art of Film Funding, 2nd Edition: Alternative Financing Concepts.  See IMDB for producing credits

Mastering the Art of Film Marketing: Insights from PR Guru Tony Panaccio

August 18th, 2024

Essential Knowledge for Indie Filmmakers in Building a Strong Promotional Foundation

by Carole Dean

In the dynamic world of filmmaking, creating a successful film is only half the battle. The other half lies in effective marketing, ensuring that your creation reaches and resonates with the right audience.

Tony Panaccio, a seasoned public relations expert with nearly 35 years of experience in the media industry, shared on my The Art of Film Funding Podcast invaluable insights into the critical elements of a successful independent film marketing campaign.

He provided a deep dive into the world of film marketing, from understanding the industry’s pillars to navigating the modern media landscape.

Understanding the Pillars of the Film Industry

Tony emphasized that the film industry stands on three main pillars: creative, business affairs, and marketing.

“Most independent filmmakers that I encounter are very squarely educated in the creative side,” he noted. “They’re subject matter experts or they’re just good writers or storytellers. But when it comes to marketing and business affairs, they’re woefully uneducated and inexperienced.”

This lack of knowledge in marketing and business affairs can significantly hinder a film’s success. Understanding the elements that connect with the consumer audience is essential.

“When you’re trying to market your film,” he stressed, “the first thing that you really need to understand is precisely what is the element that is most connected to the consumer audience.  Because that is where it becomes commercially viable.”

Finding Relevance in the News Cycle

Tying a film’s subject matter to current events can be a key to gaining coverage.  Tony recounted his work with a filmmaker on a project about an exhibit on the Enola Gay, the plane that delivered the first atomic bomb. The exhibit’s relevance was tied to the story of the man who tried to create it, a survivor of the rise of Nazism in Eastern Europe.

“The relevancy is the journey of the man who tried to put the exhibit together,” he said. “The thing that makes it more commercial is his connection to that rise of fascism, because there are a lot of people today who think we’re headed down the exact same path.”

By highlighting the contemporary relevance of historical events, filmmakers can create a compelling narrative that attracts media attention and engages audiences.

“You have a clickbait headline that’s waiting to happen,” Tony added, emphasizing that these elements can generate awareness for a project even before its release.

The Importance of Awareness

One of the key challenges in film marketing is creating awareness. Tony explained, “If they don’t know your project exists, then how do they know how to access it?” Awareness is the first step in leading potential viewers to the “buy decision,” whether it’s purchasing a ticket, renting, or streaming a film.

To build awareness, filmmakers must generate buzz and get people talking. “The best marketing is word of mouth,” he affirmed. Social media plays a crucial role in this process, as it allows people who are interested in a subject to become ambassadors for the film, spreading the word and creating a ripple effect of interest and engagement.

Navigating Business Affairs: The Chain of Title

A significant aspect of the business side of filmmaking is ensuring a clear chain of title.  Tony warned against the common practice of indiscriminately sharing scripts and treatments.

“The problem with that is that you lose what’s known as clear chain of title because that’s the first thing a funder’s attorney will ask for during due diligence.”

He cited the example of Warner Brothers’ legal battle over “The Watchmen” movie, where Paramount filed an injunction claiming they had a stake in the film due to their earlier development work. This underscores the importance of securing non-disclosure agreements (NDAs) and non-circumvent agreements before sharing project details.

“The tales of projects being stolen by other producers who were in that communication chain early are vast and tragic,” he cautioned.

The Shifting Trends in Film Genres

Understanding current trends is crucial for marketing a film successfully. Panaccio noted that audiences’ preferences can shift rapidly, affecting the commercial viability of different genres. Recently, he observed a shift towards films that are fun and offer escapism.

“What movie audiences are tracking recently is they want to have fun at the movies,” he explains. “When money is tight, that’s when comedies and movies that are fun do the most business because people want that escape.”

This shift has implications for filmmakers, suggesting a need to pivot towards lighter, more entertaining content to meet audience demand. “If you’re having fun and it’s defended, the audience is going to have fun, and that’s what they want right now at theatrical,” he advised.

The Modern Media Machine

Understanding who makes up the modern media machine and how to work with them is another critical element of film marketing. Panaccio likens the media landscape to “a big giant mechanism” but reveals it’s actually “hamsters on wheels” due to the intense pressure and low pay faced by media professionals.

“The modern media is not generating the revenues that they used to generate,” he pointed out. As a result, media outlets have significantly reduced their staff, leading to fewer contacts and greater workloads for those remaining. This means that filmmakers must make it as easy as possible for reporters to cover their stories.

“You have to help them because they don’t have the time,” he emphasized. This involves providing all necessary information, including potential interviewees, in a well-structured pitch.

Crafting the Perfect Pitch

A successful pitch must avoid being overtly commercial and should tie into current news cycles.  Tony explained, “You can’t just go up there and say, buy my book. You actually have to have a news story that follows something that’s in the news cycle that people are already interested in reading about.”

He shared a personal anecdote of profiling film critic Nell Minnow. By emailing questions and allowing her to write her answers, Panaccio facilitated an efficient and painless interview process that resulted in a well-received article.

“It was a very painless interview. It took me 20 minutes to prep the questions. It took her 20 minutes to answer them,” Panaccio recalled. This approach can be a model for filmmakers looking to generate media coverage for their projects.

The Importance of Understanding Both the Creative and Business Sides of the Industry

By staying attuned to current trends, ensuring clear chain of title, and crafting compelling, newsworthy pitches, independent filmmakers can significantly enhance their chances of success. As Tony aptly put it, “If you don’t have awareness, you can’t bring people to the buy decision.”

In an ever-evolving media landscape, these strategies are crucial for navigating the complex world of film marketing and ensuring that your film not only reaches its audience but also resonates with them.

By adopting these practices, filmmakers can better position their projects for success in an increasingly competitive market.

Carole Dean is president and founder of From the Heart Productions; a 501(c)3 non-profit 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.  Essential classes for indie filmmakers on how to produce their films.

She hosts the weekly podcast, The Art of Film Funding, interviewing those involved in all aspects of indie film production. She is also the author of  The Art of Film Funding, 2nd Edition: Alternative Financing Concepts.  See IMDB for producing credits

Thriving in Comedy: Crafting and Pitching TV Series with Impact

May 8th, 2024

Conversation with Screenwriter Hollis Rich on Challenges of Creating Successful Comedies, Building Industry Relationships, and Pitching on Zoom

by Carole Dean

In the dynamic world of television production, crafting and pitching a comedy series requires more than just a good script. It demands a unique blend of creativity, strategy, and personal connection to captivate audiences and secure funding.

Hollis Rich has been able to combine all of that and carve out a successful career as a television writer and producer that spans both half hour comedy and hour drama.  Her shows include Doogie Hauser MD, Grace Under Fire, Picket Fences, and Party of Five. She co-created and co-executive produced the critically acclaimed series State of Grace which earned two Humanas nominations and four Jewish Image Awards for its humorous, authentic depiction of two girls of different faiths.

I was fortunate to have her as a guest on The Art of Film Funding Podcast.  In my interview with her, this acclaimed filmmaker shares her expertise on writing comedy and navigating the competitive landscape of TV funding pitches.

Comedy and Pathos: A Winning Combination

Hollis explains her approach to writing comedy intertwined with pathos.

“My whole thing is to replicate life as closely as possible because I feel that is how audiences connect with character and story,” she says. “It really is replicating how life feels, which is comedy and pathos.”

“It really is that tension between the two in a scene or tonally throughout a series that I feel makes it all more powerful,” she explains. “Because you’re dealing with real issues, and to have comedy in that context hits a chord with audiences and makes the comedy actually funnier.”

“In a comedy, when you have pathos, it also can be unexpected,” she explains. “And if it’s done right, it doesn’t just feel clunky, like a sentimental, overly sweet moment. It feels real. And yet the surprise of both keeps the audience alert and interested also.”

Focusing on Representation: Disabled Leads in Comedy

One of Rich’s recent focuses has been on developing two half-hour comedies featuring disabled leads. She was inspired by Jim Le Brecht, a filmmaker a wheelchair user and advocate for the disabled community. Jim co-directed the Academy Award nominated documentary Crip Camp.  Witnessing the insider humor of the disabled community sparked her interest in creating comedies with disabled leads.

She acknowledges the challenges of representing disability in mainstream media but believes that it’s a barrier worth breaking. “It’s just another barrier to break,” she says.

Hollis emphasizes the importance of portraying disabled characters realistically and humorously. “I tend to depict these people as just people who happen to be disabled,” she explains. “The humor is about their lives; it really is character humor and character-based humor that comes out of the stories and just their point of view.”

Embracing Challenges: The Power of Thriving, Not Surviving

Hollis emphasizes the importance of embracing challenges, particularly when crafting narratives that defy convention. By portraying characters who thrive despite their handicaps, comedy can transcend mere entertainment, offering viewers a glimpse into the resilience of the human spirit.

“We tend to focus more on the sense that these are people who are not just surviving, but thriving,” she says. “It really reflects the reality of the disabled community, which is not just one block of people but a range of disabilities and abilities.”

The decision to condense the series into a half-hour format was driven by the desire to maximize impact through surprise. By challenging audience expectations with a disabled lead in a comedy setting, Hollis and Jim sought to carve out a unique space in the television landscape, echoing the groundbreaking impact of shows like “Will and Grace.”

Brevity is Key: The 10-Minute Producer’s Pitch

One of the top priorities in pitching a TV series, according to Hollis, is brevity. In today’s fast-paced industry, time is precious, and producers appreciate pitches that get straight to the point.

Hollis learned from industry veteran Mary Jane Skalski, who emphasized the importance of brevity in pitching. Instead of the typical 20-minute pitch for a half-hour show, Hollis and her team have condensed their pitch to around 13 minutes, dubbing it the “10-Minute Producer’s Pitch.”

“We’ve paired it down to the basics,” Hollis explains. “It’s about telling the producers the budget, how it films, where it films, what’s going to happen, and who the main characters are.” The key, she says, is to keep it simple yet engaging. By adding humor and dialogue to the pitch, they ensure that the information is conveyed in an entertaining and memorable way.

It’s Ok to be Nervous, But be Passionate

“In doing that kind of pitch,” she explains, “you need to embellish, especially with a comedy, have some humor in there, and just the way you actually convey the information should be in a humorous tone.”

“And we also find we get a lot of mileage out of the short synopsis of the pilot, which people really respond to, because we really make it very dynamic and include some dialogue and have some dramatic moments and some very funny moments.”

“I mean, everybody’s a little nervous, but it’s fine to say that you’re nervous. It’s important. They really want to see you being passionate. Being nervous does not bother them, you’re not an actor. You’re not going to be on stage. You’re not going to be on camera acting this out, but they want to see your passion and commitment to it, which is important to convey.”

Scripted Versus Improvised: Finding the Right Balance

When it comes to delivering the pitch, having a well-rehearsed script is essential. While Hollis admits she used to be able to memorize pitches, she now relies on a script, especially when pitching via Zoom.

“Jim and I pitch it together, so we absolutely have a script that we have practiced,” she says. While Jim generally sticks to the script, Hollis might add her own improvisational flair, connecting with buyers through the camera.

Pitching on Zoom presents its own challenges, as reading body language and gauging audience reactions can be more difficult. However, Hollis emphasizes the importance of connecting with buyers, even in a virtual setting.

“It’s as if you’re continuing the conversation,” she says, “which puts everyone at ease.”

Engaging the Audience: Creating a Conversational Atmosphere

One of Hollis’s key insights is the importance of engaging the audience during the pitch. “They’re not just committing to your show and your ideas,” she explains. “They’re committing to you.” By creating a conversational, relaxed atmosphere, Hollis ensures that buyers feel comfortable and interested in the project.

Hollis encourages participation from buyers, leaving room for questions and comments throughout the pitch. “They want to know that you can do your part,” she says, “which includes being open to input from them.”

By demonstrating flexibility and openness to collaboration, she shows buyers that she’s not just selling a show but building a creative partnership.

Building Relationships and Making Connections

In the competitive world of television production, relationships and connections are key. She emphasizes the importance of working with respected industry professionals and leveraging existing connections to secure meetings and opportunities.

With the support of Mary Jane Skalski and Echo Lake Entertainment, Hollis and her team have been able to secure high-level meetings with industry insiders. “People know her,” Hollis says of Mary Jane, “and they know that what she brings in is good.”

By aligning themselves with reputable production companies and industry veterans, Hollis and Jim have positioned themselves for success.

Leveraging Experience: Coaching and Consultation Services

Drawing on her extensive experience in the industry, Hollis offers coaching and consultation services to aspiring filmmakers and screenwriters. By providing personalized guidance and feedback, she helps clients refine their comedic scripts and pitching strategies, empowering them to navigate the competitive landscape with confidence.

Crafting and pitching a comedy series for TV funding requires a multifaceted approach that blends creativity, strategic planning, and personal connection.

By embracing challenges, mastering the art of brevity, and fostering collaborative relationships, creators can elevate their pitches from mere presentations to compelling narratives that resonate with audiences and investors alike.

Carole Dean is president and founder of From the Heart Productions; a 501(c)3 non-profit 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.  Essential classes for indie filmmakers on how to produce their films.

She hosts the weekly podcast, The Art of Film Funding, interviewing those involved in all aspects of indie film production. She is also the author of  The Art of Film Funding, 2nd Edition: Alternative Financing Concepts.  See IMDB for producing credits

Unlocking Film Funding: Strategies and Insights from Rachel Elizabeth Seed

April 20th, 2024

“People Respond to Passion” – Roy W. Dean Grant Winner Shares Her Journey to Fund and Complete her Documentary  “A Photographic Memory” 

by Carole Dean

In a landscape teeming with creative endeavors, securing financial support for cinematic projects demands not just artistic vision but also strategic prowess. From navigating grant applications to cultivating personal connections with potential investors, the journey to funding can be as intricate as the films themselves.

Rachel Elizabeth Seed, a director and producer whose work spans film, photography, and writing, offers invaluable insights into the world of film funding. Her documentary “A Photographic Memory” which is a poignant exploration of familial connection through archival materials, has been supported by prestigious institutions like the Sundance Institute and the Roy W. Dean Grant.

In my interview with Rachel for The Art of Film Funding Podcast, she shared her inspiring journey which serves as a beacon of inspiration for aspiring filmmakers grappling with the complexities of financing their visions.

The Genesis of “A Photographic Memory”

Rachel’s foray into filmmaking was catalyzed by a deeply personal quest—to unravel the enigma of her own familial heritage. As a photographer and curator at the International Center of Photography, she found herself drawn to her mother’s legacy, a figure shrouded in mystery due to a lack of memories of her.

The serendipitous encounter with Sheila Turner Seed’s archival recordings laid the foundation for “A Photographic Memory,” a cinematic odyssey delving into the essence of familial bonds and the resonance of archival artifacts.

“When I heard her voice for the first time since I was a baby, when I listened to her interviewing photographers through her work, I just had a flash,” Rachel remembers. “I felt like I was in the room with her and the photographers in the 1970s, and all of a sudden I got this insight that time doesn’t really exist and that I was able to time travel and be with her.”

“It felt so real to me that I felt like this is something I have to share with people – this experience,” she explains. “I have to explore it and understand how close I can get to her through all of the essence of her that was left in all of her work.”

The Fundraising Odyssey: Strategies and Challenges

A photographer by training and experience, Rachel realized early on that telling this story required making it into a documentary.  But, she had never made a film. 

“I literally remember googling, how do I write a documentary treatment?, she recalls. “And I looked up budgets. I knew one other filmmaker at the time, now I know probably hundreds, but at that time it was just one. And so I really started from zero.

“I hadn’t gone to film school, and I just was like, well, I have to figure this out – this thing came to me and it needs to be a film, so how do I do this?”

Seed meticulously curated her grant applications, weaving a compelling tapestry of storytelling that resonated with funding institutions. However, she emphasizes the importance of discernment in grant applications, cautioning against the indiscriminate pursuit of funding opportunities without aligning with the project’s essence.

Building Relationships with Grantors

“I think so much of the time, it is about relationships and it’s about really understanding who you’re asking for funds from,” she advises, “and understanding what’s important to them and their organization and seeing if you’re really aligned.”

She adds that while there are many factors to take into consideration when applying for a grant, one of the most important ones is honestly knowing people.

“I mean, I know when I applied to your grant, Carole, you didn’t know me at all, so that was lucky on my part. 

“But for some of the grants, it really helps if you meet the people in person who are granting before you apply, if you reach out by email or call and make a personal connection so they’re aware of your project, or if you have someone on your team who is established and has a track record so they know that the risk they’re taking is going to most likely pay off.”

In addition to grants, Rachel harnessed the power of crowdfunding platforms like Kickstarter, engaging with a global community of supporters passionate about her project. The success of her crowdfunding campaign underscored the pivotal role of audience engagement in the filmmaking process, transforming backers into stakeholders vested in the project’s success.

Navigating the Filmmaking Landscape: Lessons Learned

Her emphasis on the human element in fundraising underscores the transformative power of personal connections, transcending the confines of traditional grant applications to engage with funders on a visceral level. By imbuing her proposals with a palpable sense of passion and purpose, Rachel captured the imagination of funders, transforming abstract narratives into tangible investments in cinematic storytelling.

Moreover, her journey underscores the importance of resilience and tenacity in the film funding and filmmaking process.  Very rarely did she get a grant on the first try. 

“With Sundance, I’d applied a couple times before we got the grant, but one of my producers had been to the producing lab at Sundance, and when she came on board my film and then we applied again. They didn’t just say yes. There was a very long, probably months long process of intensive interviews where they were getting to know me because they knew her, but they didn’t know me.

“We had a long interview on the phone. It was very challenging. It wasn’t just an easy send in your grant and then get a green light.

“They had to meet me at the Story Lab and go through the whole process there. And then they still didn’t even have an answer. And then a few months later, they told me I got the grant, and then after that, they invited me to pitch at the festival.”

The Power of Community Screenings

Beyond the realm of traditional film distribution, Rachel recognizes the transformative potential of community screenings as a vehicle for social engagement and dialogue. By engaging with diverse communities—from photography enthusiasts to those grappling with the loss of a parent— it amplifies the impact of “A Photographic Memory.” 

Through strategic partnerships and outreach initiatives, Seed aims to connect with audiences to embark on a collective journey of introspection and discovery.

“Now that I’m in the phase of getting the film out there,” she says, “I love connecting with communities. They’re kind of endless possibilities because if you think about how many photo programs are there in the world, there’s got to be thousands, and people love photography.”  

Seed’s vision for community screenings extends beyond the confines of traditional exhibition spaces, encompassing educational institutions, cultural centers, and grassroots organizations.

People Respond to Passion

Discovering the story of her mother and her early relationship with her by making this film, not only changed her life.  It impacted the lives of those who viewed the film as well.

“It was so personally challenging what I went through to make the film emotionally,” she reflected. “At the end of it, I did get a relationship with my mother that I never had. And I love more than anything that people are seeing that possibility for themselves because it’s shocking to me how many people in the world have lost a parent or lost a parent young or somebody very close to themselves.” 

“People respond to passion. And if you don’t fully believe in your project or whatever you’re doing, whether you’re a filmmaker or any other profession, people are going to sense that and they’re not going to come along for the ride.

“I don’t think passion is something you can just invent or just pull out of thin air. But if you are passionate about what you’re doing and you do feel like it’s inevitable, then I think you’re in the best position to get it done.”

Carole Dean is president and founder of From the Heart Productions; a 501(c)3 non-profit 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.  Essential classes for indie filmmakers on how to produce their films.

She hosts the weekly podcast, The Art of Film Funding, interviewing those involved in all aspects of indie film production. She is also the author of  The Art of Film Funding, 2nd Edition: Alternative Financing Concepts.  See IMDB for producing credits

Finding Funny: A Deep Dive into Steve Kaplan’s Comedy Philosophy

April 13th, 2024

Exploring the Hidden Nuances of Comedy Writing Along with The Timeless Allure and Lessons of Classic Films

by Carole Dean

For years, Steve Kaplan has reigned supreme as a luminary in the comedy domain. His profound insights and invaluable contributions have solidified his position as one of the most respected authorities in the industry.

His first book, the Hidden Tools of Comedy, is a bestseller in its field. Steve has taught workshops at companies such as Dreamworks, Disney Animation, NBC’s Writers On The Verge and others. He has taught his comedy intensive workshops around the world from Los Angeles to Mumbai to New York, from Australia to Rio.

I was fortunate to have him as a guest in my The Art of Film Funding Podcast.  In this extensive interview he discusses his second book The Comic Heroes Journey, serious Story Structure for Fabulously Funny Films which peels back the layers of comedic storytelling, revealing the underlying truths that resonate with audiences on a profound level.

The Genesis of a Comedy Maestro

Steve’s journey into the film industry defies convention, mirroring the unpredictability and eccentricity often associated with comedy itself. Through a blend of originality, innovation, and sheer determination, Steve carved out a niche for himself, setting the stage for his eventual transition to the world of film.

“Well, I originally got started in the film industry by not being in the film industry,” Steve explained. “I started out as a theater director. A couple of actors, friends of mine wanted to start a theater in New York, and they asked me to join in.

“I pitched them a theater that was completely devoted to comedy, which was at that time in New York, not very usual. And so we started it, we called it the Manhattan Punchline, and it wasn’t a standup club, it was a theater completely devoted to comedy.”

After it closed, he thought “what can I do with all this information that I have about comedy?” And so he went to Los Angeles and got a gig at HBO doing some developmental work for them.

Along the way, somebody suggested he could do for comedy what Robert McKee does for story. He started a small workshop in Los Angeles which grew into workshops in New York, in London, in Tel Aviv. That led to relationships with writers and producers.

“So that’s how I kind of got started in the film industry by focusing on one thing that was important to me. And that’s what comedy is, how it works, why it works, what’s happening when it doesn’t work, and what can you do to fix it.”

Unveiling the Essence of Comedy

At the heart of Steve’s philosophy lies a profound understanding of the essence of comedy. Beyond the superficial realm of laughter, he contends that comedy serves as a mirror to the human experience, illuminating our struggles, triumphs, and idiosyncrasies.

Through his seminal work, “The Hidden Tools of Comedy,” Steve draws from his vast reservoir of knowledge and experience.  He elucidates the intricate dynamics of humor, offering invaluable insights into the art of crafting comedic narratives.

“A lot of people think comedy is simply what you’re laughing at. If it’s funny, if you’re laughing at it, that’s comedy. But, I have a niece, and when she was very little, if I shook my keys at her, she would laugh at that. So to her, that was funny.

“But you wouldn’t take a set of keys and shake them to an agent at CAA and say, would you sign me? Maybe I can develop this into a feature.”

Steve believes that comedy is the art of telling the truth, and specifically, it’s the art of telling the truth about human beings. 

It’s about somebody who is an ordinary or less than ordinary person struggling against insurmountable odds without many of the required skills and tools with which to win, yet never giving up hope.

The Rule of Three

“Buster Keaton said, you get a man up a tree, you throw rocks at him, you get the man down from the trick,” Steve expounds. Comedy is “all about somebody very much like us struggling against something that’s outside of their control and not giving up.”

Steve says this is called the comedy equation.  From it, you can draw usable, practical tools to write comedy.  Other hidden tools are what he writes about in his second book The Comic Heroes Journey, serious Story Structure for Fabulously Funny Films which are the things that people aren’t being taught in colleges or universities. 

“If you dig deep into how comedy is working and what’s happening, these are useful tools in terms useful practical tools in terms of creating comedy.”

Deconstructing Cinematic Gems: A Case Study of Groundhog Day

Groundhog Day stands as a testament to the timeless appeal of comedic storytelling, transcending generations with its universal themes and enduring charm. Steve delves into the intricacies of this cinematic masterpiece, dissecting its narrative structure, character development, and thematic resonance.

Through the lens of the “Comic Hero’s Journey,” he unveils the transformative arc of protagonist Phil Connors, whose journey from cynicism to enlightenment serves as a poignant allegory for the human condition.

“A guy wakes up every day and it’s the same day, it’s Groundhog Day,” Steve says diving into the movie’s plot, “and that’s a lie. That could never happen. But if it did happen, if it does happen, what can happen next?

“A comic premise is developed by characters. And characters are brought on into a story by need and theme. You have a scene with a boy and a girl at a cafe. Who do you need? Do you need a waiter or a waitress? But characters are also brought on through theme in ‘Groundhog Day’. The theme is ‘how can you be a good person in the world?’

“One of the things about ‘Groundhog Day’ and about great comedies is that it not only appeals to your sense of humor, it makes you laugh, it makes you care, but it also makes you think, and that’s why ‘Groundhog Day’ has been adopted by every major religion.

“So a great comedy not only has a great premise, a great setup, it has great characters and it has great meaning.”

Legacy of Laughter: Celebrating the Genius of Charlie Chaplin

Reflecting on the indelible legacy of Charlie Chaplin, Steve references him frequently in his books.  

Through his groundbreaking work, Chaplin revolutionized the art of silent comedy, imbuing his characters with humanity, empathy, and resilience. Steve explores the enduring appeal of Chaplin’s films.  He sheds light on the universal themes and timeless truths that continue to captivate audiences to this day.

About the character Chaplin plays in “City Lights”, Steve says ” he’s not the brightest, but he keeps trying his best to help the blind girl or to figure out how to serve when he’s playing the waiter, he’s trying to serve all these plates while everybody’s dancing, and it’s impossible.”

“What we love about Charlie Chaplin is that it’s universal, his universal humanity, and that humanity without the restriction of language is available to everybody because everybody shares the same things that great comedians do. It’s tough to get by.”

Crafting Comedy with Precision: Unveiling the Hidden Tools

At the core of Steve’s methodology lies a meticulous approach to comedic craftsmanship. Through his innovative framework of “hidden tools,” he empowers writers and performers to unlock the full potential of their comedic endeavors.

Concepts such as the “non-hero” and “straight line, wavy line” serve as foundational principles for creating authentic, relatable characters that resonate with audiences on a profound level.  

Steve says “the idea of winning comedy gives your characters the permission to win.  But it also gives your characters the permission to do what they need to do in order to win.”

By understanding the nuances of comedic performance and narrative structure, creators can harness the transformative power of laughter to entertain, enlighten, and inspire.

Populating the Comedy Landscape: Kaplan Comedy Workshops

At the height of pandemic in October of 2020, Steve began offering his intensive comedy workshop online for the first time. It was wildly successful.

Now he teaches online and you can go his Kaplan Comedy website to learn more.  He is teaching the Hidden Tools online, and  also teaching a course in the Comic Heroes Journey, what he calls ‘write your comedy screenplay.’

He has started up live workshops again. This coming December, he is going to be teaching at the university in Milan, and is probably going to be also teaching a workshop in London. 

You can join his mailing list at mailinglist@kaplancomedy.com to learn more.

A Tribute to the Transformative Power of Laughter

Steve leaves us with a poignant reminder of comedy’s enduring legacy and transformative power.

Beyond its capacity to entertain and amuse, comedy serves as a catalyst for introspection, empathy, and connection. Through laughter, we find solace in the shared absurdities of human experience, transcending barriers of language, culture, and geography.

With unwavering passion and boundless enthusiasm, Steve Kaplan continues to champion the art of comedy.  He is inspiring generations of creators and audiences alike to embrace the joy of laughter and the beauty of shared humanity.

Carole Dean is president and founder of From the Heart Productions; a 501(c)3 non-profit 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.  Essential classes for indie filmmakers on how to produce their films.

She hosts the weekly podcast, The Art of Film Funding, interviewing those involved in all aspects of indie film production. She is also the author of  The Art of Film Funding, 2nd Edition: Alternative Financing Concepts.  See IMDB for producing credits

Unlocking Your Potential with the ‘I AM’ Mantra

April 6th, 2024

Lessons from brilliant author Neville Goddard on how to create your future using the power of your mind

by Carole Dean

In his book The Power of Awareness, Neville Goddard explains how these two words,  I AM, are so powerful.  He believes that by using the I AM words you can turn on abilities that you possess and are not aware of. 

He is right.

The Potency of “I AM”

There actually is a book, entitled The I AM Discourses that was said to be channeled by Saint Germain.

The entire book focuses on the power of the two words I AM. Saint Germaine says that using I AM can change what is happening to you. These words are so powerful that they can bring you what you want.

Example: If you are sick, The I AM Discourses say that you simply state on an ongoing basis “I am healthy.” The power of the I AM is that it will bring you what you state. It explains that these two words are powerful manifesters.

From studying it, I really love The I AM Discourses book. It’s an empowering book. It makes you feel that there’s nothing you can’t achieve by using these two affirming words I AM.

Cultivating Belief and Self-Improvement

Try it. Perhaps use this on something that you think you are not talented at. Begin daily to reverse that by saying, “I AM good at…” whatever it is you want to improve.

Example: Many people call me and immediately say, “I am not good at pitching my film, but I will tell you about it.” So, why not start saying, “I am good at pitching my film!”
I AM receiving donations almost every time I pitch my film.

Use the I AM mantras daily and turn yourself into being good at pitching your film. Please, just pick one thing and try it and you will be amazed. These are two powerful words.

Now what I love is when I read or hear the same thing twice or three times. It is then that my interest picks up. It is then that I realize the universe wants me to know this! Now, I sincerely pay attention.

So, when I read how Neville was explaining the importance of the I AM statement, I found it a strong reminder that we are that close to improving ourselves.

Just using two words and believing in them will bring that talent to you. It can be done. But you need to believe it.  To other people we may sound very good, but we believe that we are not good and of course, that overrides our abilities.

Overcoming Negative Self-Concepts

Your mind is powerful and when you say I can’t do that, well, then you can’t. Remember Henry Ford told us that. He said, if you think you can or if you think you can’t, YOU ARE RIGHT!!

Neville explains that I AM is a feeling of permanent awareness. It is the center of consciousness. Everything depends upon attitude towards itself; you need to awaken your unused potential with the power of the I AM.

Try using these words to access untapped potential and unrealized dreams.  Consider picking something that you feel you want to be good at and turn that around using the two words I AM.

It can benefit you. You might say any of these statements:

I am good at pitching.
I am excellent at directing.
I am an award-winning filmmaker.

You will need to use this in a constant flow of thinking and feeling. 

The Heart Chakra is the Power Center of the Body 

In my bi-monthly Film Funding Guidance class, we studied the work of Greg Braden, a five-time New York Times best-selling author, scientist, and international educator.   He believes you need to put this flow in your heart chakra and feel it with passion. Put your mind and your emotions together in the heart chakra because that’s where the power is to create your future.  

That’s how you make the I AM work. Go into the heart chakra and focus with statements like I AM good at pitching my film.

Perhaps you put this in writing and put it by your toothbrush, put it in your jacket pocket, put it with your credit cards, with your computer, and in the kitchen where you spend time cooking and cleaning. Put it in places where you can make that part of your mantra and use those I AM words to bring you a talent that you currently don’t have.

Neville says, “health, wealth, beauty, and genius are not created they are only manifested by the arrangement of your mind–that is, by your concept of yourself. And your concept of yourself is all that you accept and consent to as true.

What you consent to can only be discovered by an uncritical observation of your reaction to life. Your reactions reveal where you live psychologically; and where you live psychologically determines how you live here in the outer visible world. We are connected to nature and to each other. You need to accept this.

Connecting to the Quantum Field in a Quiet Place

Understanding that our consciousness of the outer world is most important to us. We need to connect to the consciousness of everything. This is critical to our success in this universe.

Knowing that we are connected to all living things and to each other.  Realizing that we truly are part of the universe and that universal laws govern us. That we can improve. It’s up to us to open up and ask for what we want and become who we truly have the power to be.

We are powerful beings and can change who we are. We can improve ourselves no matter what age, or what condition we are in, that can change with our belief.

Neville wrote most of his books in the 40s and 50s. Since then, we have discovered and explained much about how quantum physics works. This is saying the same thing Neville said, which is that we are all connected through the quantum field.

Carl Sagan said, “The cosmos is within us. We are made of star-stuff.”

Lynn MacTaggart’s book The Field  tells of 12 physicists each working on individual projects and yet coming to the same conclusion,  that there is a field of energy surrounding us and extending throughout our Galaxy. 

This field is alive. It is the recorder of all things. Everything you think and do is recorded in the quantum field. This field is our field of consciousness.

This is what Neville is talking about and we need to realize that we are more than our physical beings. We are connected to the sun, moon, stars, we are connected to the universe, to each other, to our plants, to the ocean, and even to the rocks on the shore.
All our outer world is connected to our inner world.

By realizing and including these things we become all that we can be. We want a solid connection to all that is. Please, open your heart and connect to the outer world.

Meditate in your Heart Chakra and Open to Receive

When you meditate, open yourself to receive goodness from all you are connected to.   Once you begin to do this you have more empathy for your fellow man. You have more respect for all living things. And most of all you will recognize your important position in the universe.

Each of you are very special. You are here for a purpose. You chose that purpose before you came into this world. Have you found it?

Usually, the universe will give you the tools and the talents to achieve your life mission. However, it’s up to you to identify this mission.

One great way to find your life’s mission is through meditation. Another great way is using the powerful words I AM to give you the talents you need to achieve your life goals.

Carole Dean is president and founder of From the Heart Productions; a 501(c)3 non-profit 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.  Essential classes for indie filmmakers on how to produce their films.

She hosts the weekly podcast, The Art of Film Funding, interviewing those involved in all aspects of indie film production. She is also the author of  The Art of Film Funding, 2nd Edition: Alternative Financing Concepts.  See IMDB for producing credits

Revolutionizing Film Distribution: A Deep Dive into Kinema

March 21st, 2024

Fostering community and creativity by making great films accessible to audiences in diverse settings

by Carole Dean

In a rapidly evolving landscape where traditional cinema experiences are being redefined, innovative platforms like Kinema are spearheading a revolution in film distribution. Founded and led by Christie Marchese, Kinema is reshaping how audiences discover and engage with great films, transcending the boundaries of traditional distribution models.

In my in-depth discussion with Christie on my Art of Film Funding Podcast, she sheds light on the intricacies of Kinema’s platform and its pivotal role in empowering filmmakers and studios to reach their audiences while maximizing revenue through screening tours, virtual events, and TVOD (Transactional Video On Demand).

Kinema: Redefining Film Distribution

At the heart of Kinema’s mission lies a commitment to fostering community and creativity by making great films accessible to audiences in diverse settings. Christie explains, “We built this platform initially to support screening tours, a form of non-theatrical distribution aimed at reaching audiences outside the traditional distribution system.”

Drawing from her extensive experience at impact agency Picture Motion where she was CEO for nine years, running impact for Righteous Pictures, and other ventures, she recognized the power of community screenings in amplifying the reach and impact of socially relevant films.

The Evolution of Kinema’s Platform

Kinema’s journey from supporting screening tours to its current multifaceted platform mirrors the dynamic shifts in the film industry, particularly accelerated by the pandemic.

Christie likens Kinema’s evolution to that of Etsy, providing a comprehensive suite of tools for filmmakers and distributors to seamlessly host in-person and online events, streamlining the booking process, and ensuring swift payment to creators.

In-Person Screenings: Building Community Beyond Theatres

In-person screenings represent a cornerstone of Kinema’s platform, offering filmmakers a pathway to engage with diverse audiences in unconventional venues. As Christie explains, “These are physical spaces that have another primary purpose besides supporting movie-going, such as businesses, museums, or places of worship.”

By facilitating secure film delivery and seamless payment processing, Kinema empowers hosts to curate immersive screening experiences while retaining control over their film rights and audience data.

Virtual Events: Crafting Immersive Digital Experiences

With the onset of the pandemic, Kinema swiftly adapted its platform to accommodate the burgeoning demand for virtual screenings. Christie describes Kinema’s virtual cinema as a live experience, enabling hosts to create interactive events with synchronized film screenings, real-time chat functionalities, and live Q&A sessions with filmmakers.

The platform’s scalability and robust infrastructure ensure a seamless viewing experience for audiences, with capacity extending to thousands of attendees per event.

On-Demand: Empowering Flexible Viewing Experiences

Kinema’s on-demand screenings offer unparalleled flexibility, allowing audiences to watch films at their convenience within a specified window. This feature caters to a diverse array of hosts, from businesses seeking to engage remote employees to influencers curating exclusive viewing experiences for their followers.

By integrating customizable branding options and prerecorded messaging, Kinema enhances the immersive quality of on-demand screenings while providing a lucrative revenue-sharing model for filmmakers and hosts alike.

Nurturing Audience Relationships: The Key to Sustainable Filmmaking

Central to Kinema’s ethos is the cultivation of meaningful relationships between filmmakers and their audiences. “When you send people to watch the film through us,” Christie emphasizes, “you will have that audience data and you’ll know who they are.” This underscores the platform’s commitment to empowering creators with actionable insights for audience engagement and future projects.

Unlike traditional streaming platforms, Kinema prioritizes privacy and transparency, enabling filmmakers to forge lasting connections with their audience beyond the confines of a single screening.

Unveiling the Audience: Know Thy Viewer

The foundation of audience engagement lies in a profound understanding of your viewers. “The most important first step,” she articulates, “is to know who your audience is.” It’s not enough to create a film for “everybody”; specificity is key. By pinpointing the demographics, interests, and passions of your audience, you carve a path towards resonance and connection.

“Be very focused and specific in who your immediate audience is.” Whether your film revolves around skateboarders, social justice issues, or underrepresented populations, identifying your niche is paramount. Moreover, recognizing where your audience congregates—be it online forums, social media platforms, or specialized publications—equips you with the tools to engage them effectively.

The Path to Discovery: Reaching Your Audience

Once you’ve defined your audience, the next step is reaching them. Christie advocates for a multifaceted approach that leverages organizational partnerships, media outreach, and social media influencers.

“Define who your audience listens to,” she expounds, “and where they get their information.” By forging strategic alliances with organizations and media outlets aligned with your film’s themes, you amplify your reach and visibility.

Moreover, in the era of social media dominance, harnessing the power of influencers emerges as a potent strategy. she confides, “We follow influencers and micro-influencers.” Collaborating with individuals who resonate with your target demographic fosters authentic engagement and extends the reach of your message.

Crafting the Narrative: Building Buzz and Momentum

In the realm of film distribution, storytelling extends beyond the screen—it permeates every facet of your promotional endeavors. Noting the importance of creating a narrative around your film, she states, “We’re all moved by stories.”

By humanizing the filmmaking process and cultivating a connection with your audience, you cultivate a loyal following invested in your journey.

She champions the concept of “film drops,” akin to merch or sneaker drops, where films are made available for a limited time, fostering a sense of exclusivity and urgency. This strategy, coupled with engaging live events and interactive experiences, ignites excitement and drives audience participation.

Monetizing Your Craft: Navigating the Financial Landscape

While artistic passion fuels the filmmaking process, financial sustainability underpins its longevity. Christie clarifies the intricacies of monetization, emphasizing a balance between accessibility and profitability. Filmmakers are charged a nominal subscription fee, ensuring commitment and dedication to the distribution process.

Additionally, revenue sharing models ensure equitable compensation for filmmakers, with platform fees adjusted based on scaling. She affirms, “Our aim is to lower the barrier of entry while fostering a community of financially invested filmmakers.”

Through transparent pricing structures and secure payment platforms, filmmakers embark on a journey towards financial empowerment.

Success Stories: Pioneering Pathways to Prosperity

The testament to Kinema’s efficacy lies in its success stories. Kinema’s founder shares anecdotes of filmmakers who’ve harnessed the platform’s capabilities to achieve remarkable outcomes. From documentaries garnering widespread acclaim to feature films captivating niche audiences, Kinema serves as a catalyst for cinematic triumph.

She described Kinema’s experience with the documentary “Spellers.”

“They were looking at doing one film, they did a film festival, and then we’re looking at their schedule for the year and thinking, how do I just get this to our audience faster?

“And I looked at the film like, oh, this is a great film. I’ve enjoyed it, but it seems it might be a smaller film just based on what I’m seeing here. And they knocked it out of the park, the film team behind it. They knew exactly who their audience was. They had an email list ready to go, and they set it up to release through us last April.

“And about two months before they sent an email blast to the network of curated organizations and partners. They had, I don’t know, I think maybe 200, 220 bookings instantly and immediately. And that film has continued to book, maybe one or two screenings a week. They continue to have people coming to screenings of the film.”

“It’s an active and engaged audience, and it’s working because people come, they see the film, they love the film, they want to have their own screening. And so, it’s spreading out from there outside of its original intended audience.”

The Road Ahead: Innovations and Future Endeavors

As Kinema continues to innovate and expand its offerings, Christie envisions a future where the platform seamlessly integrates merchandise sales, donation functionalities, and enhanced audience analytics. By harnessing the power of technology and community-driven engagement, Kinema aims to democratize film distribution, empowering creators to share their stories with the world while fostering a vibrant ecosystem of cinematic discovery and connection.

Kinema stands at the forefront of a paradigm shift in film distribution, championing inclusivity, creativity, and community-driven engagement. Through its innovative platform and unwavering commitment to empowering filmmakers, Kinema is not merely reimagining how films are distributed but reshaping the very fabric of cinematic storytelling in the digital age.

As Christie aptly summarizes, “Our intention is to make a platform that’s easy for filmmakers to use, get paid quickly, and for audiences to discover fantastic new titles that they might not have otherwise.” With Kinema leading the charge, the future of film distribution is boundless, promising boundless opportunities for creators and audiences alike.

Carole Dean is president and founder of From the Heart Productions; a 501(c)3 non-profit 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.  Essential classes for indie filmmakers on how to produce their films.

She hosts the weekly podcast, The Art of Film Funding, interviewing those involved in all aspects of indie film production. She 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!

May 29th, 2023

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.

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-profit 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 podcast, The Art of Film Funding, interviewing those involved in all aspects of indie film production. She 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

May 28th, 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.

“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:

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: 2^nd 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

May 28th, 2023

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: 

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:

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: 2^nd Edition, Alternative Financing Concepts and the new online class “How to Fund Your Film”