….to be in the business.
A whole lotta distribution channels and not enough content.
Tag Archives: Indie Film FInancing
….to be in the business.
In five days, we are launching Phase II of the fundraising for our film – Anita. This initiative is being done through a Crowdsourcing/Crowdfunding campaign. I have hired a group of global professionals. The project itself is being spearheaded by Producer of Marketing & Distribution, Brian Briskey of PMD Partners out of Austin, Texas. Coordinating with him is Social Strategy consultant, Naomi Assraf from San Francisco. The Social Media ground troops consist of Mary Losey as Social Media manager, Cristiana Neves-Miller our Portuguese/Spanish Soc. Media expert and, long-time team-member and marketing professional, Jessica Orlandino spearheading the Italian online reach out
…the more you know.
Knowledge is power. All Producers know that the key to getting a film made is getting it financed. So, I have been diligently learning the business of finance. A while back, I left the creative (fun) part of filmmaking to the writers, directors, cinematographers, designers, artists, cast and crew. The numbers-oriented, black & white, Excel™ spreadsheet driven part of the process is quickly becoming my domain.
Learning high-end, seven-figure finance is not an easy task. Small steps…first a fundamental foundation – Murray Rothbard’s Man, Economy & State, then on to Nicole Gravagna’s Venture Capital for Dummies and graduating to Kay Hofmann’s text book Co-Financing Film Productions. As I bang the doors of Venture Capitalists and Private Equity investors alike, I will continue to learn this end of the business. There are no less than 240 books and articles from film finance experts that lie ahead, ranging from Ackerberg to Zufryden.
I hope I get this funded before Mr. Z.
Hype is the awkward and desperate attempt to convince journalists that what you’ve made is worth the misery of having to review it. – Federico Fellini
P & A. Prints and Advertising. In the digital age the ‘P’ has become less important than the ‘A’. As an advertising professional, I am not immune to the veiled attempts of many film marketers to inject interest in the back story when the story quality of the movie itself is questionable. What relevance does the director/writer/producer’s sexual confusion, suicidal tendencies or high school traumas have to do with the watchability of film they’ve created? Does the director’s near fatal car accident while on the set make the film itself more interesting? The film industry is going through a tumultuous time. Movie attendance is dwindling, DVD’s are going the way of 8-track tapes and promoting 100 million dollar bombs may finally cause us to shrug and pull our collective marketing heads out of the clouds (or another less pleasant area) and re-focus on providing audiences with good movies built around even better stories. Nothing beats word of mouth.
Each one of these categories has line items. Some as few as one and others upwards to several dozen. I look at this spreadsheet every night before retiring and make detailed entry adjustments. Today I am feeling anxious and antsy. Not a drop of alcohol in three weeks and a daily work-out to keep both my mind and body sharp. I had lunch with my good friend and storyboard artist, Gary. He gave me the opportunity to get out of my ‘stoic’ modality and relax a bit. I also spoke with our Line Producer, Phil, today, on an unrelated matter but it was good to get him an update. I have another good friend and colleague working on some financing in Las Vegas. And, I’m still waiting on word from Sardinia on the Regional Film Incentive.
I read a great line from a producer colleague of mine in New York; “When you obtain funding, it is not going to be just because of your project, it is going to be because of your project and the funder likes you. Always be your best self.”