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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Finding Funds + Help for Narrative Projects?

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BrendanLeahy

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A friend and I were conversing tonight, and had a look back on some projects we shot together (both in film school and shortly after we graduated).

What we came to realize was the acting was great, the script, cinematography, directing, and editing were solid (or as good as they could be seven years ago!), but we lacked resources to have better art direction, hire extra hands, and get other gear our crew was asking for.

I have lots of narrative projects I'd like to accomplish, but they're just "bigger" than what I can do on my own, and I ultimately just have no idea how people find funding and crew for their indie features or short films.

I've chatted with a few producers I know, but as much as they seem to like what I have written out, they ultimately all say, "I wish I could help out, but I'm totally swamped right now. We should definitely work together on this when I have time though!" In cases like this, persistence really hasn't paid off.

As for friends, I'm not at all a social butterfly, so it's hard for me to find helping hands for projects since my friendships feel more like acquaintanceships. Most film friends that I did have ran off to LA, and the ones still around are way too busy on 16-hour day TV shows here to do any side projects with me (and they're reluctant to call off work for low/no pay projects).

I know some people might suggest the Kickstarter route, but as I understand it, you need a good network of people to kickstart your funding! I also don't want to dig myself into a financial hole by self-funding, either.

I kind of just feel stuck right now because I'm just sitting on project ideas and scripts and plans that keep piling up.

Has anyone else been in a similar position? Have you found ways to get things made?
 
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Marc Wielage said:
These are all good as potential sources for funding:

https://www.fundable.com
http://www.gofundme.com
http://indiegogo.com
http://kickstarter.com
https://www.megafounder.com
http://seedandspark.com/
https://www.slated.com

And some good articles:

https://www.premiumbeat.com/blog/how-to-raise-money-for-your-indie-film/
https://www.forbes.com/sites/legale...-to-finance-an-independent-film/#7a8fcf807e34
http://nofilmschool.com/tags/fundraising
http://nofilmschool.com/2014/08/fil...ales-gap-tax-incentives-deferred-crowdfunding
https://www.raindance.org/10-routes-to-finance-your-film/
http://www.indiewire.com/2015/04/the-7-dirty-secrets-of-film-financing-63566/
Click to expand...

I'll check out the articles! I honestly just don't have the personal networks to feel I can have a successful crowdfunding campaign (which from what I've read, you need a really strong start to get eyes on it, usually backed by family and friends.)

Regardless, I'll read the other articles you've linked - thanks Mark!
 
If you think it's bad in the US, try France.
On the outside it looks like they fund a lot more non-commercial ventures.
However, what you discover is that your film needs to be "agrée".
So much for indie projects.

If you produce a long film, unless you can prove that EVERYONE was paid standard union rates (and taxable payslips are shown) and you fill all the other qualifications (thus it can be given the stamp of approval "agrée"), it cannot be distributed in the cinemas.

Of course thais makes films tremendously expensive, so if you are doing an independent film on your own with little funding and a lot of love....and have everyone on board for points or work out deals where everyone pitches in, it still cannot be shown in theaters. Why ?
Because the distributors are partially subsidized by the film board (the CNC) as well and this minimizes their risk.
Thus a film that is not "agrée", means greater (read too much) risk for the distributors and your chances are slim to none.

Of course all of this means that the same old producers with hands in each other's pockets (read: the same people who happen to be on the film board are co-producing the films they rubber stamp) have all the power.
And the distributors are in bed with the producers in order to make sure they get their automatic subsidies.
It's a club that stinks of conflict of interest and everyone knows it.

So it's not just a question of producing your film, the more important question is distributing it.
 
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