IFP, Senator, Executive discussed on The No Film School Podcast


Funding finding unlocking something for you. And if it's not a grant within our organization because the percentages aren't great of how many films get actually end up getting that money. We're constantly thinking, okay, who can we connect you to? Because we are part of a bigger ecosystem and we're only as good as the projects we get to support and that are peers get to support. So starting with those nonprofit institutions is a great way to go. And then I always say, like, look at look at films that are that you would calms to your own, whether it's in subject in scale, and you know, artistic style, anything like that and see who their executive producers were see her there producers were see who funded them, and I just think people in this industry are very generous with their time when when when they're not crazy busy. And so you know, sending an Email and having a very specific ask. Within it, that shows that you have a question that you've done your research. And so the person on the other end of the phone at Sundance or film or Senator h. a river can offer specific guidance in response because you know, they probably tried to fund film twenty five different ways before the twenty six when landed. So we all have a sense of different avenues to pursue out there, and then it is part of it does come down to just a numbers game of who else applying for that grant or who else talked that equity person. And they wrote a check last week, so they're not gonna interested for another year and a half in your film. I mean, yeah, it's it's a, it's a very difficult question to answer. How do I get introduced to the people who have more significant amounts of money than even just grants which are already competitive and and their own take their own sort of very special work to to to get. So other things that you need to think about is how you can build a profile for your project and for your. Making and there with so many people making films hoping to make films that that is again, it's own challenge requires its own work, I think. But it's a reason why people do participate in markets like the IFP market or will apply for different workshops or labs or or pitch forms so that they have an opportunity to be in a spotlight and whether or not there are people in the room or their people are interested in finding films to to finance and be a part of the might pay more attention to what was selected in what stood out in those in those in those places. So it's it is becoming more familiar with all the various opportunities that exist. But knowing that every single opportunity also requires you to really come come through and work hard to. Demonstrate and crystalize what it is that you're what? What is it you're looking to do with the film? What makes it distinctive? Yes. It's just imperative for the filmmakers to really develop the wave it. They talk about their projects in a manner that is true to the form they're looking to follow. That puts the emphasis where they see it as being necessary and and of. Compelling interest and and also just to in a manner that allows it to be as unique as it as it should be. One quick thing to add to that. We at Esa film are the woman who runs our foundation partnerships works with an artist development, and she gives grants advice to all of our supported filmmakers. And when she does strategic calls about about potential funding, she always focusing outside of the film roles because the acceptance rates for all these grants are not great because there are so many wonderful filmmakers out there, which is a curse and a blessing for those of us who get to be the ones to support filmmakers. And so anytime there's an angle, whether it's the visual art world or some subject within your film, you're focusing on science. Okay, great. Who's funding science research these days. Okay..

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