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					                                                 FUNDING FILM S

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FUNDING IDEA S - So you can get your film made!
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Sports stars LOVE to invest in movies.

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Angel Investors:
www.angelcapitaleducation.org

The super rich who have money to invest in what will likely not yield a return .
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Need Fi nancing for your Project?
Executive Producer with strong relationships in the financing commun ity seeks projects with comp leted
package ready to go into production.

There are no up-front fees, and most projects can be funded in as little as 72-hours.

Please respond to post for details and further information.
http://www.linkedin.co m/groupAnswers?viewQuestionAndAnswers=&discussionID=6249548&g id=48756
&trk=EM L_anet_qa_ttle-0Nt 79xs2RVr6JBpnsJt7dBpSBA

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My father taught me that listening is an art. Before you pitch your film, find out, "Who are you p itching?"
Who are they? What is it they value? Don't be afraid to ask them questions, let the conversation be about
them. So metimes it is best to learn more about them, give them a short one minute pitch and get their card
and don't make the "ask." Getting to know potentially large donors is important. It may sound like a line
fro m the Soprano's but "doing time" is what it takes to get and keep a large donor. They need to know who
you are and why you are making the film. Their investment is in you, not the film. People give money to
people, not to films.

Each of us has a set amount that we give to charity. I bet if you think about it you write the same amount
on all of your donation checks. Most of us do, we have a comfort level in giving. Don't' ask till you know
what that comfort level is and you will have to spend some time with them, getting to know them, to find
that number. Asking too low can embarrass a donor as well as asking above their co mfo rt level, you can
lose both ways. Find the magic number before you "ask" and keep them with you for this film as well as
the next.

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FILMMAKER ASSISTANCE PROGRAM (FAP)

Filmmaker Assistance Program (FAP), Through the Filmmaker Assistance Program (FAP), the Nat ional
Film Board o f Canada helps talented young people to complete their films. FAP supports films that are
experimental and innovative in form or content, films that might not have been produced without the NFB
help. Support includes equipment loans, post-production services and technical assistance directly related
to the production of a film. See website for various regional deadlines and information.
Contact: NFB/ ONF, Ontario Centre, 150 John Street, Toronto, Ontario, Canada M5V 3C3
web: www.nfb.ca
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Morrie Warshawski gives us advice on creating successful house parties. Morrie is a donor to the Roy W.
Dean Grant, consultant, teacher and an incredible being.
I discovered the art of Fundraising Houseparties in the mid-1980s when I was running Bay Area Video
Coalition and met two filmmakers who were using these parties with a high degree of success: Peter Adair
and Vivienne Verdon Roe. I've been a fan of them ever since, and not just for films but also for any type of
non-commercial project or organization that needs support fro m individuals.

There are a nu mber o f great things about house parties:
- They help introduce lots of new people to your project
- They always work if they are done properly (e.g. right preparation, right people invited, and right
presentation/ask that night)
- They can be organized in just six weeks, and you can do a number of them
- They're fun!
Some advice I've received fro m filmmakers who have thrown successful parties recently include:

        Don't forget to include parking directions in your invitation
        Following up on RSVPs is very impo rtant
        Be sure to prep in advance the person who will make the ask that night
        Be ready to take credit card donations that night if possible

Your readers might be interested in reading a recent interview with me and a couple of filmmakers about
houseparties at the Docs in Progress blog:
http://www.docsinprogress.org/interviews.htm#Houseparties

If people would like to find out mo re about my book THE FUNDRAISING HOUSEPA RTY: HOW TO
PARTY WITH A PURPOSE AND RAISE M ONEY FOR YOUR CAUSE just cruise over to my website
www.warshawski.co m

The Roy W. Dean LA Film & Video grants and the GoEd it Edit ing grants are extended till 7/ 30/ 08. Please
read the web site for full info www.fro mtheheartproductions.com

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The Independent Filmmaker's Gu ide to Writ ing a Business Plan for Investors.
by Gabriel Campisi


"Making Movies With No Money,"
http://www.makingmov ieswithnomoney.com

"Secrets Of Raising Money For Your Movie."
http://www.secretsofraisingmoneyforyourmovie.co m

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It's incredibly easy to get FREE film stock, if you know how.
Every year, because of what I'm about to tell you, people give me FREE film stock. If you make movies,
you know what film stock is - it's money!

When I started getting FREE film stock, I was a college student, and they still used 16mm co lor reversal
film for gathering news.

I went to my local tv station (three of them, in fact), and talked to the news department. At the end of the
year, they had all this film in the freezer.
I told them they should donate their excess film to my college film depart ment. They agreed, because they
got to deduct the new cost of the old film fro m their taxes. Then they bought new film stock.

In their minds, the film was old. But, since it was fro zen, it hadn't really aged. It worked just fine for me.

When they agreed to donate the film, I went to my film depart ment professor, and told him I had some film
stock (some 20,000 feet per station!) fro m the tv station to donate to the college.

I asked if I could store "MY HA LF" of it in the college freezer.

He was delighted. Film stock he could give out to the students!
I was happy! FREE film stock, and a place to store it! (Actually, I got a little more than ha lf of it. I was a
student there,
remember?)

That was a good deal all around. You could still work that deal today. Of course, they don't use film any
more for tv news, but lots of other places do.

All you need is to go to a local film production company.
(The Ho lly wood Reporter Blu -Boo k or Studio Film Directory or
http://www.mandy.co m/1/filmtvservices.cfm are full of them.)

Tell them you're "with" a college film department. (Don't say "student," although having a student ID fro m
a commun ity college will get you a substantial discount on filmstock and computers, if you contact Kodak
or Apple.) Remember, talk your college professor into fronting for you AFTER you've worked the deal, in
exchange for half of the footage.

If you're not a student, and want to keep ALL of the FREE film stock, start your own non -profit co mpany
or school. Write to all the production companies on your letterhead. Mention the tax break for donating
their old film stock.

That's all there is to it.

Remember:

1 Th is trick works best with FILM, because it ages, and not
 so well with tape, because it doesn't.

2 Don't be greedy, but ask for as much as you can. You can
 only help others if you are successful.

3 When you have the film, SHOOT IT! Time's a'wastin'!

I know it seems too easy. It IS easy.
But nobody else will thin k of it.
So don't tell anybody how you did it.

When you have a good thing going, keep your mouth shut.

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It’s a bitch
Think like a business man
           10-20% of budget - should go into PR
Hire best PR film, create best trailer - start as soon as have the money to hire them - befo re do pre-
production
Package it with one of the top agencies (and they get 5%) - can use their talent, screening roo m, etc.
Can do it without Name Actors.
After first movie, make another movie for a little more.
“I want to make sure I’ll give your money back to you.”
Cold call do mestic, foreign sales agencies - what foreign markets will
Won’t make the movie without a name that’ll pull in money.
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Ask a rich friend to open their address book and host a cocktail party.
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***
Morrie, you al ways ask filmmakers where they want to be in fi ve years, why is this important to
fundi ng?

How else can you decide what you want to do between now and then is the question. The th ree rocks that
are the basis of all my wo rk are mission, vision and values. They each have a different function in keeping
the filmmaker or any professional productive, strategic and forceful in their career.

The importance of vision is it tells you what you need to do next because you decided in the future what
you really want. The issue for a filmmaker, especially, is that they have to put a lot of time energy and
resources in the project they are working on right now. It is truer of a filmmaker th an any other type of
artist. The work they will do will take years to create and it will eat up their lives during that time. If they
can’t step back and have a perspective on how that one film is a piece of a larger pu zzle then they miss
many opportunities for maximizing every thing they do while they are making the film.

What suggestions woul d you gi ve to fil mmakers on creating their proposal?

The most important thing is to really understand what it is you want to make and why you want to make it.
Those are the two big things and everything else flows fro m that.It is the journey of figuring this out that
begins the proposal writing process. If you can articulate those two things, you can sit down next to
somebody and say it, and a good grant writer can create a good proposal for you. Of course there is a lot
more that goes in to it but at the very center, the very heart of the proposal is, “why am I doing this and
what is it?” A lot of filmmakers haven’t clarified these things when they start lookin g for money.
How do you recommend someone take fifty hours of footage and create a less than 10 -minute funding
tape.

I think I will begin by saying what not to do. Part of our fears and our procrastination get us to do a lot of
labor-intensive things that look like work but are not directly involved with telling the story. Somet imes
those activities, always costly and time consuming, like logging or transcribing, are necessary at some point
in the film but are not indispensable to develop the trailer or the story.

The other factor that reinforces the idea of doing these activities before cutting a trailer is the fact that we
are still working with methods that were right 20 years ago when people shot only 30 hours of footage. For
20 hours, it made sense to log everything and transcribe everything to cut the film. Back then fundraising
trailers didn’t quite exist. Today the average filmmaker is shooting 120 hours. And they are going by a
methodology that worked before Final Cut Pro or Av id entered the market, befo re there was a DVD o r
digital cameras. We can’t use the same techniques we had for 20 hours when we have this many more
hours of footage today and expect the same results.

However, sometimes filmmakers shoot just for the trailer and have less than 10 hours of footage. Even then
I suggest using more intuitive approaches, which are less labor-intensive and focus in story development.
Approaches that make more business sense if the point is to get the fundraising trailer done efficiently so
more support can be brought to the film.

The mo re I consult and witness this process, the more I realize it rarely makes sense to log everything, at
least not all in one pass. It seems more efficient to build the story fro m memo ry and confirm the impact of
those memories by looking at that specific material only.

Let’s say we shot something a month ago and there are a few scenes that still co me to mind strongly
whenever we think of that time. If it made an imp ression on the filmmaker, it is going to make an
impression on others. Therefore memo ry is the best selector of material. You can select 10 mo ments you
like. Then start logging just that, and apply the questions above to guide you in how to organize that
material.

On the other hand, if we go and log everything, everything becomes important again, making it difficult to
choose what to include in the promo. Besides, it takes a week to view 50 hours and that is if you wo rk all
day. When I used to be an editor, I did not want to be stuck with one project fo r a year so I was forced to
develop techniques that would help me edit faster and have more fun. Even though I would have made
more money doing it the long way, for my sanity, I had to come up with ways to shorten my own edit ing
time. Her fu ll interview is at
Fernanda Rossi, Story consultant and editor, is a donor to our grants and here is part of a recent interview,
the full interview is on the web site at www.fro mtheheartproductions.com/interviews.shtml
 When making a trailer, how i mportant is it to i dentify whether a film is topic or character dri ven?

Extremely important. It’s the first set of questions to ask when getting ready to plan, write, shoot or edit a
trailer. It will determine the structure of the trailer and lead you to new questions.
          Is this a topic driven film or character driven?
          If character-driven: Does this character have a goal? An obstacle or opponent?
          Or is this just the description of the life of the character?
          If a topic-driven film: What’s the main issue? Is it a conflictive issue?
          What are the secondary angles of this topic?

The answers to the above questions can serve as guidelines to start the structuring of the fundraising trailer.
Fro m there the trailer can keep growing and finding its own voice.

How do you recommend someone take fifty hours of footage and create a less than 10 -minute funding
tape.
I think I will begin by saying what not to do. Part of our fears and our procrastination get us to do a lot of
labor-intensive things that look like work but are not directly involved with telling the story. Somet imes
those activities, always costly and time consuming, like logging or transcribing, are necessary at some point
in the film but are not indispensable to develop the trailer or the story.

The other factor that reinforces the idea of doing these activities before cutting a trailer is the fact that we
are still working with methods that were right 20 years ago when people shot only 30 hours of footage. For
20 hours, it made sense to log everything and transcribe everything to cut the film. Back then fundraising
trailers didn’t quite exist. Today the average filmmaker is shooting 120 hours. And they are going by a
methodology that worked before Final Cut Pro or Av id entered the market, befo re there was a DVD o r
digital cameras. We can’t use the same techniques we had for 20 hours when we have this many more
hours of footage today and expect the same results.

However, sometimes filmmakers shoot just for the trailer and have less than 10 hours of footage. Even the n
I suggest using more intuitive approaches, which are less labor-intensive and focus in story development.
Approaches that make more business sense if the point is to get the fundraising trailer done efficiently so
more support can be brought to the film.

The mo re I consult and witness this process, the more I realize it rarely makes sense to log everything, at
least not all in one pass. It seems more efficient to build the story fro m memo ry and confirm the impact of
those memories by looking at that specific material only.

Let’s say we shot something a month ago and there are a few scenes that still co me to mind strongly
whenever we think of that time. If it made an imp ression on the filmmaker, it is going to make an
impression on others. Therefore memo ry is the best selector of material. You can select 10 mo ments you
like. Then start logging just that, and apply the questions above to guide you in how to organize that
material.

On the other hand, if we go and log everything, everything becomes importa nt again, making it difficult to
choose what to include in the promo. Besides, it takes a week to view 50 hours and that is if you wo rk all
day. When I used to be an editor, I did not want to be stuck with one project fo r a year so I was forced to
develop techniques that would help me edit faster and have more fun. Even though I would have made
more money doing it the long way, for my sanity, I had to come up with ways to shorten my own edit ing
time. For the fu ll interv iew see:
http://www.fro mtheheartproductions.com/interviews.shtml

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We are seeking projects that are ready to develop for features or festival
pieces. What our company does is find you the FUNDING. If you have a
project that you would like to have come to fruit ion please co ntact us to
see how we can help. www.filminvestmentscout@hotmail.co m or 1-877-392-6649
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This worked for d irector Darren Aronofsky:
Send letters to every person you know on the planet, and ask them for $100 each. Each micro -patron gets
$150, 2 screening tickets (which helps sell out the premiere - creates good buzz), and a name in the credits.
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How to woo the rich:
“Two hundred years after you’re dead, the only reason anyone will know you were on this planet is that
your name is going to be on the screen as the producer of insert film name here.”
People with massive amounts of money are worried about what of themselves, they are leav ing behind.
Go after freshly minted Internet millionaires.
DOWNSIDE: You do have to tell them, legally: “Films are super risky. You’re probably not going to
make your money back.“
This worked for James Toback.
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By Sam Longoria - "Making Movies With No Money,"
& "Secrets Of Raising Money For Your Movie."

Both are rev ised to keep them current, and are online at
http://www.makingmov ieswithnomoney.com

http://www.secretsofraisingmoneyforyourmovie.co m

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Grant Proposals.com
Site for grants and individual grants.
http://www.grantproposals.com
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Grantsmanship Center
http://www.tgci.co m/
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The Foundation Center
Submitted by MoonWeaver - Excellent site, even has a short online
grant proposal writing course at no charge.
You might want to sign up for their newsletter.)http://fdncenter.org/
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When asking someone for money:
Either prove you can draw a cro wd of 500 to watch your film,
or be honest and tell them they most likely will not get their money back –
“It’s a donation to art.”
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BOOKS:

“Filmmakers and Financing, Business Plans for Independents” by Louise Lev ison

”43 Ways to Finance Your Feature Film: A Co mprehensive Analysis of Film Finance” by John W. Cones

"The Biz: The Basic Business, Legal & Financial Aspects of the Film Industry" by S. Moore
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There are many industries who have used short films in training or PR, or
advertising.
If your film works with any of the hundreds of products - or can be "hooked' into a product, don't be shy
about chasing a corporation.
Don't try ad agencies - they view creat ivity as their do main.
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www.movie-producer.net
The site hosts free online lessons on film financing, distribution and entertainment law - the
business principles that drive the entertainment industry.
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Once you get the first $100,000 , you call everyone back and tell them, “Look, I hate to do this to you, but
if you don’t put in another 20% we’re not going to be able to put the movie together and you’ll lose all your
money.”
Never accept more than $5000 fro m a single backer. W ithin that limit , it’s like dispos able inco me, but
beyond that, it gets serious.
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Never try to raise money in LA (their eyes glaze over). Shoot for states that aren’t close to the film b iz.
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www.filmventure.co m

Every state awards grants of $500 to $10,000 to artists, writers, and musicans. More than $180 millions is
available annually. Inquire at your state’s arts council office.
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Sent invitations to an event that isn’t going to happen:

Exp lain that ther ewill be no dull speeches, rubber chicken, or blistering walks. If they ju st send in their
$50 “entry fee” they can stay home with their families. Participants receive T-shirts with the movie logline.
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Collect stuff, not money.
Then have a yard sale. See if the town will donate a location, such as a park.
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Throw small part ies, not huge events.
Ask group members to host dine-around dinners in their homes. Bring the parties to a central place for
dessert and coffee. Attendance is better an intimate part ies than at large, formal dinners – and there are no
catering costs.
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"Shaking the Money Tree: How to Get Grants & Donations for Film & Video" By Morrie Warshawski
Interview with Warren Etheredge and Morrie Warshawski:

MORRIE: There is ALWA YS money. The question for the filmmaker is where is it h iding? A downturn
in the economy does have a ripple effect, but it's usually more pronounced in various sectors. Now, for
instance, is not the best time to try and get grants from government agencies. Also, private foundations are
just beginning to get more d ifficu lt to approach after years of tremendous growth. Individuals are still, and
will always be, a good avenue for support. Great projects being produced by credible, trustworthy and
passionate filmmakers will always have a chance for finding their financial support.

WARREN: In SHAK ING THE MONEY TREE, you explain how, properly, to approach foundations,
corporations, small businesses, government agencies and individual donors. Typically, would you suggest
a "carpet-bombing" technique works better than a precision-guided approach to targeting funding?

MORRIE: NO!!!!! And I mean that emphatically for every type of fundraising. The only way to get really
good at finding support is learning how to target each and every approach or "ask." You must absolutely
"qualify" every donor before you ask for funding. Do ing this will dramat ically increase your chances for
funding. No donor wants to feel like he is getting a cookie-cutter generic proposal that doesn't take his own
needs and resources into account.

WARREN: Gotta start somehwere. If a filmmaker can bring only one thing to the table, when meeting with
investors, which is preferable...?
A) some capital
B) a great script
C) directorial vision
D) a star attached to the project
E) none of the above

MORRIE: Well, for Investors, the answer would be all of the above. Investors are very different animals
fro m donors. Investors come in all d ifferent colors, with varying levels of sophistication when it comes
either to filmmaking and/or to investing. For instance, an investor who doesn't know much about film
might not be able to recognize a strong script and would rely more on elements she can understand, like
capital and a star. A more knowledgeable investor will p lace more heavy emphasis on the script and
directorial v ision. The real answer is for investors you need to create a great business plan that will address
all these issues.

MORRIE: The biggest blunder I know of is a filmmaker who was new to the field, had a $200k p roject, got
a $50k donation fro m a foundation, spent the money then couldn't find the rest to complete the
documentary. The foundation was expecting a comp leted film for their donation. Two years later when the
asked the filmmaker where the film was, and he said he hadn't completed it because he couldn't find the rest
of the money, they said "Fine, just send us back our $50k!" and they meant it!
 The moral to the story is be careful what you promise a funder when you accept their donation. The
second moral to this story is stay in close contact with the funder throughout your project and they are
usually more amenable to changes. By the way, this is the only instance I know o f in all my years of
consulting when a funder requested the repayment of a grant.

MORRIE: A good place to start is to come to my website - www.warshawski.co m - and co mb carefully
through my very extensive Fundraising Bibliography. It's chock fu ll of reco mmended books, magazines,
and hyperlinks to other websites. Of course, I hope your readers will take a look at my two books on the
topic: SHAKING THE M ONEY TREE: HOW TO GET GRANTS A ND DONATIONS FOR FILM AND
VIDEO - 2nd Edit ion, and THE FUNDRAISING HOUSEPA RTY: HOW TO GET CHARITA BLE
DONATIONS FROM INDIVIDUA LS IN A HOUSEPARTY SETTING.
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Advice fro m a filmmaker who has tried “free advertising in exchange for a donation to your project or
product exchange”:

Speaking to many small and corporate companies over the last year, I came
to realize very early that most companies aren't interested in a logo on
a screen. Especially as most short films and lo budget never see the
light of day in a sufficient time frame to make the investment worth
while.

We did things differently, we have a trailer of our sponsors we run as an
'ad' when we show the film to people. It attracts a bit of attention.

Co mpanies don't get returns fro m a flash on a screen. They want promot ion
of their name o r products in a positive and beneficial light.

I was speaking to one company yesterday and indicated that their
competitor, who is NOT a sponsor will be depicted in the antagonist
scenes in it's older rev ision and obviously in a frustrating way, wh ich
is why we felt their products would be great to use in the Protagonist
scenes which are family oriented, happy and positive. I sold them
on that one!

I also offered them a 5-8 second sting at the beginning of the film if
they supply us with product which is beneficial to see completion of the
project. They were very attracted to that.

I guess I also have the advantage that our film work is topical and
gaining attention from local and mainstream med ia. The media seems to
like printing my photo, although I can think of far cuter and sexier
images to print, however, it's their ed itorial that is really positive.
The local newspapers are supporting our production, especially the
sequel, to the level that a Hollywood film advertises and they are
increasing their coverage as we release the first film, and run
pre-production on the sequel.

It's almost like having a weekly "How to make a movie" in the paper that
features yourself.

It's well worth talking to your local med ia and getting them onside, even
if the coverage is only local, it's something you can use to promote your
work.

HINT: NEVER EVER do the "I made a film" "I am the director" "I wrote the
script" kind of ego build ing crap. Maybe I'm different, but I really hate
self pro motion - at least about me.
I have a BIG team of people, including a 1A D who refuses to be
interviewed, but I'm working on that so she can't get out of it.

They ALL deserve the credit because WITHOUT them, there would be no film
and no sequel. Several of our cast have had great articles and most have
even deflected the attention from self pro motion to that of pro moting the
film. Ad mittedly, I do feel that putting details into the press about an
Actor or Crew member that is part of the film, helps the local co mmun ity
gain an interest in the film. (I'm a hypocrite right - because I
personally don't want the Publicity, yet I'm the one that will get the
most attention, next to the lead actors!)

Careful p lanning and cross promotion is a great key. We're lucky enough
to have a local club offer their facilit ies for Auditions, rehearsals and
other uses. In return we buy our food and drinks and catering there and
of course cross promote - the news papers will run ads saying where the
Auditions are being held and that again promotes the club.

Find ways of matching s mall sponsors with large and getting them into a
symbiotic relationship.

ALWA YS o ffer royalties equal to the value of their input against the
total cost of production.

Here’s another idea people attempt:
“Query any and all p roduction studios that will partner with you, or offers an "umbrella" program to cover
your production expenses in exchange for ownership of the co mpleted film. This solves many of your
distribution issues before they start!”

I'd never reco mmend that unless you want to totally sell out and in many
cases have your completed work never seen. Often a production company
will buy out any local co mpetition - especially in this day and age - and
bury the final product, whether it's good or not. Only because they
didn't make it.

Don't expect to have any control and don't be unhappy when the script or production chang es and you can't
do anything about it.
*************************************************************************
Put yourself in the investors shoes. Imag ine you are approached by a
filmmaker, and you are asked to invest a sum of money in the film. Would
you do it? why? why not?
What questions would you want answered before you invest?

Here are a few that co me to mind, fro m the investor's perspective:
How will I get my money back?
If I leave my money in the bank, I have no risk, and I'm guaranteed a return
of somewhere between 1-4% (these days). If I invest in your film, I
recognize that I will have a much bigger risk, but what will my return be?
Fro m where will the money be returned?

If THIS short film will not make any money (likely, g iven the ma rket for
short films) will I get my money back fro m the next film you work on?

How will you make me co mfortable that this will all work?

Here's some d irect advice, though...ask friends and family for the money
first. then expect them to give less than you need, if any, and then expand
out. also, try to use much of your own money, and do it on the cheap as
best you can. Then after all that is exhausted, just keep asking around.
Join the Independent Feature Project local chapter where -ever you are. The
NY one is very well organized. Join every film o rganizat ion you can find,
and participate in the events. you will meet people. and they will NOT
invest, but they may introduce you to others, who may know where there maybe
investors.
*************************************************************************
FROM AN EXPERIENCED FILMMAKER:
I was talking to a group of young film makers.
They came fro m several film schools.
I was surprised at the lack of hard film business knowledge they had been exposed to. The idea was to grab
a camera and go out and make movies.
There's an idea.
But what next?
If you're going to make this your life’s work - it had better pay you a liv ing wage. How do you do that? was
the surprising question I got next. Many had no idea on where to look for investors, how to look for
 investors, who investors were - or what investors needed. Then - distribution. Everyone had heard about
distributors. Not one knew that it's best to try to get a distributor before you finish a film and better if you
can get one before you start. No knowledge of d istributors rights to negative and who owned what or how
to control the film before you start signing paper.
Not one knew what a GAP was.
Not one had heard of the catch 22 trap:
"You have a script, a crew and some cast. But you want a name actor. The name actor won't co me on
board unless you have all the money in place. The investors will not co me on board until you have an actor
and a distributor. The distributor will not co me on board unit you have a name actor and the money.
How do you do that."
The only honest answer I could g ive a beginner is: "Luck". at least until your second or third shoot.
I decided the only one answer to fit all questions, at the end of an hour, was to tell them - get a job at an
agency or studio and learn the trade fro m the inside out. Because being an indie was more than grabbing a
camera and making a movie.
Once you have a feature experience or even batch of commercials to show you have a better shot at funding
your indie.
*************************************************************************
www.mwp.co m
"Shaking the Money Tree: How to Get Grants & Donations for Film & Video " By Morrie Warshawski was
published by MWP.
**************************************************************************************
Traditionally, the slowest business periods are the weeks before April 15/Easter, and an election.
******************************************************* *******************************
"Remember, "people do not give money to projects, they give it to people, therefore they must have faith in
you personally".
**************************************************************************************
Tips on Financing from Louise Levison, who is a donor to the Roy W. Dean grants and the author of
“Filmmakers & Financing” now in its fourth printing.

WHAT ARE THE MOS T IMPORTANT ELEMENTS IN A B US INESS PLAN
(Or how to get funding with the least chance of later la wsuits.)

THE MONEY: The two questions that equity investors ask most are, “How much money am I going to
make?” and “When am I going to make it?” No matter what equity investors’ (including nonprofit
organizations) reasons for financing a feature film or theatrical documentary, at the very least they don’t
want to lose money. Learning how to do the financials is probably the most important part of the business
plan. If investors think that your forecast is a fantasy, they will simp ly walk away...
THE SPIN: Out of the total world mov ie population, who is likely to rush out to see it the first weekend?
Discussing potential target markets is a strong selling point for your business plan. Most films will not
appeal to “everyone" but will have smalle r target markets. In addit ion to the usual genres of comedy,
horror, thriller there are specific groups of people. For examp le, your film may be about women. Although
there may not be a lot of documentaries with the same subject, you might want to discuss how movie going
habits among wo men have changed. For demographic informat ion, ad missions and the latest on numbers
of screens go the mpaa.org

THE S TORY: A recent client told me she didn’t want to give away too much of the ending. Her synopsis
ended with “And then this strange thing happens . . . .” What strange thing? You are looking to get money
fro m potential investors, not trying to chase them away. You also don’t want someone suing you later,
because you left out the scene where the buffalo are slaughtered or the priest leaves the church. (Don’t fool
yourself. Indiv iduals or organizations who invest in docs do that too.) Explain the major p lot points from
beginning to the end, while keeping it to one page.

YOURS ELF: Have fun and use common sense. And, by the way, don’t include in your bio that you were
CEO of Paramount Pictures, unless, of course, you were.
*************************************************************************************
SA VING $:

FX
Buy 30 sec. of the effects in a pop corn movie that “didn’t do well at the box office” (at least compared to
a Spielberg film) movie for $5000.
Match your footage to that of trains blowing up, airp lanes flying, crashes, explosions, etc.

Toronto thought it’d be great to build 2 subway tunnels. One on top of the other. They built the top one,
and about ½ the second. Decided they only needed one. Now all the subway movies are filmed in this
tunnel. They also have subway trains for hire. Really cheap.

*************************************************************************************
Question from a fil mmaker: How can you get funded from major corporations through branding or
product placement?

In my book, “The Art of F unding” I interv iewed Ms. Ganguzza and here are some quotes fro m her. “We
are a branded nation so the brand names actually lead authenticity to a character and or to a set. Product
placement agencies actually began popping up to be the intermediary between the studios and the
corporations working in the best interests of both; providing the product and also protecting the brand from
any placements deemed to be in bad taste or damaging to the brand name. Putting brands in films had the
instant ability of making a brand “cool,” hip” and “relevant.” Our co mpanies fa cilitate the legal clearances
for the use of brand name.”

Lots of young and emerg ing filmmakers apply for p roduct placement because product placement has taken
a major spotlight roll in feature film marketing and most independent filmmakers assume these
corporations are financing the entire film and this is not the case. You need to read websites and find who
handles the products that fit your film remembering how many millions Coke or Starbucks spend to have
that “family” image so you can’t put them into an R o r even some PG films.

The film has to fit the product. Remember, you pitch is “my demographics are your demographics.” Once
you find a product placement co mpany that has what you want, send them a 2 page recap of the film and
your script. Reme mber, it all starts with your script. Fo r examp le, don’t say “on you way home get
sandwiches and soft drinks.” Put in the script “bring ho me Cokes and a Subway meatball sandwich.” Then
when you send your script to Coke and Subway film representatives they can envision their products in
your film and think it is not an after thought. The secret is the product needs to belong.

You should consider water, drinks of all types, restaurants, clothes, stores, cars, cell phones, computers,
ipods, etc. All of these things you can easily use in your film and you should be able to get through a
product placement company if your script fits their customers. If you are a first time filmmaker you may
only get free goods but who cares, your in it fo r the long run. Next film could be money too!

*************************************************************************************
I believe that money is the LAST thing you need to make your movie.
There are seven things you need before you even start to raise money.

If you have those seven things, money will flo w to you, easily and naturally. If you don't, it won't.

If you have taken the seven steps, you will have all seven things.

The seven steps are:

1) Do your ho mework.
2) Find your investors.
3) Write your script
4) Break down your script
5) Select your team
6) A rrange your affairs
7) A -S-K to G-E-T

Movies are made of money, even cheap little mov ies.
You need money to make your mov ie, but it's not the first thing you need. It's the last thing.

Let's go over what you need. First things first.

You must have your head right. You must believe in what you're doing, p lan it and fo llo w the plan, with
no mental reservations or reluctance. Stuart's book will g ive you that.

You must have a team that has ONE goal, to make your mov ie, and make it as good as it can be.

You must select your team, so the right persons are helping you. Your money -raising team must be IN
ADDITION to your movie crew.

You must have your filmmaking set up correctly and legally, so you do n't run afoul of securities laws. That
will make raising money much easier, and you'll almost raise money automatically.

You must know how to
Find investors, Attract, Qualify, Strat ify, and then Satisfy them.

You must have a script that is DONE. It must be wonderfully clever, not just "good," but GREAT.
Buffed and polished to a high gloss.

You must break down your script so you know exact ly what happens when, how long it will take, how
much it will cost.

You must have your banking set up so that checks and credit card deposits can come to you regularly and
easily. You must "tune in"
the money channels, and keep them open, so money can flow to you.

If you don't have this set up, don't bother asking somebody for money for your movie, because what do you
do if they say yes?

You must know the proper way to A-S-K,
so that Investors will be happy to invest.
Let's say that you have taken all of the Seven Steps.
You've done your homework, your System and business are humming along.
Your team is rarin' to go, and it's time to get started.

Now you need to make a list of your possible investors.
Start with everyone you know. Don't exclude anybody.

Then you sort them. Sort the list of prospective investors, according to what they have and need.

At the top of your list should be persons who can indirectly influence the decisions of other persons, the
more the better. Maybe they're the heads of companies, or clubs or organizations.

Start making appointments. Call them up on the phone and say, "Listen, I have something I want to talk to
you about." And then talk on the phone, or go and talk to them.

Raising money for your movie is a necessary skill, and it may be a new one for you. Since any skill
requires practice to get good, you have to get started.

There are two ways you can go. You can start by going to persons who are unlikely to lend or invest.
That's really easy, actually.
You know they're unlikely, so you have nothing to lose. So you do it "just for practice."

Another way is to approach persons who are a "slam-dunk" easy cinch.
They'll give you something if you ask for it. Go to your mo m, your best friend, your favorite aunt. Pick
something easy to ask for, any success will drive you forward.

Easy or difficult? Either example is easy if you say it is, or difficult if you say it is. The choice is up to
you.
Whichever is easier for you.

My book has a few good exercises you can use to make "ASK"ing fo r money more familiar, and even fun.
That makes the "GET"ting of money possible.

Once you get good at raising money by talking to one or two persons, you may find you're good at it. Then
start having bigger and bigger meetings.

Go and talk to groups of two and three, and eventually you can hold and schedule one big meet ing, and get
maybe 50 people.

Describe your project to them, tell them how you're structured to receive their money, what they can expect
in return, and sign them up.

Those are the basics. If you follow them, and do them every day, before you know it you'll have raised
however much money you need to make your movie. There's really no mystery to it.

*************************************************************************************




Film        .
Financing -
77
Use your      IndieFilms http://www.indiefilms.com/
back
button to     Netribution www.netribution.co.uk/funding/
return to
where you
were      Australian Film Commission

          Film Financing - Ireland (Merlin Film Group)

          Financial Aid Search Through The Web


          First Look Pictures

          International Subsidy Organizations

          Media II Program - European Union

          Ontario Arts Council - Canada

          Small Business Administration

          The Source - Australia

          Columbus Discovery Awards

          Guggenheim Fellowships for Artistic Researc h

          National Endowment For the Humanities

          http://www.cinemarquee.com Cine Marquee = lots of links to film financing info and
          resources.

          http://groups.yahoo.com/group/FilmInvestors/

          http://www.netribution.co.uk/ Netribution = funding and ot her useful info.

          IFC funding info
          http://www.ifct v.ca/resources/funding.asp

          Praxis funding links
          http://www.praxisfilm.com/ funding.html

          Telefilm Low Budget Independent Feat ure Fund
          http://www.telefilm.gc.ca

          Women in Film
          http://www. womeninfilm.ca/funding.html

          Writers Guild of Canada Development Funding
          http://www. writersguildofcanada.com/resources/dev_funding.htm

          http://www.screenpl ayers.net/filmfinancing.html
http://www.caryn.com/indie/caryn-indie-funding.html

http://www.studiostar.ca/finance.html

http://www.nextwavefilms.com/ - "Next Wave Films provides finishing funds to
features shot on film or video. Onc e a film is in the can, Next Wave Films can provide
the financial and technic al resources to finish it properly. "

Arenas Group - "Universal Pictures has teamed up wit h The Arenas Group, an
advertising, PR and talent management firm focused on the US Latino mark et, No
specific financing info on the site, but it IS part of their 'mission'.

Danc e Films Association - "Dance Films Association (DFA), a non-profit, tax-exempt,
membership organization, acts as an information clearinghouse and meeting ground
for the user, producer, and distributor of dance films and videos.

Frameline - "the nation's only comprehensive non-profit organization dedic ated to the
exhibition, distribution, promotion and funding of lesbian and gay film an d video."

The Film Arts Foundation - "Funds film and video artists living in the 10 Bay Area
counties (S.F., Marin, Sonoma, Napa, Solano, Alameda, Cont ra Costa, San Mateo,
Santa Clara, Santa Cruz). " ...

http://www. filmmakersalliance.com/ - The Filmmaker's Alliance - Not funding per se,
but access to resources by collective effort (you must work on four member
productions before having access to mutual resources.)

http://www.moxie-films.com/ - "Moxie Films, founded in 1992, is a non-profit
organization, which includes the brands MoxieShorts™ and MoxieDocs™.

http://www.mdhc.org/grants.html - The Maryland Humanities Council has funded at
least one documentary (under $10,000).

http://www. womenarts.org/ - The Fund for Women Artists - Massachusetts-based;
have funded at least one documentary -

http://cine-tec.com
Motion picture funding and marketing consultants.

http://www.netribution.co.uk
Specialist film maker service offering funding information, news, links and listings. Do
a good e-newsletter.
Funding Guide at http://www.net ribution.co.uk/funding/

Cent re for Independent Documentaries Not -for-profit organization which works with
producers to achieved independent documentary film production. Close in its aims to
Independent Television Service (ITVS) and Public Broadcasting Service . Based in
Boston.

ITVS (Independent Television Service) Publicly-funded, not-for-profit organization
which aims to assist independent film -makers and has a close historical relationship
to the US Public Broadcasting Service (PBS).

Texas Filmmakers' P roduction Fund Grants totaling $50,000 (each of $1,000 to $5,000)
will be made in September. For Texas residents who are emerging film and video artists in the
state.

Soros Documentary Fund (w) Supports development and production, wit h particular
interest in subjects of social transition and human justice.
                        *NEW BIE FILMMAKING - HOW DO I MAKE A FILM?*

1. Know your vendors Use your vendors’ expense accounts…that’s what they’re there for. Go to lunch with
the film or tape rep, have coffee at the lab, take a bottle of wine to the camera rental house, and a case of
beer to the grip and electric house. Create long-term relationships with your vendors…these are the people
who will rescue you when things go haywire, and offer ideas when you lay a problem on the table. View
the vendors as part of the crew, another group of collaborators you have to work with.

2. Write
Make notes, make lists, make a p lan. Jot down films you want to reference. Note the major locations. List
the main characters. Expand this document with another reading of the script, adding more notes on the
visual aspects of the project. Write down all your concerns about the script: difficult situations, expensive
situations, impossible situations. Be realistic; it’s easy to get dragged into a project that, due to budget or
time constraints, can’t possibly be completed. Be honest with yourself about what you can and cannot do
visually. Prepare to talk about the story, the plot, the theme, how it begins and ends.

3. Listen, then talk
Meet or call the key collaborators. Be p repared for these conversations…it will be obvious if you’re not.
First and foremost, listen. Listen carefully and listen a lot. Extract as much info rmation fro m the these
filmmakers as you possibly can, then lay your ideas on the table. Be defin itive; offer concrete ideas.
Exp lain, in simp le, non-technical terms, your v ision for the film: tone, contrast, color, camera movement,
photographic energy. Be honest opinion about the script, both strengths and weaknesses. Then listen some
more.

4. Watch
Watch all the reference material you can find. Films you’ve seen, films you haven’t seen, films the
collaborators recommend. Tear images out of magazines and create a visual file for reference. Go to
museums and see the paintings that will have the strongest influence on the project’s photography. And
write everything down.

5. Test
Draw, make still photographs, roll so me video tape. Continue to build the visual foundation for the film.
Test color, test filters, test lenses, test perspective. Use these tests as a visual communication device. Use
video to exp lain a particularly co mp lex camera move. Use a black and white still photo to exp lain contrast.
Use color slide film to exp lain subtle color and filter co mbinations.
****************************
http://www.screenplayers.net/financing.html
http://www.ostrowandcompany.com
http://www. filmproposals.com

				
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