Something I observe frequently is how often overlooked soft equity is in the finance plan. Counterintuitive, right?
Why counterintuitive? In understanding film finance as a filmmaker and a producer, it can be explained relatively easily as this; soft equity is anything that doesn’t carry an obligation to be repaid or have the expectation of a recoupment attached. Hence I both preach and practice to seek out as many sources of soft financing as possible.
Outside of tax credits or rebates (offered by a country to attract global productions to that country or region) another significant category of soft equity is found in grants, bursaries, and funds. Let’s collectively call these film grants.
Starting at the start, you’ll want to know when a film grant is open for submissions. You should be getting connected to communication channels - staying in the know. Follow on social media and set up those Google alerts (think relevant keywords) so that when a press release is published in the media or trades and, critically, whenever a new film grant is announced, you’re hearing about it in time to take action.
Naturally, most of us think of the well-known, long-established film grants first. You know the ones - those associated with the largest institutions and, whilst they’re fantastic, here’s the issue with looking there first. So is everyone else!
Recently I met a talented writer wanting to produce and direct her first short. She recounted how she’d submitted her script to a well-known film fund and the feedback had crushed her, I think. They’d stated that her script’s subject matter was ‘oversaturated’ (the story touches on the topic of abortion).
Now, my feedback to her, on their feedback, was this: they’ve EVERYONE applying for their funding. And they have a finite amount to award. It’s logical then to assume they must have to create very specific parameters within which to discover the films and filmmakers they support, based on their remit, amongst the multiple thousands applying.
Does this mean her film isn’t relevant or shouldn’t be made? Absolutely not! It just indicates this isn’t the right fund at this point in her career. Looking at it from another lens – she’s not presenting what they’re funding. It’s that simple. However, there are other funds out there, lesser known, that really want to know about her story or to nurture her talent. The missing link is simply doing a little extra to uncover the right fit.
Another potential obstacle is the associated waiting period. It’s usually going to be a long lead time, yet by planning ahead for this protracted pathway you could finish up being compensated with that sweet, sweet soft money.
Try asking relevant questions to support the hunt:
Maybe it’s in the creative approach or story being told. Perhaps there’s an impact element to explore. Uniqueness can be found in topic, theme, or genre e.g. projects discussing climate change, human rights issues, animations, and multimedia formats.
Alternatively, the filmmakers themselves are using their unique experiences and perspectives e.g. women, people of color, individuals from the LGBTQIA+ community, people with disabilities, indigenous persons, or those coming from underprivileged backgrounds.
There are specific grants out there with the very purpose of enabling lesser-heard voices, with the least access and opportunity, to cut through. These grants exist because these voices are important. I really encourage you to get out there and connect with them if they’re meant for you.
At what point in your project’s lifecycle could you harness funding? Research: development funds, post-production funds, marketing and festival funding, travel bursaries, etc. Search outside of funding for production costs solely and you may just unearth one more piece of the project puzzle.
Many (although not all) film grants have key dates you’ll want to familiarise yourself with; submissions open/close dates, announcement dates for the chosen projects, and finally the date funds are awarded.
Appraise this information alongside your project’s timeline. Can you align the film grant timeline to the critical factors you’re juggling? Maybe you have a super cast onboard available only within a small window. You’ll want to check if it all stacks up, or not.
Here’s the thing, we all know very well that in the independent film sector, finding financial resources can be as rare as a Sasquatch sighting. So if we have the opportunity to do something that’s of low burden to your resources i.e. researching, finding, and applying for film grants – why wouldn’t we? Sure, there may be a submission fee, usually not so high to not seriously consider throwing your hat in the ring, so to speak.
Allocate some of that time resource you have, do the homework, and make the application.
Once you’ve identified a great fit, write a great application.
Show up (for yourself). If you don’t take time to study the website of the awarding body or attend the webinar the grants team put on prior to applications, someone else, or another team, with a more dedicated mindset surely will.
Show up, introduce yourself, ask questions, and position yourself in the best possible way for success – understand what they’re looking out for and what not to do.
When you write that application invest time in it. The reviewing/selection committee will be reading numerous applications. It’s feasible to assume the person looking at your application is well attuned to differentiate a ‘copy-paste’ from generic project materials from a response specifically written to the questions or information being asked for. Don’t offer up anything short of an A+.
I’ll leave you with this thought: a few of the superpowers a good producer has is the ability to be 1) highly organized 2) flexible 3) resourceful. Applying these skills to film grants can lead to pockets of funding you never even knew existed and help you move the needle forward on your project.
Let's hear your thoughts in the comments below!
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