Financing / Crowdfunding

The answer is both yes and no. Simple but convoluted. Easy, yet tricky. The fact is, there is no one correct answer to this question because every film project is different, every filmmaker is distinct, and every investor is unique.

What we all know with certainty is that the need to distinguish your pitch from the pack creatively is crucial in today's highly competitive climate. Everyone has a film project, and the hard truth is that most of those projects will never get far enough off the ground to do anything other than clutter the pitching lane. There are more film ideas than there is money. That is the reality. So, is a POC the right way to distinguish yourself?

Considering my slate of IP, I've made films where the inclusion of a proof-of-concept reel has helped secure critical financing, and I've also secured funding for movies based solely on an in-person pitch, a well-written proposal, and a solid business plan. In each of those instances, I had to think about where that POC would fit into the pitch. How and when would I show it? Would it slow down momentum or serve as a cherry on top of the pitching pie? Would it serve the emotional momentum of the story and highlight my technical and creative skills, or fall flat when a simple conversation would do the trick? All of these are great questions to ask yourself when considering the creation of a POC.

I should also note that I've seen plenty of people shoot themselves in the foot by creating and sharing a POC, as it only serves to expose weaknesses in the concept or in the person's ability to expertly produce something worth sharing. Just because you can do something doesn't mean you should.

In the end, if you have the time, energy, and resources at your disposal, it never hurts to produce a POC. You can decide once you have one in hand if it fits to pitch, and sometimes the act of doing so can even help refine your overall story. However, if you're not able to do so, use your energy to make your existing pitch materials a solid foundation for securing project financing. The most important thing you can do is keep creating.

Leave some comments below! I'd love to hear your experiences with producing a proof-of-concept reel for one of your projects.

Another day, another game-changing partnership announcement for Stage 32 members!

Deadline just published an article about our new partnership with Erika Alexander's Color Farm Media for our Diversity Talent Accelerator Competition. We are welcoming writers from all underrepresented communities (using a broad DEI definition) to apply for this extraordinary opportunity to have you work developed, packaged, and pitched throughout Hollywood alongside A-list actress Erika Alexander (GET OUT, AMERICAN FICTION) and her producing team.

Six mentors from Emmy and Oscar-winning companies will provide career guidance and support to the top 10 finalists. This is a once-in-a-lifetime chance to connect with top decision-makers and secure the advocacy you need and deserve.

Read here: https://deadline.com/2025/09/color-farm-media-stage-32-partnership-diver...

Strategic partnerships continue to reshape the indie entertainment landscape, this time in the world of comedy.

Toronto-based New Metric Media, producer of hit shows like Letterkenny and Shoresy, has officially invested in Good Walk Entertainment, the indie label founded by former Comedy Central execs Kent Alterman and Sarah Babineau.

Read more here:

https://deadline.com/2025/10/letterkenny-new-metric-media-backs-good-wal...

The investment will fuel Good Walk’s expansion across TV, film, and digital, while also launching a non-exclusive strategic partnership that spans co-productions, packaging, financing, distribution, and even brand extensions like live events and gaming.

Both companies already have several projects in development, including:

• Off Color (Prime Video)

• Forklift (NBC)

• New series from creators like Owen Thiele, Ilana Glazer, Chris Estrada, Steph Tolev, and the team behind Norsemen.

This move signals a growing trend among indie production companies: joining forces to strengthen financing pipelines, scale development, and expand into global markets without sacrificing creative independence.

It’s a reminder that financing partnerships aren’t just about capital, they’re about creative alignment, shared vision, and audience reach.

So here’s a question for you:

When it comes to building partnerships or securing financing, do you think it’s more valuable to align with companies that share your creative voice, or to diversify with those that expand your reach into new markets and genres?

Hi everyone,

Question for the group: What convinces a financier to say yes to a small, emotional short film?

I’m developing The Mourner’s Silence, a poetic drama about a professional mourner who can’t cry when her own sister dies. It’s designed for a contained shoot and festival run, and I’d love guidance on how to approach micro-budget funding in Europe—especially grants or cultural programs that support short films.

What approaches have worked for you—proof-of-concept teaser, strong deck, or personal outreach?

Warm thanks,

Charmane Wedderburn

One wonders why the EU Government would contemplate undermining the success of a funding organisation, that has established itself over the last 35 years, and replace it with an entity which seems more to do with the political control of information and the negating of ‘disinformation’. I suppose you could read ‘disinformation’, as messages that the governing powers disagree with?

The replacement is “AgoraEU” (Agora is an ancient Greek word for marketplace), erases the support for independent Producers, who are seen in Europe as those who stand at the heart of the new entities “contributing to cultural diversity, competitiveness and democracy.”

Are you as a European Independent Filmmaker, concerned about this development?

https://www.screenglobalproduction.com/news/2025/09/22/indie-producers-c...

Short film funding is always challenging. Grants are highly competitive and private investors often hesitate because the financial return on a short is limited at best. Though if your short is conceived as a "proof of concept" for a feature, there are creative ways to approach financing that can align investor interests more closely with your long-term vision.

One method is to frame your short as part of the development costs for the feature film. In practical terms, this means positioning the short as an early stage of feature development, with investor funds categorized under that line item. If and when the feature is green-lit, the short film investors can be repaid from the feature budget. Some agreements even allow them the option (not the guarantee) to roll into the feature investment itself. The key phrase to use is "best efforts" as you cannot promise them a place in the feature, but you can certainly express your intention to keep them close to the project.

There are, of course, pitfalls to avoid:

* Don’t overpromise or blur the line between short and feature financing. Make sure your legal documents reflect reality.

* Don’t attempt to shoot a “mini-feature” in the guise of a short. Proof-of-concept shorts should demonstrate tone, style, and storytelling potential — not try to cram in the entire arc of the feature.

* Protect yourself by clarifying investor expectations in writing. Ambiguity can create problems later when the feature moves forward.

Another powerful strategy is aligning your short with a cause. If your story intersects with a social issue, you might partner with a nonprofit whose mission aligns with your themes. This could mean a portion of funds raised goes toward the nonprofit, but the benefits go far beyond philanthropy:

It strengthens your story’s relevance and gives your project purpose beyond entertainment.

The nonprofit can help amplify your fundraising and visibility.

The partnership can evolve into an impact campaign later, once your feature is completed.

These strategies won’t magically remove all barriers to funding, but they can shift the conversation from “Why would anyone invest in a short?” to “How can this short become a meaningful stepping stone in a larger journey?”

I’d love to hear your thoughts: Would you be interested in a workshop where we dive deeper into the practicalities of structuring short film agreements and partnerships?

New York City has long been one of the most recognizable backdrops in film and television history. But in recent years, productions have increasingly looked elsewhere, chasing stronger tax credits in states like Georgia or countries like Canada and the UK.

That may be about to change. Earlier this year, Governor Kathy Hochul approved a major expansion of New York State’s film and TV incentives, increasing the program to $800 million annually and adding specific boosts for independent productions.

Here are a few highlights from the updated program:

• Base 30% incentive with regional step-ups.

• New $100 million fund earmarked specifically for indie productions, with faster payout timelines.

• Additional 10% bonus for production companies that shoot at least two projects in New York through 2028 (up to 40% total incentive).

• Removal of the $500,000 cap on above-the-line costs (actors, directors, etc.).

• Lowered eligibility for VFX and animation subsidies.

This expansion is designed to lure both studios and independents back to NYC, with officials calling it a “momentous expansion” that cements New York’s place as a global production hub.

Read the full Deadline article here: https://deadline.com/2025/09/hot-spots-new-york-city-film-tax-incentives...

For producers and financiers, this raises some key questions:

• How will these new incentives affect your budgeting and location strategy?

• Do you see New York becoming competitive again with places like Georgia, Canada, or Eastern Europe?

Has anyone here applied successfully for an OAC grant? I would love any tips people have.