Financing / Crowdfunding

Thank you so much for taking the time to explain this. I honestly hadn't realized that a professional budget is one of the first real steps before approaching financing. As someone who's still learning the filmmaking side of the industry, comments like yours help me understand how the process actually works.

I'm only 15 and still refining SAVAGE SMILE, so I'm trying to learn as much as I can before taking the next steps. I really appreciate you sharing your experience, and I'd love to stay connected and keep learning from your posts. Thanks again!

Agree with Jack. Hire a producer (line or PM) to do a board/budget. Usually, whomever does the work is given first right of refusal as Producer, if the the script goes into production. This is also a way to possibly negotiate a better deal. And BTW - I too am all three. :-)

Thank you!

I really appreciate the advice. It's interesting that both you and Jack mentioned starting with a professional board and budget before seeking financing.

Since I'm still learning, can I ask: at what point do you usually consider a screenplay "ready" for that budgeting stage? I'd love to hear your perspective.

Great question, Bliss.

As an independent screenwriter, I’ve realized there isn’t a single path forward. If I don’t have the budget to produce a feature myself, my focus shifts to building relationships, strengthening the screenplay, and getting it in front of the right people.

I’ve found that networking, pitch opportunities, screenplay competitions, and development programs can all create momentum. Over time, I’ve had scripts requested by producers and selected for industry opportunities, and each project has opened a different conversation.

Rather than waiting until I have financing, I keep writing the next screenplay while continuing to build my portfolio and professional relationships. For me, every completed script is both a story and a calling card, and sometimes the script itself becomes the bridge to the people who can help bring it to the screen.

From a Producer side of the fence I find that the main problem is that screenwriters who write screenplays treat them like their own children (which I guess they are in a way) and do want to have the screenplay changed significantly in any way. They seem to not understand if someone is going to put their hard earn money and the hard earned money of any investors in the project they are going to have to take critics of their work and significant changes may be necessary to the screenplay itself. I understand the feelings of creatives however they have to understand the concerns of the people who put in the money for the project. Unless you are rich enough to produce the screenplay yourself (and who is, even a rich person cannot afford this risky venture or he will not be rich for long) you are going to have to take the advise of others who want changes to your baby, I mean screenplay.

I submitted my film screenplay synopsis to an agency, and it passed the initial screening. They then sent me a Non-Disclosure Agreement (NDA), which I signed and returned along with the full screenplay. I'm currently waiting for their response.

Great Hani Hannachi

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I have written 3 screenplays (two features and one pilot). One of the features could prove to be too expensive right now, but the other two screenplays can be filmed at a relatively low price. I have queried for representation (LA, NYC, Toronto and London), I have entered screenwriting contests, joined a writing group, and reached out to producers (have been able to connect with a few). It's a completely slow build to get traction. I believe in my work. What else should be doing?

Vic Alexander, thank you for sharing your background and experience. A career spanning decades, from studying filmmaking in the 1970s through making independent films today, gives you a perspective that’s incredibly valuable to this community! I also think your approach is a great example of knowing your strengths as a filmmaker and building projects around them.

That said, one of the things I love about conversations like this is that they remind us there isn’t one formula for making great films.

Some filmmakers maximize production value through contained locations. Others through production design, lighting, sound, writing, performances, or post-production. Many combine several of those approaches. None of them are inherently “right” or “wrong”, they’re simply different paths that reflect different experiences, resources, and styles. That’s why I think discussions like this are so valuable. We have filmmakers with decades of experience alongside people preparing to make their very first short film. Everyone brings a different piece of the puzzle, and by sharing those perspectives respectfully, we all have an opportunity to learn something new.

Rebwar Mustafa Thank you for sharing this, you're absolutely right that talented storytellers can face financial constraints, and it's a real challenge in our industry. But I want to gently push back on something I hear from time to time: the idea that Stage 32 is primarily a paid resource. That's actually a common misconception, and I'd love to shine some light on how much of our platform is genuinely free and built specifically to help creatives at every stage.

Every day on Stage 32, you can (completely free):

- Join in on active conversations in our Lounges alongside working professionals, executives, and educators

- Seek out mentorship, feedback, and encouragement from experienced pros and fellow creatives

- Share your projects and get real, thoughtful responses from the community

- Learn from the free blogs, webcasts, and expert-driven content we publish regularly

- Build your network with creatives from over 190+ countries

And right now specifically, our July Filmmakers Club is running throughout the month, and it's 100% free to participate in. Members who complete each week's challenges are entered to win free prizes, and this week we're giving away FREE Stage 32 Webinars. Last week's winners took home FREE executive pitch sessions. At the end of the month, we'll be giving away 3 FREE DaVinci Resolve Studio Licenses from our partners at Blackmagic Design, tools that can help someone finish a full film or level up their post-production skills entirely for free.

You can join in on Week 2 here: https://www.stage32.com/blog/july-filmmakers-club-week-2-why-animation-c...

You're also invited to join our free Ask Me Anything event this week in the Filmmaking Lounge with Tony Armer, where you can ask him questions and directly learn from an experienced pro:

https://www.stage32.com/lounge/directing/Ask-Me-Anything-AMA-Wednesday-7...

The heart of Stage 32 is community, education, mentorship, and access, and so much of that has always been free by design. Every day, Stage 32 members can build meaningful relationships, learn from working pros, get feedback on their projects, and grow their careers here.

I hope you'll join in on all of it!

Great answers. My two cents are: 1) SCRIPT. Projects too often get rushed to production without extensive rewrites and consultation. 2) ACTING. Performances that aren't natural and believable can take an audience out quickly. 3) Great SOUND design can elevate a low budget film. 4) PRODUCTION DESIGN. This one is from a cinematographer friend who prioritizes PD, which makes camera and lighting much easier. Honourable mention: LENSES :)

Dale, I couldn't agree more, especially with putting the script first. Technology can help us produce a project more efficiently, but it can't replace a compelling story or believable characters. As I'm developing SONIA, I've realized that if the audience connects emotionally with the script, they'll forgive many budget limitations. Great storytelling will always be the most valuable production asset.

Ashley Renée Smith Don't Breathe (2016) is a home-invasion thriller made on a budget of about $10 million that went on to gross roughly $158 million worldwide. The film is largely contained to a single location—a blind veteran's house that a group of would-be thieves decided to rob. Despite its limited setting, the execution never lets the tension stagnate. Every room, hallway, and hidden space becomes part of the suspense.

The filmmakers made a sequel, but it didn't come close to matching the original's box-office success.

Something like Locked In (see my loglines) is similarly contained to a single primary location, while Deep State is somewhat contained. When writing a feature, it helps to think beyond the story itself and consider the practical realities of production: the cost of building sets, the number of locations, and the logistics of moving cast, crew, and equipment from one location to another. Every additional location adds time, complexity, and expense.

Likewise, there should be a compelling storytelling reason for a feature to have 120 scenes—or worse, 120 distinct locations. Unless those additional locations meaningfully advance the story, they can unnecessarily inflate the production budget without making the film any better.

Every big company, every production company etc. have slates. Why do you think slate financing is new?

David Taylor He probably meant deploying a slate strategy personally or through his company.

Geoff Hall This is a fascinating development because it feels like a sign of where parts of the independent film industry may be heading.

For a long time, many independent productions have been financed one project at a time, which means every film starts from scratch in terms of capital, risk assessment, and investor confidence. A slate model changes that equation by spreading risk across multiple projects rather than placing everything on a single title.

From an investor's perspective, that can be attractive because they're betting on a portfolio rather than one outcome. One film may underperform, another may exceed expectations, and the overall slate can balance the risk.

From a producer's perspective, the advantages seem significant. As the article suggests, it creates more flexibility, reduces dependence on pre-sales, and allows companies to think strategically over several years instead of focusing exclusively on the next project.

What also caught my attention is Simon Gillis's comment about partnering with external producers and filmmakers. If these kinds of financing structures become more common, they could potentially create new opportunities for emerging filmmakers to collaborate with established production companies that have access to longer-term capital.

Of course, there are challenges as well. Slate financing generally favors companies with proven track records, strong management teams, and a history of delivering projects. For newer producers, accessing that level of investment remains difficult.

Still, I think this reflects a broader shift from financing individual films to financing creative ecosystems. Investors increasingly seem interested in backing companies, teams, and long-term pipelines of content rather than evaluating every project in isolation.

I'm curious whether others see this as the future of independent film financing, or whether single-project financing will remain the dominant model for most producers outside the larger established companies.

Abhijeet Aade Hi Abhijeet, single project financing is difficult in the UK as investors are ill-educated about the film industry. This alone doesn’t help fledgling companies develop a proven track record. We’ll have to wait a while to see how this pans out.

Geoff Hall Thanks, Geoff. That makes a lot of sense. As an independent filmmaker currently looking to finance my first feature, I've realized that finding the right investors is often as challenging as making the film itself. Hopefully, the industry continues moving toward giving strong independent stories more opportunities to secure financing.

Hey JJ, this is Sandra from the Stage 32 team. I just wanted to let you know I moved your post from Producing to Financing / Crowdfunding, as it fits much better there. Let me know if you have any questions, and all the best to you!

Hello JJ Abramovich Congratulations on your documentary progress. There are many resources here @stage32 for education on the topic of pitching. Likewise feel free to connect and reach out as this is something I assist fellow filmmakers with. Good luck with your doc!

I wish your plans to come true!

Aris Nzoko Kosi Interesting project, Aris. While I'm still developing my own journey as a filmmaker, one thing I consistently hear from producers and financiers is that serious backers want to see more than a creative vision—they want evidence of preparation. Having a clear concept, scripts, visual direction, release strategy, and monetization plan already in place sounds like a strong foundation. Wishing you the very best as you build the right team and funding relationships around the project.

I did a successful crowdfunding animation project last year. I did it all with no experience, but with the teamwork of someone with a big following. We got huge funding just because of her audience.

What I can recommend is to find the right audience. Bring all your fans, if you have no followers on your accounts, build them up first. If there is no one who sees your project, you will get no funds. Try on Discord servers, endless reels, etc.

Backers want to see a realistic project and someone they can trust. Don't get too ambitious, stay realistic. Show them what you've got till now, the more, the better. A trailer or a test of what to expect would give the backers a solid ground to support you.

Jeanette Milio An insightful perspective. As a filmmaker, I often see creatives focus heavily on development and production while underestimating the importance of financing and distribution strategy. I agree that investors today are looking for projects with a clear path to execution and recoupment, not just a compelling story. The idea of treating films as both creative works and investable assets is becoming increasingly important in today's market. Thank you for sharing these observations from Cannes.

Jeanette Milio Thanks for the on-the-ground insights. Good to see the tried and true, a smart film finance plan and strong project is taking the lead. Film is a business as much as an art and those that embrace the investor risk management side of the endeavor will always have a leg up on getting their film or tv show made. (The main reason I created www.FilmBudget.com Worldwide, to help fellow filmmakers get there.) Bravo! Great news for cinema and indie film! \o/

I agree with you about film financing is no longer just about movies. However, as an independent producer I have found that the proposal that are sent to me are NOT realistic from a financing point of view. When I have made comments that would make the film financing appropriate from my perspective, the creative gets all upset that I am destroying his or her "baby" and if that is so I can no longer participate in the Project. Creatives need to have some flexibility if they want private funding for their Project. My funding is mostly through private investors who realize that the project might not make them a lot of money, however they unwilling to LOSE MONEY ON THE PROJECT. THEY WOULD HAPPY TO EVEN BREAK EVEN BUT LOSING MONEY IS NOT AN OPTION FOR THEM AND I CANNOT BLAME THEM FOR THIS ATTITUDE, IT IS THEIR HARD EARNED MONEY NOT MINE OR THE CREATORS!

Say it louder for the people in the back, Jack Binder! Thank you, my friend.

It's looking like an exciting year for this hometown "film Christmas!"

Emily Schooley Absolutely, it will be really exciting to see how this develops. I anticipate enormous success with TIFF becoming an instant "go-to" film market like AFM, Cannes, Berlin. etc.