Financing / Crowdfunding

When you’re putting a project together — film, TV, or even commercials — what’s the finance bit that gives you the most grief?

I’ve made a super quick (2–3 minute) anonymous survey to get a sense of what people are actually struggling with when it comes to building finance plans, sorting cashflow, investors, all that fun stuff.

Raising private equity is extremely difficult, grants are scarce, and crowdfunding is a highly competitive landscape. But there is a unicorn off in the distance that may work for your next project. Hear me out...

Several years ago, I shot a short doc covering a complex and emotionally charged social issue. I then worked with the subjects of the doc and obtained the rights for the development of a dramatic feature adaptation of their story. The resulting script garnered several awards and a lot of buzz, but the buzz is where it stopped.

Dramas are tough to pitch and produce. Social issue indie dramas... Even tougher. The evidence for a fiscal return on dramatic features without an A-list star attached is scarce. There are outliers of course, but any equity investor worth their weight that isn't your great aunt will want to see a clear path. Hell, for my project, I even had partial funding and a BAFTA-winning lead attached, but the thing just dissolved.

"Why not partner with a non-profit?" people would eagerly suggest. If I heard it once, I heard it a thousand times. Sure, it makes sense in theory. Like minds, an aligned vision... what could go wrong? In my experience, most NP's that I met with couldn't see the value in a small indie drama as a way to promote their agenda. Trust me... I tried every conceivable angle, but in the end... non-profits are very protective of their donor base and of every dollar they bring in. There's virtually no room for a "roll of the dice."

But, just as I was hanging up my spurs on this project, I heard about a fiscal sponsorship opportunity through my local film society. Here's how it worked for me...

• My local Film Society is a registered 501 (c) (3) with a stated mission to promote and grow the local film ecosystem.

• They offer an avenue for filmmakers to partner with them and use their non-profit status to solicit donations to the film society on behalf of the sponsored project. Meaning, Someone interested in making a tax-deductable donation to a film project can do so through the film society.

• The donor gets the tax write off, the film society takes an admin fee of 6% from every donation, and the remainder is kept in escrow for eventual withdraw and use by the filmmaker to make their project. It's that simple.

Of course the film project must exist as a registered LLC with the state and any moneys withdrawn for the project in any given year will be taxed, but if you follow the rules and make fundraising a mission, you could just raise enough to put your script on the screen. Plus... and this is the best part... there are no investors with whom you need to split profits (providing you make a great film and distribute effectively).

In complete transparency, I raised just under $10K in donations through the fiscal sponsorship agreement without a ton of effort. I have a couple of other big projects that have now taken precedent but I plan to relaunch this campaign and will of course keep you all posted on the progress.

So, do any of you have experience with a fiscal sponsor? Let us know in the comments below. Success stories are the best stories!

For my next film, the EP and I are considering a small crowdfunding campaign to round out the edges. We already have cash in the bank and a solid line to much of the rest of the budget. However, we'd love to have just a teeny bit extra to offer some extra incentives. Maybe $15K or $20K.

My experience with crowdfunding is mixed. I've had some good results and some not-so-good results, finding that no one approach can be replicated with the same results.

I'd love to hear your stories about how you all use it (if at all) for your projects.

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...

I just polished a 12-episode dark, character-driven crime/drama series, and I’m exploring how it might appeal to serious financiers or producers.

Question for the community:

If you were looking to acquire a full-season property with strong hooks, twists, and cinematic potential, what would you want to see from an opening scene to feel confident in investing?

Here’s a taste of mine (Episode 1 – opening scene snippet):

Episode 1

EXT. PRISON – DAY

A grim concrete fortress rises against a gray sky. Wind rustles dry leaves across cracked asphalt. A bus rattles toward the gates, wheels crunching over loose gravel, leaving a trail of dust. Barbed-wire fences sway slightly in the breeze.

INT. BUS – DAY

Jake sits alone, hunched, restless, eyes darting across empty seats. The bus jerks to a halt, metal screeching. He grips the seat in front of him, knuckles white.

JAKE (V.O.)

I once heard… love is the answer to life’s problems. Not mine, I guess.

Two guards step aboard, boots thudding heavily.

GUARD 1

Jake Turner?

Jake doesn’t respond, staring ahead.

GUARD 2

(grabs Jake’s arm)

C’mon. You fucked up. Deal with it.

Jake nods mechanically.

JAKE

Thanks.

GUARD 2

Hurry up, Houdini.

They approach the checkpoint.

GUARD 1

Special precautions?

GUARD 2

Why would this junkie need special treatment? Judge already chose him. Criminal by choice.

JAKE

No… I didn’t. Why would I choose this?

GUARD 2

Shut up, scum.

Guard squeezes Jake’s arm briefly. He flinches but keeps moving.

CHECKPOINT GUARD

Flight risk. Keep him away from dealers or violence.

GUARD 1

Wing?

CHECKPOINT GUARD

3B.

JAKE (V.O.)

I tried to love… guess love didn’t try back.

Guard 2 shoves him through heavy metal doors.

I’m genuinely curious what seasoned financiers and producers think, and any insights would help me refine the pitch and potentially open discussions about full season rights or collaboration.

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...