Opinions expressed in this piece are not in any way endorsed by Netflix, Its parent company, or any subsidiaries. Opinions expressed within are solely those of Guerrilla Rep Media and its founder, Ben Yennie.
Many filmmaker and even more film consumers just want to know when work will be on Netflix. In recent years, this has become more difficult than it was previously. IT used to be that it was a relatively easy sale to get on Netflix, although the money wasn’t very good. More recently, the bar has been raised substantially, and the money you get for it hasn’t increased as much as we may have liked it to. What follows is an outline of how to get your film on Netflix, both as an original and as an acquisition.
Most filmmakers hate the idea of crowdfunding. While nobody likes constantly having their hands out and asking their friends for money for a whole month straight, it’s something that most filmmakers are going to have to do early in their careers. It’s very possible that most filmmakers will have to do it more than once. But the reason you crowdfund isn’t just about the money. There are lots of other reasons crowdfunding can be a boon for a filmmaker’s career. Here are 4 of them.
In the final part of my 7 part series on writing a business plan for independent film and media, I’ll be going over all of the financial statements you’ll need in your business plan. This is a section that you’ll want to write before you write the financial text section of your plan, as it will have great impact on that section, and potentially other sections of the plan. Each document should take up only a single page.
In part 6 of my 7 part series on independent film business planning, we’re going to go over the text portion of the financial section of the business plan. This is where you explain the methodology you used in your financial projections, the general plan for taking in the money, and then overview what you’re going to present in the final section, the pro-forma financial statements.
Next up in my 7 part series on writing a business plan for independent film, we’ll be taking a deeper look at the project(s) section of the plan. The projects section of the plan is the most creative section, as it talks about the creative work that you’re seeking to finance. That being said, it breaks those creative elements into their basic business points. This section should be no more than a page if you have one project, and no more than 2 pages if you’re looking at a slate.
One of the most common questions I get is where to find investors for a feature film. Inherent in that question is simply where to find investors. While I may not have a specific answer for you regarding exactly where to find them, I do have a set of rules for figuring out where you might be able to find them in your local community. This is meant to be applicable outside of the major hubs in the US, and as such it’s not going to have to be more of a framework than a simple answer.
A few months ago I worked with the absolutely lovely Joanne Butcher of Filmmaker Success to put on an educational event about grant writing here in San Francisco. Joanne has raised millions in grant funding for several non-profits over the course of her life. While I can’t distill everything from her talk into a single blog, I can give the people who weren’t able to make it some of the key takeaways. So without further ado, here are the 5 rules for applying for grants.
 There’s an old adage that Investing is like Dating. In fact, I’ve talked about the similarities both on meetings with investors, and dates with people who are qualified to be investors. So as a something of a tongue-in-cheek yet still (Mostly) safe for work post, here are 7 ways courting an investor is like dating.
 Most of my work these days is as a consultant, distribution representative, and marketer for a great little tech company. However, there was a time when I was a filmmaker, and a regular (as opposed to executive) producer. In that time, I raised a total of 33,000 on kickstarter of two projects. This blog gives you some of what I learned on those two campaigns.
While those two projects never went as far as they could have due to a parting of ways between myself and my former business partner, there’s still a lot of information I learned in running these campaigns in the early days of kickstarter. Here are 5 of them. 
As a key part of writing a business plan for independent film, a filmmaker must figure out how much the film is likely to make back. This involves developing or obtaining revenue projections.
There are generally two ways to do this, each with their own advantages and disadvantages. The first way is to do a comparative analysis. This means taking similar films from the last 5 years and plugging them into a comparative model to generate revenue estimates. The second way is to get a letter of intent from a sales agent, and get them to estimate what they could sell this for in various territories across the globe. This blog will compare and contrast these two methods (Both of which I do regularly for clients) in an effort to help you better understand which way you want to go when writing the business plan for your independent film. |
AuthorMy name is Ben, I'm an Entrepreneur, Producer's Rep, and Author. I'm the founder of Guerrilla Rep Media, Co-Founder/CMO of ProductionNext, and founder of Producer Foundry. Together, the organizations seek to help make filmmaking a more economically sustainable endeavor. I am dysic, I have capitalization issues, and the blogs are often unedited. opinions all my own. 
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