A colleague of mine asked me if I had a glossary on film financing terms in the same way I wrote one for film distribution (which you can check out here.) Since I didn’t have one, I thought I’d write one. After I wrote it, it was too long for a single post, so now it’s two. This one is on general terms, next week we’ll talk about film investment terms.
Pretty much every filmmaker wants to find money to make their movie. Unfortunately, many don’t quite realize that in order to raise the kind of money you need to make anything above a micro budget movie, you’ll generally need a lot already in place. It’s something of a catch-22. Investors need name talent to market the film, and distribution to make it available. Distributors need name talent and a tested team to give any meaningful commitments, and name taken need to know they’ll be paid. There are ways around all of this, but generally they require money up front. This blog is about how you raise it.
They say that most people know whether or not they would get into bed with someone in the first conversation. Admit it, you didn’t realize I was talking about investors giving you money right there, did you? Jokes aside, there are a few key things your investor is going to need to know about your project in order to give you any serious consideration.
There are 3 different documents you would need to approach an investor about your independent film. I’ve written guides on this blog to show you how to write each and every one of them. Those three documents are a Look Book (Guide linked here.) a Deck (Guide Linked Here) and a business plan. (Part 1/7 here) But while I’ve Written about HOW to create all of these documents, I’ve held back WHY you write them, WHO needs them, and WHEN to use them. So this blog will tell you WHO needs WHAT document WHEN and HOW they’re going to use it.
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.
Most of the time filmmakers seek to raise their investment round in one go. A lot of people think that’s just how it’s done, so they ask would they try anything else?
But just as filmmakers shouldn’t only look for equity when raising money, Filmmakers should consider the possibility of raising money in stages. Here are the 4 best stages I’ve seen, and some ideas on where you can get the money for each stage.  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.
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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