Trailer Mechanics: How to Make your Documentary Fundraising

Description

Can you show me something? That s what every industry professional and funder says to filmmakers looking for funds to make their documentaries. But how can you make a sample before you get the money and before you know how the film will turn out? Trailer Mechanics answers those and many other questions by: Facilitating the storytelling process: With new adaptable templates and story exercises, go from idea to finished sample efficiently while allowing your individuality to shine through. Demystifying the creative process: The creative process is demystified with 16 exercises and worksheets, so you can remain focused and motivated from start to finish. Introducing you to industry professionals and funders: More than 25 interviews with industry professionals, funders and market directors give you the inside scoop about what works and what doesn t. ACKNOWLEDGEMENTS......Page 14 How This Information Was Compiled......Page 18 Who Needs This Book......Page 19 How This Book Is Structured......Page 20 How to Use This Book......Page 21 About the Language Used in This Book......Page 22 PART I—THE STARTING POINT......Page 24 Chapter 1—The Trailer Defined......Page 26 A Demo or Sample Is…: What’s in a Name—or Names?......Page 27 An Audiovisual Pitch…: The Trailer in Context......Page 30 1 to 20 Minutes Long…: Timekeeping and Other Ticking Bombs......Page 32 Composed of Excerpts of a Future or In-progress Documentary…: All About Content......Page 33 For the Purpose of Raising Funds: Talent, Time and Treasures......Page 34 And After All That: Do You Need a Demo? How Soon? How Many?......Page 35 From Motivation to Idea......Page 39 From Idea to Story......Page 47 From Story to Documentary......Page 49 Time to Grow......Page 52 Chapter 3—You, the Filmmaker......Page 54 Who Are You as a Filmmaker?......Page 55 What Do You Want as a Filmmaker?......Page 57 Exercise 1: Define Success in Your Own Terms......Page 58 What Are Your Assets as a Filmmaker?......Page 60 Exercise 3: Creating an Inventory of Skills......Page 64 The External Pressure Points......Page 67 The Internal Pressure Points......Page 69 Dealing with It All......Page 73 Exercise 4: Board of Unconditional Allies......Page 74 Exercise 5: The 1-minute, One-day Documentary (or Side Project of Your Choice)......Page 76 Like Penguins, Like Seahorses......Page 78 Who Are Those Industry People?......Page 80 Where Can You Meet Those Industry People?......Page 82 Chapter 6—Industry People Speak......Page 90 Commissioning Editors at Networks and Cable......Page 91 Distributors and Producers’ Representatives......Page 96 Festivals, Markets and Conferences......Page 100 PART II—MOVING ALONG......Page 107 To Script, to Shoot or to Be Aware......Page 109 Character-driven Storytelling......Page 111 Topic-driven Storytelling......Page 113 The Consequences of Your Choice......Page 115 Character-driven Structure Model for Demos......Page 116 Topic-driven Structure Model for Demos......Page 121 Suggested Approaches for Openings, Middles and Endings......Page 124 What to Avoid in Openings, Middles and Endings.......Page 130 Traditional Methodologies and Standard Procedures......Page 136 Structure Awareness Method Before Shooting......Page 137 Structure Awareness Method Before Editing......Page 141 Avoiding Wrong Turns and Dead Ends......Page 146 Keeping Yourself Motivated and Working......Page 158 Exercise 6: Make a Comprehensive Long-term Plan......Page 160 Understanding Your Creative Patterns and Best Environments......Page 161 Exercise 8: Discovering Your Creative Patterns and Best Environments......Page 163 Being in the Moment Every Moment......Page 165 Exercise 9: Conquering the Thirty Seconds Before the First Minute of Work......Page 166 Exercise 10: Contract with Yourself......Page 170 External Interruptions......Page 171 Exercise 11: Identify Distractions......Page 175 Exercise 12: Dealing with Distractions......Page 177 Internal Distractions......Page 178 Exercise 13: The Doubt Collector and Transformer......Page 180 Who Are Those Foundations, Film Organizations and Corporations?......Page 185 Where Can You Meet Those Foundations, Film Organizations and Corporations?......Page 192 Funders and Grant Organizations......Page 197 Film Organizations—Special Programs: Mentorships and Labs......Page 201 PART III—THE FINISH LINE......Page 206 Locking Picture By Choice......Page 208 Locking Picture for the Wrong Reasons......Page 211 Test Screening Your Sample......Page 217 Tips for Submission of Your Sample......Page 226 Completing the Work Within Yourself......Page 236 Exercise 14: Imagine a Bright Future......Page 237 Re-owning the Process Through Integration......Page 239 Progressive Completion......Page 241 Dealing with Old Wounds......Page 243 Exercise 15: Reincarnation of Past Projects......Page 244 Dealing with the Immediate Future......Page 245 Re-owning by Killing the Witnesses......Page 247 Dealing with Rejection and Negative and Unexpected Comments......Page 252 Exercise 16: Role Playing Dealing with Comments......Page 256 Who Are Those Individual Donors and Investors?......Page 258 Where Can You Meet Individual Donors and Investors?:......Page 260 Experts......Page 265 Filmmakers......Page 267 CONCLUSION......Page 285 APPENDIX......Page 287 Worksheets for Exercises in Section 2......Page 288 INDEX......Page 301