I wouldn’t have been so excited to become the Executive Director of the San Francisco Film Society if it didn’t have the support from Kenneth Rainin Foundation.
The SFFS/KRF Filmmaking Grants support feature narrative films that through plot, character, theme or setting explore human and civil rights, antidiscrimination, gender and sexual identity and other social issues of our time. This is NOT a documentary grant.
Here’s the deal: you help the Flyaway Film Festival & I help you and your project. Okay, it’s not quite that simple, but it is still a great bargain. I really enjoyed my time visiting the Flyaway Film Festival and I want it thrive. They just had a very successful crowd funding campaign; it’s nice to see my affection is matched by many.
To help them raise money, I donated a one hour consultation session. I will also add in free the time it takes to read your script and make some notes. This often goes for quite significant amounts. Flyaway has it listed for bargain rates.
Check it out here:
When I was in Australia & New Zealand recently, I was asked by Screen Hub journalist Andrew Einspruch to explain what I meant as the difference between Traditional Indie Film and my favorite phrase “Truly Free Film”:
I think it is one of consistent evolution and transformation to some degree. I come from America, and that’s my perspective. In America, the process of indie film creation has always been, essentially, to write for the market, whether people really think it through or not. I think it interferes, or at least enters and influences, their work process.
We don’t have any state funding in America for cinema; there’s no subsidised system. So when a film is produced, it is often made with the intent that it will be sold to a buyer/distributor, and ideally one of the studio-controlled specialised division.
Even in a film that is 100% private equity financed, those that create it tend to self-censor to some degree in an effort to make sure the film can sell to one of these well-capitalised entities.
