Interview with Entertainment Lawyer: Nicole Cameron

Tell us a little about yourself as individual. You are currently a lawyer looking to venture into the film industry as a creative. How do we go from lawyer to filmmaking?

I am a business and entertainment lawyer in NYC.  I have consulted aspiring, and independent filmmakers on their upcoming and current film projects.   I am also a mental health advocate and enjoy doing work to increase awareness on depression, self-injury, and suicide in the black community.  I have always been interested in writing creatively, but I didn’t consider filmmaking a possibility until recently.  As a young adult, I used to write stories and poems on a variety of issues.

Last year, a client invited me to a creative group that was in the early stages of creating a web series.  At first I thought I’d observe and offer business and legal advice when needed, but I found myself contributing more and more.  Needless to say I joined the team.  That decision allowed me to rediscover a hidden interest in storytelling.  Over this summer, I learned more about screenwriting and began writing a story inspired by my life experiences and mental health.  Due to the nature of my work, I think filmmaking can be a great vehicle to address issues within our community, in particular, the stigma of mental health treatment and silent suffering.

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We are seeing a big push of women filmmakers wanting to start their own production companies, what are the basics that need to happen in order to be an official business?

I am excited to see this shift in filmmaking and love to see women entrepreneurs pursuing their passions!  Starting a film production company can be a very exciting, overwhelming, and complicated experience all at once.  First, she should determine which business structure is best for her needs.  There are a few options to choose from: a sole proprietorship, general partnership, joint venture, limited partnership, limited liability company, and a corporation ( S-Corp or C-Corp ).   Each structure is different with respect to its liability protection and taxation.  The producer should consider choosing the entity that reduces the risk of exposure to personal liability.

Typically, LLCs are used for smaller production companies, while Corporations are used for larger companies, but it’s always best to consult with a tax professional or a business attorney to understand the benefits or drawbacks of either entity before proceeding.  After deciding on the business structure, file the necessary documents with the Secretary of State.  LLCs require an Articles of Organization and a Corporation requires an Articles of Incorporation.  The next step would be to publish the company by running an ad in the local newspaper for consecutive weeks.  Check the publication laws of your state to determine the duration of the advertisement.  Upon completion of publication, the production company should receive the Certificate of Publication, which proves the publication requirements have been fulfilled.  Once received by the Secretary of State, the production company should receive its Business Certificate by mail.  The company should also secure a tax identification number and prepare its internal operating agreements.

The LLC requires an Operating Agreement and the Corporation requires Bylaws.  These documents govern the business.  So those are the basics, but I would also encourage the producer to have a business plan because third parties may require it in the future.  The producer should also consider professional relationships with attorneys, accountants and insurance brokers.  Contracts, an accounting system, and insurance policies will be needed.  If she intends to hire staff, workers compensation insurance is needed.  She will also need Errors & Omissions insurance, and a policy to cover equipment.  A completion bond may also be required under some financing scenarios. She should also consider how she will finance the business—self-funding, incurring debt, or equity financing.

In the world of filmmaking the collaborative process is the key to success. This often means joining forces with another individual to establish a business or even a script. Tell us why partnership agreements are important to have and what other ways should you protect yourself?

Collaboration is definitely a key to success in filmmaking and can occur in any stage of the filmmaking process.  BEFORE any collaborative work begins, I strongly encourage filmmakers to get the terms of the collaboration in writing and signed by the parties. Each party should know what to expect, in terms of ownership rights, their obligations under such agreement, as well as what happens in case of breach.  It is also important to note that these contracts are necessary to ensure the production company has the proper chain of title for their projects.  The chain of title is an unbroken record of ownership of the film property.  For example, if one or more parties collaborated on the script, this agreement should be recorded in the chain, as well as the underlying rights for the script. Another area of concern for the filmmaker is how to protect intellectual property, such as ideas, that unfortunately are not protected under the US copyright laws.

I recommend expressing the complete idea in writing and registering it with the Copyright Office before pitching it to a production company, and also negotiate a contract for compensation if the production company exploits their idea without permission. The latter part may be tough to accomplish with a bigger studio or production company; however if the idea is novel, it may be worth protecting under contract law.  Typically, though, the production company provides the filmmaker with a Submission Release to sign before it hears the pitch.

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As you know starting off in any industry cost money. Many of our filmmakers in the collective are taking the indie route and often a lot of their funds are going straight to the film. What are some avenues they can use to get the contracts they need if they don’t have a lawyer?

Filmmaking is a business and a huge investment for the independent filmmaker.  I understand that every cent counts, but I highly encourage filmmakers to create a budget for legal consultation.  Contracts are everywhere on the Internet, or in filmmaking reference books, but keep in mind that your situation may require more protection than what the sample contract is providing, and therefore increasing your risk for exposure.  A filmmaker may also get assistance from the Volunteer Lawyers for the Arts in their area. As it relates to issuing shares or membership interests in your production company, I wouldn’t recommend using contracts found online or in a reference book. I highly recommend legal consultation and representation from a securities law or film financing attorney.  Securities laws are complex and the filmmaker and company will risks exposure to civil and criminal penalties.

Switching gears a little.
What stories are you looking forward to telling as a budding filmmaker?

I am interested in telling stories that will start an honest conversations about black mental health, the prevalence of silent suffering, and the stigmas related to seeking mental health treatment.  I like to bring awareness to the everyday situations experienced by people of color and the impact these situations may have on mental health. These stories can be told through any medium, but I think the message will be more effective if it’s received in a film.  Films are viewed across a huge span of people and its psychological effects can inspire changed behavior.

What female filmmaker inspires you at the moment?

There are too many to name, but I really enjoy Issa Rae’s productions! She’s dope! ☺

What legacy do you want to leave behind as a filmmaker?

I hope my legacy will be far reaching so that people will understand who I am and my purpose.  I’m involved in a lot currently – law practice, mental health advocacy, peer support group leader of the I Love My SIS project, a woman of Delta, a mom, and so much more—but as far as filmmaking, I hope I tell stories that have the power to effect social change, especially as it relates to people of color and mental health.

 

This content shall not be considered legal advice, and is given for informational purposes only.  For more information, or to contact the attorney, please visit Nicole S. Cameron

Shivawn Hill, is a writer, director and a storyteller at heart. She’s currently in post production with her short documentary film. She believes that one day soon she’ll form the ultimate group of Storytellers who will travel the world to share the stories of creative peculiar people.

 

Interview with Stage Manager: Christna Letang

Hi, I’m Christna Letang and I work in television production. Currently I work for the Charlie Rose Show but my career objective is to work in scripted television and create my own television show. In other words, Shonda Rhimes, I’m coming for you.

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When did you fall in love with the art of “storytelling” screenwriting (your defining moment)?

I was always very much into storytelling. I am the youngest of my siblings by quite a few years so while they were preteens and teenagers, I was a preschooler and, of course, they wanted nothing to do with me. I turned to barbie dolls and those became my biggest obsession. It jumpstarted my active imagination and I was consumed with creating dramatic stories for my dolls. As I got a little older, I watched a lot of television and was drawn to the overly cheesy and cliche storylines of the most popular Disney Channel shows.

When I was 12 years old, I decided to create my own TV show for the Disney Channel. I wrote the script, character analyses, treatments and even wrote the theme song! I sent a letter and an email to the Disney Channel CEO with my show idea, hoping to be hired as a writer. Though the CEO graciously wrote back and rejected me in the kindest way possible, I was instantly hooked to telling stories and I knew that that was what I wanted to do with my life.
Tell us about your experience with WEEN Academy? How did this experience propel your filmmaking/tv career? Are there any gems or takeaways you would like to share?
The WEEN Academy played a huge role in showing me by example that my dreams could actually be a reality. We visited many different entertainment companies and met so many people from all walks of the industry and that in itself was influential because it showed us people who looked like us or came from similar backgrounds as us working careers that we once dreamt of.

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One of the best things I learned from the WEEN Academy is the importance of work ethic and research. When pursuing a creative career, we often think that talent is what will get us the job. I’ve learned that, more than talent, consistency and hard work KEEPS the job. The best thing to do to stand out is to outwork everyone. It takes absolutely zero talent to show up early, be enthusiastic and really know your stuff about the company or people you work for. Start there and you can always go far.
Where are you currently in your filmmaking career? What are your plans?
Currently, I work for a TV show that is considered “news.” It is an unscripted television talk show and focuses mainly on politics, though we do quite a few segments with actors and artists. My plan while I am at this job is to soak up as much knowledge as I can. Though I eventually want to work in scripted television, it’s way too early in my career to limit myself to just one career option. I want to learn how to do technical direction, operate the robotic cameras and even learn what it takes to produce a segment of the show. I don’t think you can ever learn too much.
Tell us about your experience working on the set of the Charlie Rose show on PBS? You were the stage manager with that. Tell us what that consisted.
My everyday duties as a stage manager at The Charlie Rose Show include getting the guests mic’d up, preparing the studio for interviews, making sure Charlie Rose has the prep, moving the cameras around so the control room can get their shots and being the point person on the floor to communicate any complications to the director.

Any advice that you want to give young ladies that are interested in film/tv and don’t know where to start?

My advice for any young lady interested in film/tv would be to find a group of people interested in the same thing. I can’t explain how helpful it was for me to find something like the WEEN Academy, which introduced me to women who were my peers and were chasing a dream like mine.

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Everyday I see these ladies reaching new heights in their careers whether it be music, PR, or television. I think, sometimes, the thing that holds us back the most from starting is us believing that it’s not possible–that it’s just a pipe dream. Find some people just like you and never be afraid to ask for help. But don’t forget to give help as well. When one of us makes it, we all make it.
What has been a successful moment for you so far?

My mini “I made it” moment came when I saw my name in the credits of the TV show I work on now. That was the first time I saw my name on TV and it definitely gave me all the feels. It’s something so little but it meant a lot to me. I come from immigrant parents who never understood how I could possibly make a career out of studying film. To this day, honestly, they’re still not very sure of what it is that I do. But when I showed them my name in the credits, I think they finally started to grasp everything that I was working towards. They still don’t understand it, but I know they’re proud. And it’s just the beginning.

How can we keep in touch? 

Instagram: @chrisneezyy
Shivawn Hill, is a writer, director and a storyteller at heart. She’s currently in post production with her short documentary film. She believes that one day soon she’ll form the ultimate group of Storytellers who will travel the world to share the stories of creative peculiar people. Come hang out with her on Instagram.

Interview with: House of June

House of June is an independent art film house that produces original cinematography and narratives for film and web. 


House of June’s name is representative of freeedom and progression. Under the zodiac symbol of the Femini lies the allegory of two creative elements coming together as one to form a house of artistic expression. 
How did House of June get started? Tell us a little about yourself as individuals & what role you play in the House of June?
AMBER: House of June began in a lighting class at Georgia State University. We played around with ideas, shot some projects that never reached the cutting room floor and then shot The Shrink in B6. Ebony is very talented screenwriter and I a cinematographer, we both co-direct and co-produce our projects.

The Shrink in B6, is a web series that follows a girl that’s lost her job after which she had no choice but to find herself. She does that with the help of her peers. 

How big is your production team (and who does that include)? How did you go about finding your team?
Ebony: We work with friends and filmmakers we respect who fit the needs of the project. So it’s really case by case in regards to who composes our production team. Lately, we have been working closely with two up-an-coming filmmakers, Reeyana Sehgeh (Assistant Director) and Alahna Watson (Art Director).
Why did you two decide to pursue independent filmmaking?

AMBER: To assist in creating proper and rounded narratives focused on melanated characters.

How do you recommend that filmmakers break in? 

Ebony: Create from a boundless place. You’re going to need to be able to push yourself without cheers or pats on the back and still find your voice while creating new content.

What is the process of establishing a production company? Do you need a lawyer?

EBONY: It’s different for everyone for sure. I don’t have the right answers because I’m still figuring it out. But, you will always need a lawyer when working with intellectual property and other creatives.

What forms are a must when going into production? 

AMBER: Call sheets are a must, then contracts.

Cost is always a factor how do you fund “green light” projects?

EBONY: We work with what we have until we can fund more independently or bring financers on board. I’m big on creating stories that resonate that aren’t dependent on high-production quality to tell the story.
What is your social media strategy as business owners but also finding that balance as a creative?
EBONY: I wish I could give you this really brainy response but essentially the strategy is to be authentic. Post what matters and is true to what you’re creating. I don’t love the world of social media but it’s vital to getting our stories out, so I maneuver through it with intention in regards to posting on behalf of HOJ.


What legacy do you want House of June to leave behind?

EBONY: Ain’t nothing you can’t create and manifest in your truth.
You recently screened your short film “Table Manners” Tell us a little about that film?

EBONY: It’s a short narrative film that presents a conversation on black female sexuality in a no-holds-barred lunchtime tête-à-tête between two friends at a restaurant.
What’s next for House of June?

AMBER: The plan is to go into pre-production for a feature. 
Our social media:

Thehouseofjune / IG and Twitter

FACEBOOK

Shivawn Hill, is a writer, director and a storyteller at heart. She’s currently in post production with her short documentary film. She believes that one day soon she’ll form the ultimate group of Storytellers who will travel the world to share the stories of creative peculiar people. Come hang out with her on Instagram

Interview with Film Editor: Ayana Harper 

A little about myself, well I also say I’m a “Euro-Trini”, because I was born in Paris, France to Trinidadian parents and feel very connected to both places. I love to edit, watch documentaries and spend time with my family and friends. I graduated from EICAR, the International Film School of Paris in 2014 with some of the best people I know and who I am thankful for everyday (#shamelessshoutout). 

 

What made you become an editor?

Actually, I would say this came about in my 11th grade French class. My teacher Mme Geneix decided she wanted to host a film festival about the environment and had us write, shoot and edit films and it was then that I realized I had an affinity for it.

 

What education, schooling or skills are needed to become an editor? And what suggestion do you have someone who can’t go to traditional school but wants to become an editor?

Film school is always a good idea but its not the end all and be all. What it offers is theory, which I think is necessary to being a well rounded editor. Speaking from personal experience, it was in film school that I realized that editing is far more than understanding a software and just “cutting”. You are in essence a second director and therefore you have to have a keen understand of pacing, story and what your director’s vision is. You are a storyteller and are helping bring the story to life through the images you choose to make the final cut. That being said, there are lots books written by editors out there that someone who can’t afford film school can read and now with the accessibility of information and resources online “film school” is at your finger tips.

 

When you start editing, do you stick to the script and the storyboard, or do you start interpreting right away?

I usually stick to the script for the assembly. So that the director and I can then see what works and what doesn’t. From there, I begin to trim and see what best serves the story my director is trying to tell… sometimes this means radical deviations from the script but sometimes not. It just depends.

 

Do you cut to music or without sound? How does sound influence your cutting?

At first, I cut without music but this again depends on what you are editing. For example, if it’s something narrative there comes a point in the edit where I might ask for a temp track or something similar to what the director intends to use as the soundtrack as this has a direct influence on the pacing of the edit. It’s hard to create a mood with the edit at times if you aren’t sure what the scene “sounds” like.

If I’m cutting something nonlinear or something which is entirely about mood then it’s best to have the music first because you cut to the music and any changes of the track change the edit.

 

Are there rules for editing certain types of scenes (i.e. comedy, dialogue, action) that you like to follow – or like to break? Examples?

I remember a great tip from my editing teacher Sean Cullen in Film School who said, “when you finish cutting a scene with dialogue, listen to it without watching the video”. If it sounds right, then you have the pacing right. Sometimes, when you are cutting a dialogue scene you can get too bogged down in the visuals and so the pacing of the conversation gets a little thrown off… I like this tip and I use it all the time!

 

What have you learned about editing that they don’t tell you in film school?

Oh this is a tough one! I think you learn as you go to be honest, every project you edit is going to be completely different so there are rules of course but you learn so much on the job. I think probably what I learnt is that there is no one way to cut you have to be flexible, of course you may prefer to edit certain kind of films but I think flexibility is a good thing.

 

What kinds of things inspire you? Do you have any personal rituals, or maybe a creative exercise you do to get your head in the right mood before you start?

I like to work at night, because its quiet and I tend to be able to concentrate best then. Sometimes I try to go for a run before working to clear my head, but to honest normally I just set a time and go for it.

 

What are the three most common mistakes you see beginning editors make?

I think mainly it’s a question of pacing, sometimes people want to cut fast because it looks “cool” and “exciting” but it’s not necessarily serving the story. I also have to say, that editors get the blame here but directors have a lot of say as to what ends up in the final cut…so maybe its not only beginning editors making the mistakes but directors as well.

 

How do you earn a living and sustain a career doing what you love?

It’s been hard and unpredictable, I recently moved to Trinidad and while we have a film industry here it’s still in its infancy so it has been difficult to find consistent work. But I have been fortunate in that 3 of my cousins and I have started a production company called Story Play and have been working on our own projects including an animated web series called Big Man Dan so that’s been really great! I think all creatives understand the struggle but it’s worth it every day!

 

How does a typical day (for you) begin when you are in full swing of editing?

Well if I choose not to edit at night, I try to get up early and go for a run. Then once I get home I eat a hearty breakfast and go for it. Really not much to it.

 

What’s next for you?

Well as I mentioned before my cousins and I have our web series Big Man Dan which is in pre-production right now and is all very exciting!

I have been helping with the script development as well as going over the storyboards. I also would like to direct one of my own screenplays at some point in the near future as I think understanding what it’s like on the other side of the camera will help me be a better editor to my directors.

I also have a few shorts to edit in the coming months and I’m hoping to edit my first feature pretty soon which is both daunting and thrilling! I’m also looking forward to new collaborations and new projects, the more the merrier!

How can we keep up with you? 

Website

Instagram  

Shivawn Hill, is a writer, director and a storyteller at heart. She’s currently in post production with her short documentary film. She believes that one day soon she’ll form the ultimate group of Storytellers who will travel the world to share the stories of creative peculiar people. Come hang out with her on Instagram

Interview with: Lena Street Productions 

Lena Street Production is an award winning storytelling collective based in Atlanta, GA. Specializing in narrative and documentary film and shorts, we are dedicated to pushing the envelope in subject matter and dilivery. 


As storytellers, it is our mission to not only tell the human story but to evolve it. 

LeeAnn is a writer, director and artist reared in Germany now residing in Atlanta, GA. Before the age of 18, she successfully amassed a handful of awards for her directorial presentations. 

Mercedes is a dancer and writer from Atlanta, GA. While she first discovered her love for the arts performing on stage and on camera, she found her voice through screenwriting. 


How did Lena Street Production get started? Tell us a little about yourself as individuals & what role you play in the Lena Street?
(M) In the beginning we really just wanted to tell a story about people who look like us going through similar setbacks and triumphs to what we’ve experienced. The production company was formed around filming the web series that is now our namesake; so it was a passion project that awakened or perhaps revealed our desire to start a conversation and give our audience something to ponder. As far as roles: since we’re independent we tend to wear multiple hats depending on the project but for simplicity’s sake, I’m a screenwriter. 
(L) The year was 2009, and we were two disgruntled writers who wanted more from what we were seeing on TV. So we set out to tell stories that reflected us and that mission has continued to evolve into what it is today. I am a writer and visual storyteller by trade who stubbornly refuses to use my gifts for anything but the betterment of the world around me. At LSP, I focus on doing just that as a screenwriter and director.
How big is your production team (and who does that include)? How did you go about finding your team?
(M) Officially, it’s just the two us as producers and writers. When we have a project in production, we outsource other roles from crew to wardrobe to talent. Social media is a huge help because it allows us to find fresh perspectives and connect with other creatives to work with later.


Why did you two decide to pursue independent filmmaking?

(L) When we were shooting Season 1 of Lena Street Ladies, I was giving one of the actresses a ride home when she turned to me and asked, who gave us permission to do Lena Street Ladies. I was confused. It never dawned on me that we needed permission to create. We only saw the necessity to create. So we did. Independent filmmaking has its own plethora of challenges, but the lessons we learn in producing our own content, collaboration, and execution make it worthwhile every single time.
How do you recommend that filmmakers break in?
(M) There are so many different ways to start or get your foot in the door. It all just depends on your goals, whether you want to be a major mainstream player or a niche auteur. We’re all about the art and the message behind our work so we started by creating something we were passionate about on the smallest budget possible. I think that’s a great place to start. The financial limitation will push your creativity and networking abilities beyond what you could imagine. Then once you’ve poured your soul into a project, don’t be afraid to get your work out there: Youtube, Vimeo, film festivals, etc.    
What your process for establishing a production company? Did you need a lawyer?
(L) We’re very much a DIY production company even to how we were incorporated. We took the time to learn and figure out the appropriate procedures to establish ourselves legally. We did work with a lawyer who advise us over the first year. Is it always necessary? I would just suggest you to always cross your T’s and dot your I’s.

What forms are a must when going into production?
(L) Talent release! Always. Location releases are great even though sometimes I shoot guerilla style, honestly. Have written agreements with every party involved just so everyone has in writing what they are getting out of the project for what they are putting in. I would highly recommend that. 

Cost is always a factor how do you fund “green light” projects?

(M) We’re mostly self-funded so we tend to work on a micro-budget. Crowdfunding is a big help. We’ve used Indiegogo in the past. And we use our network. Cross-promotion definitely reduces some costs.  
What is your social media strategy as business owners but also finding that balance as a creative?

(L) We don’t put a lot of emphasis in a social media strategy although we could. LOL Most of our time goes into writing and creating the actual content. Luckily, people still keep up with us and are excited for what we do share and/or premiere in the digital realm.
What legacy do you want Lena Street Productions to leave behind?

(L) As storytellers, it is our mission to not only tell the human story but to evolve it. With that, we’d like to be remembered for making transformative content that is both entertaining and penetrating. Yes, I did just say penetrating. 


You recently released your food diaries series Tell us a little about that digital series?

(L) Food Diaries is a docu-series exploring our broken relationship with food created and directed by LeeAnn Chisolm Morrissette. Profiling food activists, to doctors, healers, and educators, this series brings up the questions we aren’t asking. From food waste to healing ourselves to farming for self reliance, each subject takes us through their own personal journey in food, sustainability, and choosing to live and consume more mindfully. This is a journey of self discovery and ultimately, liberation.
What’s next for Lena Street Production?

(M) More bold storytelling in the digital film space and we’ll be experimenting with new mediums. 

How can we keep up with you? 

Lena Street Productions 

Instagram

LeeAnn

Mercedes  
Shivawn Hill, is a writer, director and a storyteller at heart. She’s currently in post production with her short documentary film. She believes that one day soon she’ll form the ultimate group of Storytellers who will travel the world to share the stories of creative peculiar people. Come hang out with her on Instagram

The Monthly Roundup: Top Competitions, Grants, and Crowd Funding News for Women Filmmakers

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Can you believe that it is the first of February already in 2017? 

We hope that you took some time the first month of the year to iron out your filmmaking projects in order to make them a reality this year.

In doing our part to help you along in your journey, we thought that it would be a good idea to begin sharing top industry news for competitions, grants, and crowdfunding for filmmaking.

Below is a recap of all of the tips that we shared in the month of January:

COMPETITIONS:

1. Eyeka is a talent sourcing site where brands post needed content such as commercials and branded videos for their upcoming projects.
Filmmakers can select a project, create the desired content, and then submit it to that brand.
If you win, you will receive a cash prize (it ranges). Categories includes:
Creative Writing
Script Writing
Videography
This is a perfect platform for aspiring and new filmmakers that are in need of some motivation and incentive to create your first projects.

2. TrackingB.com is searching for original TV pilots from new and up and coming screenwriters. 

3. Two weeks ago, Will and Jada Smith announced that their non-profit foundation will financially support Sundance Institute’s @sundanceorg Screenwriters Intensive. The program provides mentorship and work shopping opportunities for 10 underrepresented screenwriters! (Go apply ladies)

GRANTS

1. Women Making Movies wmm.com is currently accepting applications from women filmmakers for fiscal sponsorship opportunities.

2. Screencraft.org has open for submission their SHORT FILM Production Fund Grant. This program is for emerging screen writers that have a project to launch or complete. Grants awarded start at $5K and go up to $20K. If selected, you will also receive creative development mentorship from the @screen_craft team! (Sign up for their screenwriters newsletter, it will be a game changer for you)
3. Creative Capital works with artists (including filmmakers) who desire to build a career around creating art for their local community or greater good.
They provide funding and mentorship for 1-3 years.
Documentary filmmakers and narrative filmmakers that desire to produce work that highlights a social issue would be ideal for this grant. However, you will need some projects under your belt already to be considered but major careers have been launched due to the Creative Capital nonprofit leadership.

CROWDFUNDING

1. The Grove Center for the Arts & Media
The Grove Center is a nonprofit organization that provides fiscal sponsorship for artists driven projects. (Fiscal Sponsorship is an agreement between a nonprofit and an individual or private sector group or project that desires to fundraise tax-free donations from the public and the registered nonprofit manages the funds you raise and distributes it to your cause minus a small fee).

With The Grove Center you can crowd fund for your film or project under their umbrella. They have an extensive network, an in house marketing team, and a dedicated Indie Gogo presence. They will keep 10% of what you raise and there is a $99 application fee but considering how deep their reach is, its worth partnering up with them.

2.Seedandspark.com is a growing crowd funding platform that is for filmmakers only. They are also an indie film streaming service. Your film could be included with the donation round if you create a campaign with them. They have a heavy amount of films that are directed, written, produced, or staring women, so you should feel right at home crowd funding there. (Read their blog to explore topics such as distribution options to negotiations for filming, it’s a gem!) We hope this helps you in your bad-ass filmmaker’s journey!

3.Slacked.com – This slightly relates but could be used to leverage your crowd funding efforts. Slacked is an emerging social network for filmmakers only. I myself created an account there and have already made connections with others.

We hope that this list can do you some good and maybe lead to a contest, an idea, some networking, or an introduction, that can lead to further breaking of the glass ceiling in filmmaking as a woman!

Remember: #thefutureisfemale 

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CJ Childress is the co-founder of The Creative Outsiders. 

Freelance copywriting pays her bills why she inks out more short stories, poems, articles, and full-on books. Cinematography is her jam and she can’t stop obsessing about Beyonce being pregnant with twins! You can catch up with her HERE or on INSTAGRAM.