This article isn’t about how to raise money for movies, for there is no “way” to do it. My only advice is get a lawyer and an accountant, preferably third parties, and make sure your ducks and paperwork are in order before you collect anything. If you want to know more about that process or raising money check out the Film-Method website or podcast for they’ll be talking about that stuff periodically.

It’s no surprise to anyone that in order to make a feature film you need a lot of dedicated people with considerable talent and…money. While I’ve spent quite a bit of time extolling the virtues of the film’s talented cast and crew I haven’t talked a great deal about the other half of the team, the investors.

In the case of a studio or larger budget film the role of investor is usually played by the studio(s) and/or a larger production company (which may or may not be self-financed) that has a deal with a particular studio. Regardless of the scale of the production and/or its budget money is always a factor and even big-ticket studio fare feel the pinch of not having enough money at their disposal. I know it sounds silly and depending on the film may even be a waste but the process of raising capital for a film is, never the less, an arduous one. However, studios have a lot they can bank on and/or borrow against whereas you (a first time or indie filmmaker) do not.

In the true independent world, I say true because many independent films being sold to the public are anything but independent, your investor can be your parents, boss, friends, savings account, 401K (if anyone still has those), neighbor etc. Basically, anyone and everyone with money to lend, no matter how small the amount, could help you make your dream into a reality. However, what most first time filmmakers don’t realize is that an investment is a business deal, in that by putting money in the person loaning you funds is expecting a return and sometimes a sizeable one. A lot of filmmakers get caught in this OPM (Other People’s Money) mindset and when the slightest hint of adversity or trouble befalls the production they simply pack-up and say “well, not my money.” This is bad and truthfully makes it hard for other aspiring filmmakers, who have a solid vision and work ethic, to raise money for there seems to be more people who have been let down or screwed over by fly-by-night productions than by those who view an investor as part of the team. 

What I wanted to talk about was the relationship between the filmmaker and his or her’s investors. With April Showers a vast majority of the men and women that invested in the film had never before put money into entertainment and/or a motion picture. This was an entirely new venture for them, however the basics behind investing in anything, be it a film or real estate, are essentially the same. That being said, the investors in April Showers are a special group because, while most investors simply wait for a return, our investors wanted to be and continue to be involved in some facet or another.

By involved I’m not implying they had stipulations as to how to make April Showers, not at all, they just had a lot of questions and stories to share that enriched the whole process. They would come out to the set simply to watch, though a few of them did find their way into the extras pool, which was a kick for me and I hope for them as well. Now, I know there maybe some filmmakers reading this and saying to them selves, is he crazy, keep the investors away.  I hear you and in some instances it’s not appropriate for the investors to be involved in the process because at the end of the day they invested in your vision and you need to be free to create that vision. But a closed-door approach, at least to me, is the wrong way to go. I think a good filmmaker and production team can find a middle ground between the “money people” and the “talent” because at the end of the day both parties want the same thing. Everyone wants the film to be good, seen by as broad an audience as possible and hopefully make everyone’s money back.

The one trick, I’ve found, is managing expectations. A film set is exciting and it’s easy to get swept up in the chaos and wonderment of it all that can carry over into post and distribution. Generally this is a good excitement to have; however as a filmmaker or producer you have to manage expectations. Making, finishing and hopefully releasing a film is an ongoing process and sometimes a long one at that and it’s easy to get swept up in the headlines of Transformers II grossing $201 million and apply that to your independent film. Not every film is Transformers II nor is it My Big Fat Greek Wedding or Desperado, and it’s your job as a filmmaker or producer to keep everyone’s expectations firmly grounded in reality. I don’t mean this to sound negative, nor am I implying that the investors in April Showers are delusional, not at all; I’m simply wanting to make aspiring filmmakers aware of their duties beyond the lens and the written page.

If you can find a person(s), like we did with April Showers, that is enthusiastic and dedicated to the project and understands that the creation and release of a film is ultimately a process that all parties share in without stepping on one another’s toes then you are well on your way. With regards to the investors of April Showers I’m not sure, in fact I know, there is no way we could’ve done it nor continue to do without you. So I would like to give a very special thanks to you for being the unsung heroes of this wonderful adventure. Thank you.

That’s it for now. Until next time, thank you for your support, take care and stay tuned…

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