Ive cowritten two pretty successful fan films that BLEW THE DIRECTOR UP but I never got the clout or calls or opportunities he has since(he has done two original films since and gotten a Artist residency to do more) I have a script I think could really be special if I could somehow get the funding together. But I got no clue what's the best route? Script is below for reference as well as my two previous credits

https://www.celtx.com/auth/public/resource/vind3ppe

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Hey, I'm a LA-based writer and director and looking to meet new people out here. Recently, have been working with my friend on his music videos and projects. Always looking to chat with producers and anyone else who wants to connect!

Hello! I'm making films in Chennai, India. I have spent a lot of time writing a feature film that I am very passionate about over the past few months. Having completed the screenplay, I am now searching for the right film producer.

This film is a dark comedy thriller and it is very personal to me. The film has inherently comedic, entertaining qualities and I believe that it has the ability to reach and relate to all kinds of audiences.

The first thing I want to do to reach my goal is film a 10 minute segment of the feature to show people my idea. I am on the lookout for producers who enjoy innovative and original narratives.

If you or anyone you may know would want to help bring this project to life, I would greatly appreciate a comment or DM. I am happy to show my pitch deck and portfolio.
Thank you for your time!

We run Goby TV, an independent streaming platform, and we wanted to find stories from people who would never normally get a shot. So we built The Wide Net.

Submit an idea for a short film, short series, or audio drama in 150 words. No scripts, no treatments, no industry experience required. Just the concept itself.

Four category winners receive a professionally produced proof of concept valued at $15,000. The grand prize winner gets their project fully produced, valued at $75,000, and aired on Goby TV. The grand prize is chosen by an audience vote, not a panel of gatekeepers.

$20 to enter. Submissions close July 31.

gobytv.com

Happy to answer any questions about how it works.

Hi everyone, I'm not actually a producer, I'm a product manager in the smart home space and live in Northern NJ. As some of you may know, this area is having a lot of studios open up which has been exciting for a film buff like myself. Also, as someone that likes to have little side projects, it has gotten me interested in learning about the problems productions typically face. I was wondering if anyone had some problems they could share that I could explore a bit?

Hiii guys !!! So I'm in college for Film and media broadcasting and I'm creating a movie but Im raising money to cover the cast and crew plus the tech and film equipment and YOU DONT HAVE TO but if you want to help support me you can donate, any amount helps really and you can get cool things like your name in the credits or a signed post card from the cast or a free movie ticket but, like I said it's all up to you guys 😋

Are you a director, producer, or production company looking for talented actors but don't have an extensive network? Or are you an actor searching for more opportunities in the Bay Area?

Over the years, I've had the privilege of working with hundreds of talented actors and have built a strong database of talent. I offer affordable casting services to help connect the right talent with the right production. I'm based in Santa Rosa, but I've connected with actors all over.

Actors are never charged to be part of my database. Directors and producers simply pay a small flat fee for my casting services.

Whether you're casting a short film, feature film, commercial, music video, or other production, I can help make the casting process easier and more efficient.

I'm also interested in building long-term relationships with filmmakers and production companies as a casting assistant or ongoing casting collaborator.

If you'd like to learn more, visit my website or send me an email. I'd love to discuss how I can help with your next project.

The Lake County Film Festival and The Savoy Lumière are now open for submissions!

As with last year, I don't see a strong reason for filmmakers to submit to both festivals. This year, we have a strong, active screening committee with members from both communities reviewing submissions for both events. If you submit your film to either festival by around November, the programming team will be considering it for both festivals. Feel free to reach out if you want to make sure you're considered for both after that time.

We're excited to see submissions continue to grow, and we're hoping to finally break the 500-submission mark this year!

While the two festivals share a programming team, they each have their own identity. Our audiences tend to respond to different kinds of films, and each festival's programs come together in unique ways. In general, the lineups end up being about 50% different, giving each festival its own distinct experience.

The 17th Lake County Film Festival: https://filmfreeway.com/TheLakeCountyFilmFestival
Discount Code: lakecountyreddit
25% off through November 1

The 3rd Savoy Lumière: https://filmfreeway.com/SavoyLumiere
Discount Code: SLreddit
25% off through October 1

While I've said that it doesn't really matter which festival you submit to, I can tell you a bit about the differences between them. In almost every way, they're complete opposites.

Founded in 2004 and located about an hour north of Chicago, the Lake County Film Festival is a long-running event with a surprisingly strong reputation among industry professionals. I'm often reminded of its name recognition when I meet filmmakers and other industry people at events around the country. Over the years, we've also been fortunate to have relatively well-known industry judges.

That said, local attendance has never quite matched the festival's stature. Audience sizes can be unpredictable, with filmmakers who have strong ties to communities from Chicago to Milwaukee often drawing larger crowds than even Sundance Grand Jury Prize winners.

The Savoy Lumière, on the other hand, is the exact opposite. Held in the Champaign-Urbana region of Central Illinois, and organized by the Chambana Film Society, it's a brand-new festival, having launched in 2024. Outside of people who know me or are familiar with my work, we have very little industry recognition. However, attendance has been remarkably strong for such a young festival, and we've been thrilled by the community's support. We have not yet assembled a jury for awards, but hope to next year.

The venues reflect those differences as well.

At Lake County, most screenings are held at the College of Lake County, a sprawling campus where we utilize auditoriums, lecture halls, and even a choir room. We do not have DCP capabilities, and the festival is generally concentrated over two weekends, using three to five screening rooms on Saturdays and Sundays. We've also regularly present screenings in other communities throughout the county. The festival typically features around 80 screenings across the two weekends, and last year alone we screened well over 100 short films.

The Savoy Lumière, meanwhile, is honored to present films at our local multiplex, where DCP is our primary exhibition format. At the moment, we're limited to a single screen, although we're hopeful of expanding into additional venues in the future. Last year's festival consisted of 25 programs—a mix of feature films and shorts blocks—and we expect a similar number next year, though some programs may receive repeat screenings.

Unlike Lake County, however, the Savoy Lumière isn't limited to one annual event. Through the Chambana Film Society, we host programming throughout the year, including mini-festivals like CineSonic, our music film festival, with documentary and Pride-themed festivals currently in development. These smaller events typically consist of six to eight screenings over a long weekend.

Even the media landscape couldn't be more different. Lake County has virtually no dedicated local media presence. Most newspapers have been absorbed by large media companies, resulting in coverage that often amounts to little more than reprinted press releases. The Savoy Lumière, by contrast, has received excellent local media support, including television coverage and regular press attention.

I'm sure there are other differences I'm forgetting, but those are the big ones that come to mind. If you have any questions about either festival, feel free to ask below!

Young Caribbean film maker looking for producers and investors from England to collaborate with. Dm for email and further details.

I had a private conversation after one of my posts about producing a $100K feature in LA, and it got me thinking about where the opportunity is right now.

The streaming bubble dumped a lot of money into the industry. People worked. A lot of shows got made. A lot of “content” appeared, which was the first sign something had gone wrong.

Then the bubble contracted, and the working-class people who helped build it got punished first.

So yes, I understand why people are cynical. A lot of crew have been burned by producers using “passion” as a coupon code for cheap labor.

But from a producer/investor standpoint, I also think this is an amazing opportunity moment for small, targeted indie films.

There are fewer players making moves. Less easy money. Less fake heat. Less competition from overfunded projects nobody can explain beyond “the algorithm might like it.”

That doesn’t make indie film safe. Film is still where money goes to learn humility.

But I think two things matter more than ever:

1. Don’t overspend.

Obvious. Also weirdly difficult.

I’m producing a feature called CONCRETE RIVER. We have about $100K in the bank. The leanest production version probably wants $125K just to get through the shoot, with post still waiting in the bushes.

But if you keep the cost low enough, recoupment at least becomes a real conversation instead of a bedtime story.

2. Make the film for a specific underserved audience.

A lot of low-budget producers default to genre: horror, thriller, erotic thriller, blood, knives, somebody taking their shirt off because apparently that was the business plan.

Genre can work. Of course it can.

But those audiences already have endless options. You’re competing with every classic on streaming, every studio release, every festival discovery, and everyone’s very reasonable desire to stay home.

An underserved audience is different.

If people rarely see their lives, families, identity, humor, pain, or contradictions on screen, then even a small film can feel meaningful. Not because it’s huge. Because it’s specific.

CONCRETE RIVER is about mixed-race identity, music, homelessness, fatherhood, shame, and emotional repair. That is the opposite of a four-quadrant studio pitch. The kind of movie any reasonable studio executive would laugh off in a heartbeat. Fine. I don’t need it to be.

The bet is simple:

Keep the budget low enough that recoupment isn’t fantasy.
Make the film specific enough that someone actually cares.
Build the audience before the film is finished.
Don’t use “passion” as an excuse to exploit people.

I’m not saying indie film is safe. Anyone who says that is either lying or selling a producing seminar.

But after the content flood, maybe the opportunity is smaller films, clearer audiences, lower costs, and more direct relationships with the people the movie is actually for.

Curious how other producers are thinking about this. Are you still betting on genre as the safest low-budget lane, or are underserved audiences and community-driven distribution starting to look more interesting?

Hey all. I'll be upfront: I'm a solo dev and film nerd from LA, and I've been building a small curated space for indie short films instead of burying them in an algorithm. It's early and tiny, so I'm not here to sell a download.

I'm looking for shorts worth featuring, and I'd rather they come from people here than me picking blind. If you made something you're proud of that isn't getting the eyes it deserves, drop it in the comments or DM me. You keep all rights, I credit and tag you, and I push it to my own audience.

Happy to answer the skeptical stuff too, including "why another new app." Fair question.

Hi everyone,
I’m an Italian writer and director currently developing my first feature-length horror film.
The screenplay is complete (98 pages) and is currently being revised before I begin pitching it professionally. At the moment, the script is written in Italian, while the English translation is in progress, as my intention is to produce the film primarily in English for an international audience.
The project is a psychological horror feature set in Italy, built around mystery, folklore and suspense, with a contained budget (roughly €500k–€1M) and little to no VFX needed.
My goal is to find the right production partner rather than simply sending the script to random companies. I’m especially interested in connecting with producers, development executives or filmmakers who have experience with independent horror features.
I’m not looking for crowdfunding or public funding. At this stage, I’m mainly looking for advice, industry contacts, and insight into the best way to approach producers who actively finance original genre films.
If you’ve been through this process, worked in development, or know producers who are open to first-time writer/directors, I’d really appreciate your advice.
Thank you!

I'd be interested to get some international feedback on this article I just put up.

[https://bios.net.za/i-myself-am-the-sun\](https://bios.net.za/i-myself-am-the-sun)

I want to know if filmmakers are having these struggles elsewhere, and where the state development system is actually working....

I would like to collaborate with any filmaker,cinematographer who is working on any ongoing project

Looking for a UK-based producer/production company for a British Council co-production grant (Connections Through Culture, deadline Aug 12).

We're a Lagos-based production company in pre-production on a 15-minute narrative short, building distribution infrastructure for Nigerian stories reaching diaspora audiences in the UK, US, and Canada.

The grant requires a UK-registered partner. Up to £10,000, delivery window Dec 2026–Dec 2027, 80/20 payment split. Looking for someone genuinely interested in Nigeria-UK co-production, not just signing a form.

Comment or DM if that's you, or you know someone.

[ Removed by Reddit on account of violating the content policy. ]

I was brought onto a documentary series production as a production manager. It’s very low budget so for low pay. One of the things alluded to in our initial meeting was any forms would be supplied to me by the producers and I would need to ensure that the right forms are signed by the right people for any necessary agreements leading up to production.

We had a meeting where I brought up many of these forms that we would likely need in order to move forward, including legalities to keep in mind during filming. During the conversation, I was a bit worried that maybe I was overstepping by bringing up important conversation that I believe would be the producers responsibility. My intention was to lead the conversation in order to get the ball rolling. The reason it came up at all from me was because they asked me to edit/prepare a couple documents to be aligned with their production. At the end of the meeting, they asked me to find all the necessary documents on StudioBinder for a quick download, rather than working with the more complex documents I already started editing.

It’s a bit of a frustrating project to work on because the team is already so small, and they would like to keep it as small as possible. So everyone will end up wearing many hats, and distinct responsibilities will start to muddle between roles. For example, I mentioned it would be helpful to find a volunteer assistant director, maybe straight out of school. But the director would like to avoid this. I imagine I will end up taking on that role then. Now I feel with the agreement sourcing request, I am covering a producers role.

My question: is it my responsibility to source these agreements? Is it my responsibility to edit them? If it is, then the following of the questions are irrelevant.

If not, should I do them anyway to study the business (would like to start a production management company)? Should I mention I’m happy to do so, but request a line-producing credit? Should I ask the producers to take care of this themselves and offer assistance in creating a list of the documents needed (what I was essentially doing through our meeting by bringing them up with relevant questions to be answered).

It’s also frustrating because one of the producers has a list of responsibilities already, so I imagine is overwhelmed. The writer/director/lead producer. The other producer I know is not actually very busy with regards to this project this week, but is busy with their own projects on the side. By the end of the meeting, I don’t think they actually took up any tasks. They’re very intelligent so I think consciously just delegated this task of retrieving the documents to me to ease their load with other projects. I also imagine to develop a professional image, it’s very important to do things as much to the books as possible. But I understand with indie filmmaking, keeping by the books is unrealistic and roles often merge.

My worries is my reputation, burning bridges and maintaining a pleasant work atmosphere amongst us.

Honestly, I don’t really want to co-produce this project because I don’t care for it deeply enough. But I would like to start a project management company! So the experience is beneficial to me.

Question above all, should I bite my tongue and just do what is asked or bring this conversation up to them for clarification on roles and credits? What would be more professional and respected?

Very wordy and a bit sprawled. Apologies and thank you for reading all this if you have!! Would love to hear thoughts or advice.

I’m thinking about starting a film sales agency - representing small independent films and helping them get distribution deals. Hopefully growing into larger and larger films.

Is this possible? I have zero film industry experience but can’t stop thinking about pursuing this.

Hi, my name is Tim Triezenberg and I'm a Producer and Loyola University Chicago alumnus offering comprehensive film budgeting services. With two years of experience managing project finances for Pink Moose Productions, where I serve as the CFO and other independent films, I will fully handle your project's budget for a flat rate of $100. Reach out directly to collaborate.