November 2003

Securing funds as an independent producer is often the most difficult and crucial aspect of successfully completing your vision. Money from the government, non-profits, corporations, private foundations, and individuals is out there for film and video projects. But most funding sources have a particular interest and seek projects closely aligned with that interest.

Lots of things pile up after a shoot. For Steve Gentile, producer of Loaded Gun: Life, Death, and Dickinson, the end of post-production brought a surplus of bills and lots of beer.

First-time documentary filmmaker Jack Cahill still remembers learning hobo sign language from his third grade teacher. What seemed superfluous at the time, Cahill put to good use during his seven years hopping freight trains with collaborator David Eberhardt to film the documentary Long Gone, which chronicles the lifestyle of modern hobos.

What is Standby?

It’s a nonprofit media arts service organization that has been in existence since 1983. We provide post-production services to artists and nonprofits, provide technical consultation, and do publications to serve the media arts field.

Why did Standby start?

What is Standby?
It’s a nonprofit media arts service organization that has been in existence since 1983. We provide postproduction services to artists and nonprofits, provide technical consultation, and do publications to serve the media arts field.

Why did Standby start?

Since its inception seven years ago, the Rhode Island International Film Festival (RIIFF) has been known for putting the filmmaker first. Unlike many “can you top this” film festivals, RIIFF’s small town atmosphere provides a forum for filmmakers to interact with their peers, other film-lovers, and industry folk—all of whom are focused on the films, not the hype.

Ed Pressman and I started ContentFilm two years ago, and we have produced eight films in that time with more on the way. My last job was co-president of October Films, where we acquired or produced over sixty films before the sale to USA Films, and before that I was the CFO of Miramax from 1989-92 where it seems like we did sixty films a year. From all this I’ve come away with some knowledge of independent film finance, and I’d like to share some of it here.