This is so needed generally in the entire so-called “indie” field, not just nonfiction. The lack of it is why there is at least 7 years (!) between films for most makers. Nonfiction makers can at least multitask projects in a way others rarely can.
I hear echoes of this at every film financing panel. Clearly the current funding mechanisms aren't working for most indie filmmakers. I'm a big advocate of trust based philanthropy and how more flexible funding structures can help creatives lead better lives and produce higher quality work. I think the missing piece is more examples of this approach working -- not just in terms of festival awards or distribution stats, but also the real-world impact on policies and culture.
THIS!!!! Thank you for your generous thinking and for sharing your perspective, even though you anticipated pushback. As a queer female independent filmmaker navigating censorship and death threats on top of the usual funding hurdles, your essay is giving me hope!
Thank you for writing this piece Maida, and I hope that it will help to open up a conversation on how we might reframe supporting documentary artists. Your observations of the the current model is painfully astute, and I love the idea of being more artist than project centered as a path towards sustainability.
Love this approach. I think we need both - multi-year fellowships (some with professional development to strengthen artist sustainability) AND project grants - maybe rethinking project support to be multi-year, multi-phase of filmmaking, with follow-up funding options for next phases. I hope you can ignite this!
So true. Be good to find simpler ways to fund and do the work. It was called Patronage back in the day?? May you find good funders for your next fund !
This is how the system should work. Should. For many filmmakers, the field has become a minefield of narrow topics and provable impact objectives. If you want to make a Les Blank-esque documentary, there are literally two places to apply and only if you can pretzel twist your idea to fit that year’s theme. Also, everyone else is applying. Am I wrong, though, in saying out loud that you still need enough wealth/contacts/education to begin with to produce that first Sundance-worthy film in order to attract a “Maida?”
This is so needed generally in the entire so-called “indie” field, not just nonfiction. The lack of it is why there is at least 7 years (!) between films for most makers. Nonfiction makers can at least multitask projects in a way others rarely can.
I hear echoes of this at every film financing panel. Clearly the current funding mechanisms aren't working for most indie filmmakers. I'm a big advocate of trust based philanthropy and how more flexible funding structures can help creatives lead better lives and produce higher quality work. I think the missing piece is more examples of this approach working -- not just in terms of festival awards or distribution stats, but also the real-world impact on policies and culture.
I love this, absolutely spot on, and I really hope people can step up
THIS!!!! Thank you for your generous thinking and for sharing your perspective, even though you anticipated pushback. As a queer female independent filmmaker navigating censorship and death threats on top of the usual funding hurdles, your essay is giving me hope!
Thank you for writing this piece Maida, and I hope that it will help to open up a conversation on how we might reframe supporting documentary artists. Your observations of the the current model is painfully astute, and I love the idea of being more artist than project centered as a path towards sustainability.
Love this approach. I think we need both - multi-year fellowships (some with professional development to strengthen artist sustainability) AND project grants - maybe rethinking project support to be multi-year, multi-phase of filmmaking, with follow-up funding options for next phases. I hope you can ignite this!
This is so right in every way . Thanks for this!
So true. Be good to find simpler ways to fund and do the work. It was called Patronage back in the day?? May you find good funders for your next fund !
This is how the system should work. Should. For many filmmakers, the field has become a minefield of narrow topics and provable impact objectives. If you want to make a Les Blank-esque documentary, there are literally two places to apply and only if you can pretzel twist your idea to fit that year’s theme. Also, everyone else is applying. Am I wrong, though, in saying out loud that you still need enough wealth/contacts/education to begin with to produce that first Sundance-worthy film in order to attract a “Maida?”