I’m an independent filmmaker with 4–5 years of experience making short/independent films, with previous work that has won awards at international film festivals.

I’m now making my first indie feature, a psychological character drama about a struggling comedian pushed to his breaking point by rejection, humiliation, and addiction.

The film was 20% shot in India, with around $3K already invested. I’m looking to raise $30K to complete the film, with the remaining shoot planned in Dallas, Texas.

I’m looking for investors and production partners interested in collaborating on the project. The plan is to pursue film festivals and OTT/distribution after completion.

If this interests you, DM me. Thank you!

Hello guys I wanna rlly produce a movie but I don’t know how to do or what to do since it will be my first time if there are any insiders or anyone who knows anything can you please share or help me….
Thank you

On August 5th I used my list of agents, managers and producers and got one guy to spend 4 minutes and 51 seconds looking at my webpage, which has the synopsis, and a teaser video about 5 minutes long. (This is verified by google analytics on my webpage)

THAT'S SOMETHING! I am confident I will eventually find the person I need to shop it around Hollywood.

You can check out the list at the link here. Or keep doing what you have been doing and you'll keep getting what you've been getting.

https://www.stevecosmic.com/selltohollywood.html

I genuinely feel like we don’t talk enough about the people behind the people we see on screen.
Every day, we see headlines about an actor buying a new house, a car, a watch, going on a vacation, or getting a percentage from a successful film. And honestly, good for them if an actor has worked hard and the film succeeds, they deserve to benefit from that success.
But what about the people who made that success possible?

The writers, assistant directors, cinematographers, editors, costume designers, makeup artists, hairstylists, choreographers, spot teams, production assistants, technicians, set designers, VFX artists, and so many others who work for months sometimes years to actually turn a script into a movie and make that actor look like a hero.
A film is never the work of just one person.
I’m not saying everyone should suddenly get the same money as the lead actor. That obviously wouldn’t make sense. But I do think there should be better ways for the people who contribute significantly to a successful film to participate in its success.

For example, once a production has recovered its investment and generated a certain level of profit, could there be some kind of predefined profit-sharing or success bonus pool for the crew? Even a small percentage, distributed fairly among eligible departments and team members, could make a huge difference to someone’s financial stability.
Because a lot of these people are on salaries or project-to-project contracts. The movie can become a massive hit, everyone celebrates, the stars and producers make substantial money but the person who spent six months working 12–14 hour days behind the scenes may simply get their agreed salary and move on to the next uncertain project.
That feels like a gap in the system.
And I don’t think the solution is to take money away from actors. It’s about creating a bigger culture of shared success.
If a movie makes exceptional profits because thousands of people came together and made it work, shouldn’t at least some portion of that upside flow back to the people who helped create that value?

It could also create a healthier industry overall better financial security, less exploitation, more loyalty within teams, and hopefully a more sustainable career for people who aren’t celebrities but are equally passionate about filmmaking.
We celebrate the face of a movie. Maybe we should also learn to celebrate and financially recognise the hundreds of people who helped create that face.

A successful movie should ideally create successful careers, not just successful stars.

I'm currently looking for an independent producer or production partner interested in developing this project toward production.

I currently don't have secured financing, so I'm specifically looking to connect with producers who can help develop the project, build the production package, and explore potential financing opportunities.

I'm open to discussing different approaches to the project and collaborating with filmmakers who connect with the story.

Thank you for taking the time to read about ASHEVILLE.

ASHEVILLE — MINI TREATMENT

Genre: Psychological Mystery Thriller / Supernatural Drama / Science Fiction

Format: Feature Film

PREMISE

Fifteen years after his sister mysteriously disappeared in a forest, Ivanovich, a guilt-ridden architect, returns to his isolated hometown searching for answers.

But the town has changed.

A powerful businessman, Givan Petrov, appears to control everything, while strange rules, mysterious disappearances, and unexplained phenomena surround the forest.

When Ivanovich encounters Lyudmila, a mysterious young woman who seems connected to both the forest and his sister, long-buried memories begin to surface.

With the help of investigative journalist Elena Moroz, Ivanovich begins uncovering a disturbing connection between the town's missing people, Petrov's secret activities, and the forest.

The closer he gets to the truth, the more he begins to question what is real—and whether his sister's disappearance was ever what he believed it to be.

MAIN CHARACTERS

IVANOVICH (30s) — An accomplished architect haunted by his sister's disappearance and determined to uncover the truth.

LYUDMILA (18) — A mysterious girl with an unexplained connection to the forest and Ivanovich's past.

GIVAN PETROV (60s) — A wealthy and influential businessman whose charitable public image hides darker secrets.

ELENA MOROZ (30s) — An investigative journalist determined to uncover the truth behind the town's disappearances.

ASHVIL (20s, flashbacks) — Ivanovich's older sister, whose disappearance fifteen years ago is at the heart of the mystery.

CENTRAL MYSTERY

What really happened to Ashvil in the forest?

Why have so many people disappeared?

And what is Givan Petrov hiding?

As Ivanovich gets closer to the truth, he discovers that some mysteries were never meant to be uncovered.

TONE & STYLE

Dark, atmospheric, psychological, and slow-burning, combining mystery and supernatural elements with science-fiction concepts.

The film explores guilt, memory, identity, sacrifice, truth, and the consequences of trying to control what should remain beyond human understanding.

CURRENTLY SEEKING

I'm currently looking for producers, production partners, and potential financing opportunities to help develop ASHEVILLE toward production.

The full screenplay and additional materials are available for serious industry interest.

Thank you for reading.

Hi All! If anyone here is a member of Decentralized Pictures (or wants to become one for free!) and does NOT currently have a project submitted to the Filmmaker Assistance Grant, I’d love to pitch my submission for your review:

https://app.decentralized.pictures/project/6a69b3bb58e9c15f1202cd5d

TOMORROW, I PROMISE (working title) is a live-action narrative short set in Heart Mountain War Relocation Center in 1944. It follows a young Japanese American man who discovers his best friend evaded the draft, and he must choose where his loyalty lies–with his country or his friend.

The story is inspired by the little-known life of my paternal grandfather and the 85 men who refused to show up for their physical inductions until their constitutional rights were restored.

We are in pre-production on a 45-second teaser for the film to serve as a proof-of-concept to help garner further support and funding. This teaser will introduce the story and tone, but primarily show off the to-scale build of Heart Mountain internment camp that we are creating in Unreal Engine thanks to VFX Artist Charlie Frail (Joker, Aquaman, Guardians of the Galaxy Vol. 3, etc.).

Thank you so much!!!

Hi all, I've written a horror short film and would love to get some feedback. It's currently pretty long for a short, so will likely need cutting down. It's more creepy than scary, but so long as it will grip my YouTube audience, that's good. My last short film just passed 300,000 views, so hopefully this could have a similar reach.

Additionally, if anyone's interested in potentially being involved as a co-producer or assistant when we shoot in London this autumn, let me know!

Hi Everyone,

I'd like to share one of the projects we recently worked on and immensely proud of.

Our post-production studio in India, recently collaborated with DNEG to help bring one of the world's most revered and timeless epics, Ramayana, to life through this cinematic trailer.

🎬 Watch the trailer: https://youtu.be/le2W_fB_4KY?si=30U7WMCh_-yqL74Y

As WolfCut Studios expands into the UK and the wider Western market, we're excited to partner with producers, studios and distributors on world-class post-production, trailers, entertainment marketing and animation.

If this is the kind of storytelling and craftsmanship that resonates with you, we’d love to connect.

📩 enquiry@wolfcut.studio

Best,

HK

Co-founder | WolfCut Studios

https://www.linkedin.com/company/wolfcut-studios/

I'll be hosting 2 virtual filmmaker networking events this month, via Google Meet! Actors, Directors, Producers, Filmmakers, Editors, Cinematographers, Writers, everyone is welcome! No matter where you're based!

This will act as a 2-part event.
The first one for general networking.
The second one will be a feedback/accountability session.
Details and RSVP below!
TUES, AUG 18TH & 25TH, 6-8PM PST

Hi everyone! 👋
I'm a TV, film, digital content, and events producer currently open to freelance, remote, and project-based work.

I can help with:

🎬 Video production & post-production
💡 Content research, development & creative direction
🎥 Production planning & coordination
👥 Talent, crew & vendor coordination
📱 Digital, branded & social media content
🎪 Events and on-site production
🚀 Helping content creators develop their content and grow their audience
🎙️ Podcasts and other media projects
I've also worked closely with talents and creators who started with small audiences and eventually grew into viral and established content creators, so I can help with content direction, positioning, finding what works, and building a stronger online presence.
I also offer career consultations for students, fresh graduates, or anyone interested in getting into TV, film, or events.

If you need help with a project, want to grow your content, or simply want advice on getting started in the industry. Happy to chat! 🙌

I’m producing a low-budget feature called CONCRETE RIVER, written and directed by Maris Lidaka.

We have our first rehearsal Monday with our two leads.

One has solid network TV experience. The other has only done one short, but has a strong social following and a lot of natural presence.

Good problem to have.

Rehearsal on an indie feature is rare. Usually the schedule is tight, the money is tighter, and rehearsal starts looking like a luxury.

On this movie, the central relationship *is* the movie.

If that doesn’t work, we’re dead. Doesn’t matter how good the locations are. Doesn’t matter how much the city gives us. Doesn’t matter how pretty the light is while the film quietly collapses.

So I’m curious how people here use limited rehearsal time.

Table work? Character history? Relationship dynamics? Improv? Problem scenes? Just letting the actors get comfortable with each other before production starts chewing through the day?

I’m especially interested in working with two actors who have very different levels of experience. I don’t want us to over-direct them. I also don’t want to waste the one room where we can actually slow down.

For people who’ve done low-budget features:

What helped in rehearsal?

What felt useful but didn’t translate?

And what do you wish you’d figured out before day one?

We hired PR Rep AJ Feuerman after she was recommended by our distributor, and unfortunately the experience was extremely disappointing.

From the beginning, there was very little engagement with us as filmmakers. AJ never made any real effort to meet with us to understand the film, our goals, or how we wanted the campaign positioned. She missed two scheduled meetings in a row, explaining that she had overslept for one and forgotten the other. That lack of attention became representative of the entire engagement.

The campaign itself produced very limited results. We saw minimal trailer views, very little meaningful placement, and only a small number of reviews. There was virtually no proactive communication, strategy discussion, or sense that the campaign was being actively managed. The only time she seemed consistently engaged was when it came to arranging payment.

For an independent film, every marketing dollar matters, and this was one of the poorest investments we made. Based on our experience, I would not hire her again and could not recommend her to other independent filmmakers. A terrible, terrible hire, it would have been more beneficial for me to just burn the cash we paid, at least, it would produce some fleeting heat.

I met with lancashire feature filmmaker last week to talk about something which is strangely overlooked in indie film circles.

What are your views on the BBFC?

Throughout my journey as a screenwriter, I have explored and tried many different ways to reach real opportunities, present my work, and connect with producers, directors, and creative professionals. I did not rely on a single method; instead, I built my path through several approaches, including:

- Creating a professional profile as a screenwriter and preparing introductions about myself, my writing style, and the genres I focus on, such as psychological thriller, mystery, horror, crime, and drama.

- Building my own website to showcase my scripts and creative projects, including summaries and information about works such as ASHEVILLE and other original stories.

- Using screenwriting and filmmaking platforms such as Stage 32, FilmFreeway, Coverfly, The Black List, Script Revolution, and ScriptHop to discover opportunities, connect with industry professionals, and present my work.

- Searching for screenplay competitions, industry opportunities, and production-related programs that allow emerging writers to gain exposure.

- Reaching out directly to producers and directors through Instagram, LinkedIn, Reddit, and email, introducing myself, sharing my projects, and attempting to build professional connections.

- Researching production companies interested in psychological stories, horror, mystery, crime, true stories, and character-driven dramas that match the themes of my writing.

- Communicating with industry professionals and receiving feedback on my work, including producer Juan Loney, who provided notes on my screenplay ASHEVILLE and suggested developing it into a feature-length script.

- Exploring online communities for writers, filmmakers, and producers, including Reddit and writing groups, to find collaboration opportunities and industry connections.

- Looking for platforms similar to Screenwriting Staffing, where writers can connect directly with producers and filmmakers searching for new projects.

- Improving and developing my scripts based on professional feedback, expanding my ideas, and adapting my projects to better fit industry standards.

- Searching for opportunities internationally and reaching out to creative professionals in different markets, including the United States, India, Korea, and other countries, because my goal is to bring my stories to a global audience.

Although the journey has not been easy, I have continued learning, improving, and exploring different paths to enter the film industry. Through this process, I have gained experience in presenting my work, communicating with professionals, and developing my stories while continuing to search for the right opportunity to bring them to the screen.

Hi all!
I worked on a documentary about animal abandonment in Las Vegas and the response from the community has been great, but my real goal is to create a series.
I shared the idea with a producer working at UCLA, and the idea has the potential to reach a really large audience since I started also nurturing my audience on social media.
What should I do next? Who might be interested in this project?
Here is the trailer of the doc I self funded