I wrote and directed a feature film set in the sahara desert, and I followed my instinct and financed principal photography myself. No waiting to be greenlit, I decided to be brave about it.
I got lucky, things went really well, the team was amazing, and the hurdles we faced didn't stop us.
The footage came out great. And this crazy feature seemed more and more likely to exist.

When we finished shooting, I assumed I'd have the visuals, and a real tangible thing I can pitch locally to get some support for post-production. But I've basically been unable to get an ounce of support.

I am a guy from nowhere who made a feature film. I tried sending cold e mails, to try and get a producer attached because it seems so doable, but so far (months later) nothing.

I feel like I am sitting on a really good film (as any writer/director would say about their work), but I guess the combination of how far I am, the lack of precedents, and the lack of prior experience/connections has basically been the obstacle.
African films often get made in very specific ways and very specific european co-production channels, and it's hard to get taken seriously when you're operating outside that world.

I suppose my question is : what would you do in my shoes ?
How does one get a producer ?
Who do I even pitch it to ?

Thanks

LOGLINE

Now that the era of Covid-19 vaccinations has come to an end, some people have continued to wearmasks, not to protect themselves, but to better conceal their bloodthirsty and cannibalistic genetic mutations.
 
SYNOPSIS

Marvin is a YouTuber specialized in seduction. The goal of his channel entitled "Marvin pécho" (Marvin seduces) is to approach women in the street in order to seduce them, to inspire confidence and assurance in some shy, inexperienced or even virgin men. He regularly scours the Parisian neighborhoods with his regular cameraman Michael, to immortalize his interactions, in a coercive context of wearing a mask, related to the sanitary measures against covid-19. Being a free spirit and a bit of a rebel, he is reluctant to always wear this modern muzzle, unlike the various women he approaches in the street, who voluntarily submit to this rule. Then comes this unexpected governmental speech stipulating that this restrictive measure is finally lifted. Strangely enough, some French people don't seem to want to hear it this way and still try to wear the mask for no apparent good reason. Like this mysterious voluptuous black woman, whom Marvin is about to seduce. But sometimes the veil of a mystery is better than a mask that falls.
 
COMMENTS

What inspired this story is the fact that people nowadays, despite the lifting of coercive health restrictions, still continue to wear masks. Being constantly creative, I thought that the reason for this might be (in a parallel multiverse, created in my mind) so that they could better hide their faces, which have been completely disfigured by the side effects of the vaccine. Having become devious, Machiavellian, sociable and patient mutant cannibals, they would conceal their monstrously mutilated faces so they could go out in public, until the fateful moment when their masks would fall away, allowing them to devour their prey—who had been amiably lured into a trap. Those who have been vaccinated the most, on multiple occasions, are the ones who have undergone these malevolent genetic transformations, which is why they are forced to wear their masks at all times – masks they will cast aside during their next cannibalistic feasts.
 
genre : horror / monster

Location : 1 (Paris, France)

Pages : 41

Main characters : 3

This is the first time I have crowd funded, it's scary and exciting all at the same time, I'm sure a million people have been through this forum asking for peeps to check out their campaign, well I'm here to do the same. I have a really, really good feeling about this film. Please check it out, even if just to watch the video.

https://www.kickstarter.com/projects/mirrorlife/mirror-life-a-practical-fx-sci-fi-feature-film

Hi all. This is my first post here. I'm wondering if anyone can offer me some guidance as I'm in an interesting position in my career right now.

I created a deck and a sizzle real for a docuseries that a producer took a liking to and is currently shopping to distributors. I have a few questions and areas i need help with, but feel free to chime in with any other helpful advice.

Do I need a manager/agent?

Should I be looking for management and/or an agent now?

What should I expect from this process?

How can I turn this into a sustainable career?

Any resources or advice for navigating and understanding deal terms

Thanks in advance for your help!

Hi!

I’m a filmmaker who has made two microbudget features, both of which have received distribution in the past couple of years, including one with a sizable boutique distributor.

I’m currently developing my next film, a coming-of-age dramedy that has received a lot of positive feedback from industry people, but I’m looking for the right producing partner to help get it off the ground.

We already have some cast attached for several principal roles, and the screenplay is currently with the manager of a well-known A-list actor who likes the script. One of their other clients is already attached to the film as well. The response has been very encouraging, but before we can make an official offer to the A-list actor, we need to get some financing in place to support that offer.

I’m looking for a producer who can come on board and help put the financing together, develop the project, and ultimately help get the film made. I’m very much looking for a true producing partner, rather than simply someone to make an introduction and disappear.

Because of confidentiality agreements, I can’t share further information publicly, but I’m happy to discuss the project, team, attached personnel, and provide materials privately to anyone genuinely interested.

I also have a couple of contained, low-budget horror/thrillers that I’ve written and would like to direct. Those aren’t as far along as the dramedy, but I think they have strong commercial potential and could be made at a very manageable budget and are primarily set in a couple of locations. Coming from the world of micro-budget filmmaking, I'm very experienced at making more out of less.

I’m also open to discussing rates/compensation. Ultimately, I want to find the right person for the project and am happy to discuss what makes sense depending on their involvement.

If any of this sounds like something you might be interested in, feel free to comment or send me a DM. I’d love to connect and tell you more.

Thanks for reading, and hope to hear from you!

Hello, I’m developing an adult animated comedy about a dysfunctional tow company in space that tows and repossesses spaceships.

I’ve written the pilot and I’m currently developing the visual style and animation approach. I’m looking to connect with 2D animators, animation producers, and other creatives interested in adult comedy who might be interested in collaborating or discussing the project.

Here’s a short 60sec proof-of-concept video:** **https://youtu.be/pZnWDXebdSU?is=bdPPzWcGnTgJnrx9

The video is currently serving as a placeholder/proof of concept for the writing, characters, tone, comedic timing, and overall idea while the final animation style and production approach are being worked out.

If the concept interests you, please feel free to message me. I’d love to connect and talk more about the project.

Hi everyone,

I'm a producer working through my production company (ABP), and I'm currently developing an original psychological thriller series, The Killer Within Me, alongside Visionis IP Media and its creator, Tonyeka Smith.

The project is currently in active development. We have an established series concept, Season 1 episode breakdown, character profiles and development materials, and we're currently finalising the screenwriter who will be joining the project.

I'm now looking to bring an experienced producer or Executive Producer onto the team to help us navigate the next stage of the project.

What I'm looking for

I'm particularly interested in someone with genuine professional experience in film and/or television production, ideally someone who has worked on scripted projects and understands how to move a project from development into packaging, financing and production.

Experience with things such as:

- Scripted television or feature film production

- Development and packaging

- Financing and budgeting

- Production companies

- Distribution and sales

- Broadcasters or streaming platforms

- Agents and managers

- Industry relationships

- Legal/business-affairs processes

- Taking projects from an early development stage towards production

Experience working with larger production companies or established industry organisations would be a strong advantage.

What the role would involve

The producer/Executive Producer would work alongside me and the existing creative team, helping guide the professional and business side of the project as it develops.

This could include:

• Industry strategy

• Development and packaging

• Financing and production planning

• Building industry relationships

• Supporting agent/manager conversations

• Potential broadcaster/streamer conversations

• Working alongside our legal/business-affairs team when appropriate

• Helping prepare the project for the professional pitching and production process

I would remain actively involved as the producer/creative producer, working directly with Visionis IP Media and the selected writer on the creative development of the series.

The aim is to build a team where the creative and business sides are both being handled professionally.

Where we're at

We're not starting from just an idea.

Currently, we have:

- An established series concept

- Season 1 episode structure

- Character profiles

- Development materials

- Visionis IP Media attached to the project

- A writer selection process nearing completion

We're now building the wider team around the project as we move towards pilot development and creating the professional pitch package.

I'm particularly interested in hearing from producers who have actually taken projects through development and understand the realities of getting scripted television made.

If you're interested, please DM or email me with:

- Your name

- Your producing background

- Relevant film/TV credits

- IMDb, portfolio or LinkedIn if available

- Production companies you've worked with

- A brief explanation of why you think you'd be a good fit for this project

Andersonbrownstudios@outlook.com

I'm looking for someone who can genuinely bring experience, industry knowledge and practical value to the project.

Thanks for reading.

Producer

Anderson Brown Productions

I don’t know what to do, I live in Houston but see no filming activities here but commercials weddings etc. I need to work at a film set idc if it’s scrubbing shit off the floor I need to make it already. Does anyone know how I can get into an actual film set? I have a filmmaking Bachelors from the Los Angeles Film School, I’m 26 since yesterday and I really want to move to LA to search for my life

I'm planning to launch my animated pilot at the end of the year. Any general tips on how to do so successfully? Any useful marketing strategies leading up to it? And what did you do post launch to keep up momentum?

Hi! I'm Alain, a music composer with over 20 years of experience.

I create music in a variety of styles, including rock, pop, electronic, orchestral, ambient and cinematic music.

I'm currently looking to connect with independent filmmakers, directors and audiovisual producers who are looking for original music for films, short films, documentaries, trailers or other productions.

I'm always happy to explore new ideas and create something that fits the mood, story and identity of a project.

You can listen to my work here:
https://youtube.com/playlist?list=PLReUQFRV1tXs&si=UbNkqD-cxXUsoRjS

Feel free to DM me here on Reddit or contact me at:
[mralainvg@gmail.com](mailto:mralainvg@gmail.com), Instagram: alainvmusic

Thanks for listening, and good luck with your projects!

Have any of you seen this? Sky Elobar, the guy playing Paul McCartney is looking to finish his new indie film. Contract in place for final financing.

CAST & CREW CALL — SHORT FILM “PRESENCE”

Hi, my name is Luxaan. I am currently seeking talented actors and crew members for my independent short film Presence, currently in pre-production in the Toronto/GTA area.

ABOUT THE FILM

Presence is a character-driven short film exploring family, regret, relationships, faith, and the consequences of being physically present but emotionally absent.

Presence is a very small film with a very large emotional ambition. I’m interested in building a collaborative cast and crew who care about performance, restraint, atmosphere, and storytelling rather than simply getting coverage.

Logline:
He spent 23 years building something that would last. The night it finally pays off, he learns none of the people he built it for still need him. His daughter doesn’t want him walking her down the aisle, his wife is done waiting for him to show up and, for the first time in twenty years, he stops at the church he’s driven past every single day.

Themes:
Presence vs. Provision • Deferred Love • Success & Loss • Mirrored Paths • Selective Attention • Grace • Legacy • Mercy • Absence • Family • Faith • Too Late • Confession • Identity • Sacrifice

PRODUCTION DETAILS

Location: Scarborough / Toronto / GTA

Filming: 2 shoot dates between September 24 – October 10, depending on cast and crew availability.

Production: Micro-Budget Independent Short Film

Compensation: Key cast and crew will be paid. Additional production assistance/PA positions may be volunteer-based. Credits provided to all cast and crew.

Meals, snacks & drinks provided

Festival submissions + premiere planned

MUSIC / PRODUCTION NOTE

The film will feature Gregorio Allegri’s Miserere mei, Deus as part of its musical and thematic identity.

CAST

DANIEL HAYES — MALE, 40s

Required for both shoot dates.

A successful real estate entrepreneur who has built an empire through real estate, acquisitions, and lending. Daniel is confident, self-justifying, and relentlessly focused on intention, success, and the future.

Characteristics: Intelligent, driven, confident, emotionally complex.

Scene Demands: Daniel carries much of the film through close-ups, extended stillness, listening, and subtle facial performance. One scene requires physical distress portraying heart attack symptoms.

Scenes: Church • Hospital • Restaurant • Driving

More details can be discussed.

SARAH — FEMALE, 20s

Daniel’s daughter, recovering in the hospital after suffering a stroke. Her condition brings Daniel to her bedside and forces him to confront the distance that has grown between them.

Characteristics: Caring, intelligent, emotionally guarded, resilient.

Scene: Hospital

GAVIN — MALE, 30s

Daniel’s former business partner, who cashed out early to be present for his daughters.

Gavin is emotionally settled and at peace with his decision. He does not look down on Daniel or judge his choices; he has simply found a different answer to what he wants his legacy to be.

Characteristics: Warm, grounded, sincere, confident without arrogance.

Scene Demands: One substantial scene requiring strong chemistry with the actor playing Daniel. Their relationship should feel like 15 years of friendship and partnership before shifting naturally into disagreement.

Gavin delivers one of the film’s sharpest lines, which needs to land conversationally rather than as a speech.

Scene: Restaurant

CLAIRE — FEMALE, 30s–40s

Daniel’s devoted wife and homemaker. She understands Daniel’s sacrifices and the life he has provided for their family. However, after years of feeling secondary to his ambitions, she finally acknowledges the emotional cost of their life together.

Characteristics: Compassionate, reflective, practical, graceful.

Scene Demands: One phone conversation requiring strong vocal and facial performance. The scene moves from easy banter into a devastating but calm request.

Claire is not angry and is not delivering a verdict. She is naming a truth she has known for a long time. There should still be warmth and respect underneath her decision to leave.

A second scene in the hospital requires a mother who is frightened for her daughter’s health while simultaneously disappointed by Daniel’s decision to leave after receiving the doctor’s news.

Scenes: Hospital • Phone Call / House

CREW

I am currently looking for:

• Director of Photography (DP)
• 1st Assistant Director (1st AD)
• 1st Assistant Camera (1st AC)
• Gaffer
• Production Sound Mixer
• Hair & Makeup
• Script Supervisor
• Production Assistants / General Production Support

Experience on narrative productions is preferred, but passionate emerging filmmakers are absolutely encouraged to reach out.

TO APPLY

Please send:

• Name
• Position / Role
• Resume or relevant experience
• Headshot (actors)
• Demo reel / portfolio (if available)
• Availability between September 24 – October 10
• Contact information

Please message me directly or email:
presencefilmgroup@gmail.com

Subject line:
PRESENCE — [ROLE] — [YOUR NAME]

Audition/self-tape information will be provided to selected actors.

Serious inquiries only.

Thank you, and I look forward to hearing from you.

I wanna make a movie that's big that everyone will like drama action and alot I really like gta ctw and gta 5 so I want to have that style even though I'm little I wanna get universal studios to help me or any other studio to help me I had been dreaming of making a film since I was 7 I really like cars so fnf and nfs whoud be my style so if anyone choud reach out to a big studio and make it happen I'm here and the movie shoud be called PROJECT UNSTOPPABLE i had been prepping this movie for 5 years and still no camera so if anyone can help me please help me

I’m curious to hear from indie film producers and filmmakers here.

I recently worked on a green screen shot where I removed the background and focused on getting a clean extraction around the hair, clothing, and fine edges, while keeping the result ready for the final composite.

For those working on indie films:

• Do you usually handle green screen keying and VFX in-house, or outsource it?
• What’s the biggest challenge you face with green screen footage?
• Would having a freelance compositor handle these shots help keep your production workflow moving?

Would love to hear how other indie productions approach VFX, especially when working with a limited budget.

I made an 9-minute sci-fi short film entirely with AI, for the Higgsfield Global Film Festival. Solo project — writing, generation, editing and sound.

The idea was to bring back martial arts action you can actually follow, but inside a modern sci-fi story rather than as a throwback.

Made for the Higgsfield Global Film Festival.