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I understand your perspective. Last year was the first AFM at the Fairmont Century Plaza, and I don't think it was a bad venue at all. Every location has its own atmosphere, but I'm especially interested to see how many industry professionals attend this year and what kind of business...

I agree. Hollywood will certainly remain one of the industry's major creative and commercial hubs, but I think the biggest advantage over the next few years will belong to those who don't think in terms of a single market. International co-productions, global financing, and long-term...

That's a great point. I'm also curious about how responsive people actually are on the platform. A large directory is useful, but response rates often matter much more than the number of listed professionals. Have you found that people are actively looking for work, or do many profiles tend to...

I think another consequence is that fewer mid-budget films also means fewer films that can actually build new stars. Big franchise films usually rely on actors who are already well known, while low-budget independent films often don't have the marketing reach to introduce new talent to a global...

@MICA You absolutely hit the nail on the head regarding that "gamble on viral discourse." Looking back at how The Drama performed after its April release, it's fascinating to see how that strategy actually worked. Despite the polarized third-act twist, the film didn't collapse after opening...

Reading the interview got me thinking about something. Do you think distributors have become more conservative in the films they acquire, or are producers developing too many projects that no longer align with current market demand? I'd be interested to hear which you see as one of the biggest...

Michael, I think you nailed it. It's the difference between capturing reality and constructing it. When an image is processed over and over again, something gets lost. Not detail, but texture. Real locations have dust, imperfections, changing light and small surprises that are almost impossible...

More than 2 years (closer to 3, if I'm being completely honest). Lucas, we ran into exactly the same issue with balancing public and private financing. Our biggest challenge was timing. By the time we were close to securing the final 30% from private investors, one of our regional funding...

I've noticed something interesting. The producers who negotiate the hardest are often the ones with the least invested. The ones who have spent three years developing a project, attached talent, raised part of the financing and promised everyone the film will happen... they're usually the...

Lucas hit the nail on the head with the math, but over on Reddit (especially on r/Filmmakers), veterans always point out another unspoken truth: investors don't just invest in projects, they invest in momentum and collateral. An investor can genuinely love your script, but they will still say...

I think a trailer can absolutely open doors for an average film, but it rarely closes the deal on its own. I've seen projects generate strong initial interest because the trailer was excellent, only for that momentum to disappear once buyers watched the full screener. At the same time, I've...

Thanks for sharing that, Jim.It's interesting to hear how the manuscript has been passed down and preserved over the years. Best of luck with the project, and I look forward to reading any future excerpts or stories you decide to post.

One thing I think many people outside the financing side underestimate is how dangerous the timing gap can become between production spending and actually receiving the rebate money. On paper, a 30% incentive may look fantastic. But if producers only receive that money 12–18 months later...

In 2025 at AFM in Los Angeles, I met several European producers working through a European company that specialized in international sales of European films. At least at the time they were still actively selling films internationally whether they still do today, I honestly don’t know. From the...

Personally, Cannes went surprisingly well for me this year, so I’m curious to see how Toronto compares. I’ve never been to TIFF before, but since many people say it’s becoming one of the first major industry markets after Cannes, I’ll probably give it a try this year. Hopefully it will be...

During the Cannes market, I increasingly felt that today it’s no longer enough for a project to simply be “good.” A lot of pitch decks are visually impressive full of mood images and strong director vision but after a few minutes the same question still remains: who is realistically going to...

Instead, revenue today is increasingly built through the combination of multiple smaller income streams over time. Many indie films now start generating value through AVOD or FAST platforms first, then later through niche territory licensing, educational screenings, airline or hotel licensing...

What makes this discussion especially relevant right now is that Cannes market week tends to expose these structural contract problems very quickly. During development, vague clauses often survive because everyone involved is still operating on optimism, flexibility, and future expectations...

I think one of the biggest invisible transitions in the film industry happens when responsibility quietly replaces supervision. At the beginning, people are mostly learning: experimenting, assisting, observing, making mistakes, improving. But eventually a moment comes where other people start...

I think minimalism only starts to hurt when the deck feels uncertain, not clean. A short deck can work really well, but there still has to be something solid to hold onto. If it’s not immediately clear what the film is, who it’s for, and why it works, then it just feels empty instead of...