Financing / Crowdfunding

If you already have a Team working with you... Crowdfunding. It;'s hard to find investors for Features, much less shorts, even though the Vertical market is exploding.

Seems to be the case, yeah. I know there are some options with crowdfunding: Kickstarter and Indiegogo. I would say GoFundMe, but I feel like that's more so for serious and emergency funding than businesses. I plan on making one after our proof of concept is complete, but I'm unsure if it'd be wiser to do it before hand. At least a crowdfund for starting up only?

Nicole Carpio You’re actually approaching this the right way starting with a proof of concept before scaling up is exactly what makes investors take notice.

For early-stage studios, especially in animation, it often comes down to de-risking the idea visually. A strong 30–60 sec short that clearly shows tone, world, and character appeal can do more than a full script when it comes to attracting interest.

Outside of crowdfunding and merch (which, like you said, comes later), a few paths that seem to work:

• Targeted grants and labs (especially for animation or emerging creators)

• Strategic collaborations partnering with composers, writers, or small studios to increase perceived value

• Building a niche audience early through short-form drops (even before monetization)

Also, animation investors usually respond to IP potential series, licensing, or long-term scalability not just a single project.

Curious are you building this as a standalone short, or as a proof of a larger series/IP?

Abhijeet Aade We're building this as a larger series/IP by starting off small. With our shorts, we're hoping to branch out to an audience by letting them get to know the cast, world, and tone of the series before launching a pilot and so on.

I would love to do collabs with other creators one day! We just haven't found an opportunity yet.

Nicole Carpio That’s honestly a very smart approach because you’re building audience investment before asking people to commit to a full pilot or larger production.

A lot of indie creators try to jump straight into massive projects, but introducing the world gradually through shorts lets people emotionally connect with the characters first. By the time a pilot arrives, the audience already feels attached to the universe instead of being introduced to everything at once.

And collaborations usually happen naturally once people can actually see the vision. Proof of concept creates momentum. Artists, composers, animators, and even potential investors tend to respond much more strongly when there’s already a living world, tone, and identity in motion.

The fact that you’re thinking long-term as an IP rather than just a single short also makes a big difference. That scalability is exactly what makes animation projects potentially attractive over time.

Wishing you and your team a lot of success with it building something from scratch is difficult, but it’s also where some of the most original projects come from.

Jack Binder What stands out to me isn’t just the size of the number, but what it signals about the industry right now: despite all the conversations about contraction, restructuring, AI disruption, and streaming fatigue, the demand for content is still enormous.

The competition for attention has become brutal, which means studios aren’t slowing down they’re doubling down on projects that can emotionally connect, retain audiences, and generate cultural conversation.

At the same time, I think this creates both opportunity and pressure for filmmakers. More spending doesn’t automatically mean easier access, but it does mean the ecosystem is still actively searching for compelling voices, strong concepts, and marketable storytelling.

What matters now is differentiation. In an era flooded with content, memorable tone, emotional authenticity, and a distinct creative identity become even more valuable.

And honestly, the mindset in this post is important too. A lot of careers stall not because people lack talent, but because they wait endlessly for certainty before creating or sharing their work.

At some point, you really do have to begin.

Posts like this make me want to stand up, wave my hands, and say "me! hello!" Wouldn't help. Someone taking a risk on a well-known series or a famous story is one thing. Backing something new is entirely different. From the informal research I've done, audiences are tired of more versions series they already know. Something new would be welcome. On the other side, the market problem is what Jack Binder said. It's easier to sell tickets to something people already know than it is to get people to watch something new. Even with comps and comparisons, there's always a question of whether or not 'that new universe' will sell.

I'm all for supporting original stories and steering clear of "reboots, sequels and spinoffs. The same for "branded IP." I just hope he doesn't include the adaptation of literature in his calling. There are so many wonderful stories written throughout the ages that new generations have no clue about. That IP is a treasure trove.

Terri Morgan I too am speaking out against this market logic. In Italy, movie theaters are saved every year by American films, and especially by American sequels. The only way out This market logic is public funding for first works and not giving money to those who already have it in the bank.

Terri Morgan You've elucidated the dilemma well. Bottom line, keep creating new and original stories. They still sell, audiences still want them. Yes, a market demand relies upon the familiar. But people know what the want when they see it. Unique stories are critical for creativity and industry alike.

Frank Detrano Absolutely. While Mr. Spielberg has certainly created his share of sequels, his dedication to original storytelling is without question. I mean, dinosaurs!?

Thank you very much!

Susanne Palm My pleasure, likewise thank you and best of luck in filmmaking!

Jack Binder This is a really helpful list especially for understanding how many different stages of support exist, from development to finishing funds.

As an emerging writer, I’m curious what would you say is the best path for international filmmakers looking to access these kinds of opportunities?

Abhijeet Aade Apply!

Susanne Palm You're welcome!

Sounds amazing! When in July will this lab start?

Jeanette Milio This looks like a really valuable initiative especially the focus on building an actual financeable slate rather than just understanding theory.

The part about structuring recoupment waterfalls and positioning projects for both equity and debt financing is something a lot of emerging filmmakers don’t get clear guidance on.

Definitely feels like the kind of program that bridges the gap between creative development and real-world execution.

Thank you all for the kind comments. I’m excited to be teaching this lab again. as far as I’m told it starts on 7/12 but I will reconfirm that date with the Stage32 team. Eric - AI is never a “bad word” in my humble opinion because there is just no way around it. It’s here - let’s embrace it and use it in a way that makes sense. Today it does offer various applications that can make production flies for efficient and costs more feasible. Tomorrow? Who knows.

Michelle Griffith I was wondering the same this looks like a really valuable lab, especially the focus on building an actual financeable slate rather than just theory.

Have you done anything similar before, or would this be your first time diving into something like this?

Not really. I've produced one feature to date, just released by Paramount in September. We had one equity funder, so I'm deep diving into anything that will inform and instruct me on a more "real life" scenario than one fairy-godmother funder :)

Sam Rivera Yes indeed great for the UK production industry. As you mention as well opportunities for UK screenwriters and directors. Collaborating with local talent is important for inbound productions to access funding which the UK has numerous platforms for.

Fantastic that its incoming but seeing very little support for filmmakers based in UK actually raising finance.

It’s Britnattery investing in its survival. If you’ve written a UK Union piece, congrats. It would be remiss of me to call it propaganda as many great pieces are written - but that’s where the focussed money is coming from.

Jack Binder Those numbers are really impressive especially the growth in both HETV and feature films. It clearly shows the UK is still a major global hub for production.

What stands out to me is how much of that spend is driven by inward investment. It’s great for the industry overall, but it also makes me wonder how accessible that momentum is for emerging local writers trying to break in.

Curious do you think this growth will translate into more opportunities for new voices, or will it mostly continue to benefit large-scale international productions?

Russell Gow That’s a really important point. There’s a lot of conversation around financing models, but the practical access to that funding especially for UK-based filmmakers, still feels quite limited.

It often seems like understanding the system is one thing, but actually getting through the door is a completely different challenge.

Curious, have you found any routes that are working right now, or does it still feel pretty closed off from your side?