Producing : Inside the Future of TV Producing: Tony Hernandez, Lilly Burns & Elise Henderson Talk Strategy, IP, and Creative Risk by Ashley Renée Smith

I live in Iran and run an animation studio.

For about a year, I have been working on a feature animation project, but so far I have not been able to secure any funding to move it forward. I truly believe that our story deserves to be seen worldwide. The only opportunity left to connect with an international platform is through Netflix. According to the information on their website, direct contact is not possible; only those who have previously worked with them can facilitate such a connection.

In this dark and uncertain environment, I wonder if you might be able to help me. Another challenge is that we are under sanctions, but I am determined to make this film at any cost—before it’s too late.

Once again, I apologize for the intrusion and would be deeply grateful for any guidance or support you could offer.

Hi Mohsen Abdolali, thank you for sharing your story. I can tell how much passion and perseverance you’re bringing to your project, and I genuinely admire your determination in the face of such challenging circumstances.

That said, I want to offer some guidance that may help you build deeper and more productive relationships here on Stage 32. When a post is focused on a specific topic, like producing strategy, industry trends, or tips, it’s important to engage with that topic authentically. That kind of meaningful participation helps you build trust, grow your network, and contribute real value to the conversation.

Posting off-topic comments, especially those that ask for help or pitch a project without context, can be counterproductive and are actually against our community guidelines. These types of comments are subject to deletion and may result in your profile being temporarily or permanently suspended. That policy exists to protect the collaborative and respectful environment we all work hard to cultivate.

If you’re looking to share more about your project and goals, I highly recommend posting an introduction in the Introduce Yourself Lounge: https://www.stage32.com/lounge/introduce_yourself and joining discussions in the Animation and Producing Lounges to actually get to know your fellow Stage 32 members.

You can also reach out to our Success Team at Success@Stage32.com for curated guidance and resources based on your goals.

You’re clearly invested in your creative journey, now it’s time to invest in the Stage 32 community too. That’s where the real opportunities begin.

Hi Ashley Renée Smith , thanks for your help. I sent some Email to Success@Stage32.com but nobody answer me. I go the feeling I can not do it. to be honest I disappointed.

Mohsen Abdolali do you have a completed project to demo? What is the animation about?

We are currently developing our most ambitious project to date, “A Magical Journey”, a visually stunning and heartwarming animated feature deeply inspired by Iranian folklore. The film follows an elderly storyteller and a band of whimsical characters—from a playful pumpkin to a mighty Divo—who travel from the mystical Land of Stories into the modern world to participate in a competition called “Good Stories for Good Children.” Along the way, they face challenges, form unlikely friendships, and celebrate the timeless power of storytelling.

we are working an a short teaser ( proof concept) , story and main part of pre-production are ready.

Mohsen Abdolali It’s important to note that many countries—including the United States and members of the European Union—have imposed comprehensive sanctions on Iran. I am not here to debate if its warranted or fair but these sanctions restrict various forms of engagement such as financial investments and collaborations, especially for individuals and entities based in sanctioning countries. For example, U.S. sanctions enforced by the Office of Foreign Assets Control (OFAC) prohibit most transactions with Iran, and similar restrictions exist elsewhere. Because of these legal constraints, international platforms like Netflix—while operating globally—may determine to comply with their home countries’ laws, which often limits their ability to work directly with creators in sanctioned regions like Iran - at least in theory.

Kenneth George Thank you very much for clarifying this point.

I fully understand the restrictions caused by sanctions and the legal limitations that platforms like Netflix or others need to follow.

The challenge I face is that, while sanctions are intended to target governments, in practice they mostly affect independent artists and ordinary people like myself. I have no interest in political or state-funded projects—I am fully independent, and my story is a cultural work dedicated to preserving and celebrating storytelling traditions for children and families worldwide.

That is why I am trying to find creative solutions, such as collaborating through partners abroad, to make sure this project can be produced and shared with the world. For me, the most important thing is that the story gets made and reaches audiences, no matter under which brand.

I deeply appreciate your guidance, and I am still hopeful that with perseverance, a path will open for this project.

Mohsen Abdolali not necessarily. The government is not a person, per se. Actions—or inactions—by one government can affect another, but usually indirectly, often through the response of the other government or its citizens. In practice, it is often ordinary people who bear the cost, while political actors or the government itself are frequently insulated.

Take tariffs, for example. When one country imposes a tariff, the exporting country may simply raise the price of goods sold into the first country. Demand might fall slightly, but buyers ultimately absorb the cost. In this scenario, Chinese producers may sell less to the U.S., but American consumers are the ones paying higher prices.

Similarly, sanctions intended to target governments often end up affecting citizens more than political actors. While the government of the sanctioned country may be affected, ordinary people are the ones who feel the immediate impact.

Quite frankly, I’m not paid enough to intervene in a U.S./Europe conflict with Iran or start proposing solutions. The professionals being paid to handle that have been working on it for decades without resolving it.

Kenneth George You are absolutely right — in practice, sanctions and similar measures mostly impact ordinary people rather than governments or political actors. That is exactly the challenge I face as an independent creator. My work has no political agenda; it is purely a cultural project dedicated to storytelling for children and families.

This is why I am trying to find creative ways to move forward through international partnerships. I truly believe stories should not be limited by politics, and I remain hopeful that this project can still reach audiences worldwide.

Mohsen Abdolali There are certainly Iranian actors and producers who have found success in Hollywood, so it’s not as if you’re utterly without opportunity. That said, financing a film or TV project is challenging including under the best circumstances. While sanctions do create extra hurdles for money flowing directly into Iran, it’s worth noting that raising funds for creative projects is rarely simple anywhere. Even in countries without sanctions, filmmakers can’t just walk into a bank and secure unlimited financing.

In fact, some of the most reliable sources of funding or support often come from local organizations, cultural groups, or government programs that are specifically interested in promoting their culture and heritage abroad.

Mohsen Abdolali The phraseology of sanctions is to punish a government. The method of sanctions is precisely to hurt real people, on the theory that those people will then punish or turn against their government. Sanctions are therefore intended to hurt people, and in diplomatic terms are a method of warfare without sending troops. I have had the opportunity to work with many Iranian film people, including the eminent Amir Naderi (I was LP and AD on his last film "Magic Lantern"). Some of them have had great success, and some less so but that is the nature of the industry for everyone.

Shadow Dragu-Mihai Kenneth George I have read Bankroll: A New Approach to Financing Feature Films, so I know very well how challenging raising funds for any project can be.

The first point I want to mention is honesty. Living in a country where many people rely on dishonesty just to survive, it is refreshing to have conversations where honesty is the standard. That makes your insights especially valuable to me. It was also interesting to hear that you know Amir Naderi. Many of my friends and colleagues who now live abroad had no choice but to leave Iran in order to escape censorship and discrimination, so they could freely pursue the work they love. I once considered emigrating as well, but the circumstances did not allow it.

The second point is about funding. I have already explored the possibility of cultural funds, but to build trust with investors I thought it would be more effective if I could first secure a partnership outside Iran. For example, if I could secure around $300K abroad, I could likely raise a similar amount inside Iran through the credibility created. I even came close to signing a deal with an Indian company, but they required $100K upfront, which I simply could not provide.

So far, I have personally invested about $50K into the story, concept art, character and environment design, and pre-production for the trailer. Beyond completing the trailer, however, I cannot continue without external support. Of course, one could argue that stopping the project is an option, but I don’t want to think that way. My goal was to complete the trailer by MIPCOM 2025. Due to recent issues in Iran, getting a visa for France is currently not possible for me, but I can still arrange for someone else to present the project on my behalf.

Mohsen Abdolali if you've truly invested $50,000 of your own money into this project, the most strategic move would have been to focus that budget on completing a finished product — even a short — that could demonstrate the viability of your vision. That would put you in a much stronger position to seek partnerships, sales, or assignments.

Asking for $300K in external funding without providing any concrete proof of work — especially while based in a heavily sanctioned country — raises serious red flags from both a financial and legal standpoint.

Kenneth George Thank you for your honest feedback — you are absolutely right. That is exactly why we have already started working on a teaser. My team and I are putting all our efforts into making sure the concept is presented in the strongest and most defensible way possible.

I truly appreciate your perspective and guidance.

Mohsen Abdolali Animation is a massive genre, with a global market valued at $374 billion. The U.S. accounts for just $59 billion, or about 16% of the total (2023). That means you may have more options than you realize—countries like Japan, China, South Korea, and Canada are all major players in the space

Kenneth George Thank you for this insight — you are absolutely right. I will definitely look more closely at opportunities in markets like Japan, South Korea, China, and Canada alongside the U.S.