Film, today is one of the most popular forms of entertainment in the world. Several thousands, even millions of people eagerly anticipate the next cinema blockbuster as one would anticipate the return of a prodigal child, especially one of prodigious ability.
Film grosses billions of dollars’ worth of revenue for its various stakeholders annually. Movies are released to the big screens, with the box office releases pulling in enormous amounts in opening day, week, and subsequent global ticket sales. Distribution is done in different ways, with the advent of digitalized viewing in the form of streaming services and subscription fees. In all, the filming industry is dominated by the economics of figures, and the implicative cost of production. Which brings us to the question of how filmmakers cough out the gargantuan sums needed to make the big-screen magic happen.
The Filmmaking Dilemma
Since we have established the consequence of the huge profits often associated with several film successes, we can go on to ask specific questions as to the actualization of a filming project.
The filmmaking dilemma can be two fold. As with any other great project, the filmmaking process, all the stages of production, and post production, needs to have in its essence a concept. The concept of the film is the form that the project will take, for example full length feature films such as Braveheart, continuous lengthy series like Peter Jackson’s Lord of the rings, short documentaries on history or wildlife.
All of the above, i.e. the first dilemma, leads like an arrow straight into the crux of the second dilemma: where to find the money and sponsorship needed for the production
Films are expensive to make, that is a given. The decision to expand the project in length, depth, breadth or scope will be made by the filmmaker, and this is ultimately determined by the fiscal power of the project.
Stunts are expensive. Quality cameras, technical crews, capable artists and actors are required to bring the production idea to the real life. All of these cost a lot of money. For instance, even a small documentary project will require some fiscal injection to speed up production, or to ensure that the project is ready for a pre-scheduled launch, or release.
Filmmakers almost always require external sponsorship of some sort. Sponsorships come in differing forms, and do not always require money.
Fiscal sponsorship
The above phrase refers to all forms of sponsorship that involve money. In the case of the subject matter, this implies the different ways or forms through which filmmakers can attain sponsorship of some sort, to finance projects.
Below are highlighted the three main ways through which producers can get funding:
· Self-sponsorship is just as it implies: some productions can be small enough to be totally financed by the producer.
· Some studios will often decide to foot the full, or partial costs of some projects
· Investments, investment rounds by venture capitalists and private investors, are the rewards of excellent sales pitching for filmmakers