Fundraising for animation

[Ward]

This is a subject that I've been very afraid to approach. In the past, I've created 2 short animated films (videos, more specific) but were able to do them as a side project at work, with everything being paid for by the company. Now, I don't have that opportunity to do such a thing. I've got great stories to animate, but need fundraising (and time) to finish.

One of the projects is more of an education thing and I know I could probably get some grants written up, but is that a sure thing? My projects are very short, don't require alot of money (yeah, right) but just need the right support to get crackin'.

I've been watching how Don Herzfeldt's career has taken off, but I see that he was in school and was able to use the school's equipment to finish his films--but he's been able to get into so many festivals....where does the money come from to submit his brilliant films? I've tried emailing his website, but no responses.

Just curious and frustrated. Anybody?

[Chris Gore]

From what I know Don just submitted to those festivals. There's no secret. He just paid the entry fees. I do know that he released his films on DVD and they've done quite well. He was also nominated for an Oscar, which doesn't hurt. Anyway, expect to spend about $1,000 or so submitting to a load of festivals. It sounds costly, but the attention and the rewards can be well worth it.

[Ward]

Does having a rep help? I believe that Don is repped by a company in LA.

[kavedawg]

I'm surprised there are so few independent animated features happening with the D.I.Y. explosion we have seen in live action films. Actually, I'm surprised there are not more really bad CGI "Shrek" knock-offs clogging the ten dollar and under DVD racks in the drugstore. It seems like a pretty ripe market. There seems to be a hunger for awful kiddie fare. I have seen the most awful public domain dreck with slick graphics and packaged in those fancy Disney looking white boxes.

Submitting to festivals is tedious (and can get expensive) but its part of the territory especially with animation. I try and plan what I'm submitting over the course of a couple months so I don't suddenly get stuck sending out 5 submissions in the same week (and five entry fees) at the same time. Most animation festivals charge $25-$40 to submit an animated short and it can really add up. I get the feeling sometimes that the fees are there just to weed out junk...often if you get something in a smaller festival and you establish some sort of relationship with them you can sometimes skip the fee next time. (Read Chris Gore's book on film festivals...) And the one dumb but obvious thing I should have learned earlier is that you actually should be at the festival if you want to try and use it as a way to get work.

I'm not sure but I think Don Herzfeldt has done some commercials and thats always been the real gravy train for most independent animators...especially if you are anywhere outside L.A. (although animated spots seems to be on the wane right now....)

Getting a rep is important if you're going to be doing commercials but it's one of those dumb catch-22 things....you cant get a commercial if you dont have a rep and you cant get a rep if you havent done anything. But if you can land a big gig without one, you will suddenly find them a lot more interested in your work. It's hard to do, but it's not impossible.

If you call an agent and tell them you want them to negotiate a deal that you got yourself, they will jump through the phone to get a piece of it.

[Ward]

Hey, thanks for all this info. It's good to know.

The rep thing was just something I thought I needed since I read somewhere that Don had one. I thought--is that the secret? But I'm beginning to think that it's your reputation that preceeds you, i'm finding out. When you do well at fests, word gets out quick and big fests will wave the fee and you're in.

I just really need the time to get drawin'.