Learn how Catapult Film Fund works with Megan Gelstein

Lean about critical early stage mentorship & film funding.  To learn more about Carole Dean and From the Heart Productions please visit www.FromtheHeartProductions.com. 

Transcript

SPEAKER_01 0:00

Love South Radio.

SPEAKER_04 0:13

Hi and welcome to the Art of Film Funding. I'm your co-host, Claire Capan. Along with Carol Dean, author of the best-selling book, The Art of Film Funding. Carol is also the founder and president of From the Heart Productions and the host of this show. Our guest, Megan Gelstein, is the co-director and chief program officer of Catapult Film Fund. Catapult is dedicated to supporting nonfiction filmmakers with critical early stage funding and mentorship to launch distinctive, story-driven, and cinematic films. In her role, she supports and cultivates independent, cinematic, nonfiction filmmakers globally and provides creative, strategic, and editorial advice to support films and filmmakers through Catapult's artist development programs. Recent films supported by Catapult include All That Breeds, Sundance 2022 and HBO, The Territory, Sundance 2022, and National Geographic, At the Ready, Sundance 2021, and HBO Max, Cripp Camp, Sundance 2020 and Netflix, and American Factory, Sundance 2019 and Netflix. And Carol Catapult has supported many important historical documentaries, right?

SPEAKER_03 1:55

Yes, Claire. And Megan, I'm so honored uh to learn about the work that Catapult does today, and I thank you for joining us.

SPEAKER_07 2:05

It's my pleasure. We are so grateful to be asked.

SPEAKER_03 2:08

Thank you. And also, Claire, we have the CEO, Teresa Navarro. Would you open her mic? Good morning, Teresa.

SPEAKER_05 2:20

Hi, Carol. Thanks for having me. I'm I'm happy to be part of Catapult as a co-director with Megan and the actually chief operations officer for working um behind the scenes to help uh Megan and all the amazing programming that we're doing.

SPEAKER_03 2:35

Oh, it is amazing. And uh we're going to share all that with our listeners. So let's get started. Um I'd like to know about Catapult's Film Fund and how it came into being.

SPEAKER_07 2:49

Um Sure. Um maybe would it be okay if I answered that one?

SPEAKER_01 2:54

Sure.

SPEAKER_07 2:55

So yeah, so Catapult um was launched in 2010 with the intent to support documentary filmmakers with development funding at the earliest stages. Um the fundamental idea was to provide funding for documentaries at a stage where there was, at least at that time, very, very little support. And when we were thinking of development, we were thinking before there was any proof of concept, a sample or a trailer. Um we launched with that fundamental idea and stayed true to that um since 2010.

SPEAKER_03 3:34

Wow. In other words, you're judging or deciding on material when you don't have a visual and you uh uh from a filmmaker, right?

SPEAKER_07 3:45

Yeah, great question. Uh I mean sometimes there's a little bit, maybe some iPhone footage or something from an early shoot. Um we get um somewhere between um a thousand and two thousand applications a year, and we pick twenty projects to come on board, and typically there is some material available to see, but sometimes there isn't. If when there isn't any material from the current project, we lean very heavily on the filmmaker's prior work to evaluate the project.

SPEAKER_03 4:19

Okay, prior work. So you do need people who have uh made one film, at least one film.

SPEAKER_07 4:28

Um we don't have a hard and fast rule. We absolutely support um emerging filmmakers. Luke Laurenson, who um directed Midnight Family and a Still Small Voice, two catapult-supported projects, was a first-time filmmaker when we um came on board those projects and they both premiered at Sundance.

SPEAKER_05 4:49

And I I think Carol actually that's a really interesting distinction because you know when people identify uh in even when I was first learning about catapult in the field and you hear the word early support, sometimes people think that we're um supporting filmmakers early in their career, when in fact the thing that really sta uh stands out about our focus is we're exclusively supporting early stage, the early stages of a project as opposed to early stages necessarily of of an artist's um trajectory.

SPEAKER_03 5:22

Yes, and there's a difference here. Early stages of a project. Okay, that's clear now. Good. Um, all right, well then um let's get into um some films typically uh let's say those uh those people that you're working with usually have the least access to funding and resources. So um why I'd like to know, did you decide to focus on that in the early stages of development? That's probably I mean I judge a lot of grants a year, so I understand how difficult it is uh to make a choice. And and you're looking at twenty out of a thousand. That's uh that's a hard uh it's a lot of energy and work to find that. So um what's the purpose behind it really? To look for early uh films that you feel could be developed into something spectacular or uh healing or informative?

SPEAKER_07 6:29

Oh yeah, great. Yeah, that's that's a great question. I think what we look for is filmmakers who are envisioning um a film that are asking really engaging questions um in their project. So um whether or not they have a clear, they're clear on the forward motion of the story, they have an idea that at its heart has a a kind of an interesting, complicated question, and they need the support to um, you know, envision what that project might be and then bring that project on to future partners. Um I wouldn't want to exclude you know, you asked does it include healing? Uh it could include healing, but I think at its core we're looking for great stories with great characters that have forward motion.

SPEAKER_03 7:24

Oh, that's a great way to say it. Exactly, with forward motion. Well, can we just take uh a film that I truly loved? I think it's one of my favorite docs, All That Breeze, and talk about that and how you how where were they when they came to you, and how did you have uh the knowledge to make the choice that this is the film to support?

SPEAKER_07 7:52

Oh gosh, that is such a nice question. Thank you for asking. Um that film is made by Shank Sen, and that film came to us in 2018. Um, I think um uh we were the first or maybe the second, I can't remember, supporter of the project. Um, and he was just beginning to ask uh really interesting questions. He had his core characters, those brothers, um, but knew in his heart the film was going to be much more than just the story of those two brothers, and was wrestling with the ideas and the questions of man's relationship to animals and animals' relationship to man. And even though he didn't quite have the visual language, he was asking such interesting questions about how to weave those two stories together that we couldn't resist, and we were honored to have the opportunity to support him at the very early stages.

SPEAKER_03 8:57

Well, did he have a visual uh uh trailer or skill shots? He didn't he did not. Well, congratulations, why you your crystal ball was really working on that day.

SPEAKER_07 9:15

That's so nice of you. You're being so kind. We're we're blushing over here.

SPEAKER_05 9:19

We're blushing. Carol, I I love Carol, I love that question. In fact, when I joined Catapult um last fall, you know, those are some of and started getting to know Megan and and Lisa and Bonnie, the the co-founders and the catapult team, it's actually one of the first things that drew me to this organization. I'd worked in distribution for you know many years on PDF with a documentary series, and many of the films that Catapult supported years you know, earlier, years prior, I was familiar with them, but only in the final product. And so, you know, Megan, if you remember some of our earlier conversations, I'm just like, how did you know? You know, how did you look at an application this many years ago and and and see, you know, something in there, the speed, right? And I think it's both um a testament to, you know, my colleagues' ability to kind of um uh spot talent, but it's not just it doesn't just end there. I do think that the grant itself and the mentorship, you know, that Catapult provides, the conversations. I mean, you know, Megan, I don't know if you want to speak a little bit about the making of the film. You know, that film was made during COVID, you know, and so a a lot changed um for us as as artists, as humans, and so um I that part of the story, you know, when you relate it to me, because I wasn't you know with Catapult at the time, I was really blown away at the care and just the you know, the the ability to really think deeply about what it means to support a filmmaker and support a project um that goes beyond just you know um the initial grant, right?

SPEAKER_03 10:57

Yes, beyond the initial grant. That's what's so important. I really um honor you for taking that move because um it's not so much when they win the grant, it's being there. I really think that that support is so important. I do offer, I do give that with my grant. And um but it is uh if you want it or not, it's there. But I will say to you that the majority of the films that really uh work are those that keep coming back to me constantly with uh here's where I am, what uh what do you think of this? And we just discuss it and find ways for them to improve and keep moving forward. I think that's so important.

SPEAKER_07 11:45

Um yeah, uh you're you're really touching on such a um a salient point, which is creativity is so iterative. And um, you know, if you're not in a in an environment where you feel comfortable taking creative risks, you know, from that very first support to what that final project might ultimately be, you are severely limiting your ability to dream and to push boundaries and to try and to accept that it's okay to fail, but to know that you know the the the hope is, the goal is to explore the idea, try it different different ways, and um, you know, that process is really iterative. I feel like over the course of the last ten years that I've worked at Catapult, I've really internalized that notion very deeply.

SPEAKER_05 12:43

I think there's also that element, you know, yeah, as we reflect on, you know, the state of the field currently, you know, we are not a a large organization. We're pretty we're small San Francisco-based nonprofit. There are only about four full-time staffers, and so it really is very personal, you know, the the approach and the style of our uh relationship with the filmmakers that we support. I think there's that element of um what makes catapult unique, you know, that Megan's touching upon. Um we don't want filmmakers to feel like they have to be buttoned up every time they talk to us about their project. In fact, it's in those questions and the the you know gaps, that investigation of what's possible, you know, I think that's really where a lot of you know the the creativity, like Megan is saying, can can that creative process can really be collaborative when we're really aware of what a filmmaker or a project is maybe struggling with or curious about or excited about, right? Um as opposed to always feeling like they have to show up having, you know, everything figured out.

SPEAKER_03 13:49

Exactly. Right. Because again, it's always in the uh two or three oh, I what I teach is that when two are gathered together, when you put two people together, uh a third, there's something wonderful that happens and there's m uh there's genius that flows, this wonderful energy appears, and the two of you come up with so much more than one alone. And uh that's from the old book Think and Grow Rich by Napoleon Hill. I'm trying to bring it back to life again in the film industry.

SPEAKER_07 14:25

Absolutely, absolutely. I do fluid and yeah, I we agree.

SPEAKER_03 14:31

Yeah, yes, it's really special and that does happen. Um well, okay, I think that um that your choice, the fact that you're looking at these films after having been successful, gives you um the history of looking at something young, fresh, and put and you see potential that sometimes the filmmaker doesn't see. Is that right?

SPEAKER_07 15:01

I think um I you know, I would hate to have you give us more credit than we deserve. I think um but I appreciate it and I'll take it. But I don't I think the filmmaker um sees the potential of the project and we come in and um act sort of as um, you know, creative partners and sounding boards, but I think they're the ones that can see um the unique specialness. We just have kind of special glasses and can see what they see.

SPEAKER_03 15:30

You can see what they see, you see their vision. And that's exactly what you need as a team member. Right. Wonderful. Well, let me get into uh the two different grants that you offer. Uh so tell us about the difference between the research grant and the development grant.

SPEAKER_07 15:50

Um sure, that's a great question. So Catapult is primarily known for our flagship program of the development grants. Those are the ones that we launched Catapult with back in 2010. They're$25,000, and they are for filmmakers who have a clear sense of the project that they want to make, the they have access to their characters, and they're pretty well ready to go. A few years ago, we took a 3,000-foot view look at the work we were doing and are uh saying, you know, where we're getting somewhere between 1,000 and 2,000 applications a year, and we're choosing 20 to come on board to, those projects have to be pretty buttoned up. And if we're coming in as first support, how what support are those filmmakers getting to get to that that finish the starting line? And that kind of was in the seed of the idea of launching the research grant, which is designed to support filmmakers as they develop their story. You can kind of see it as a pre-catapult um opportunity or an you know another place that provides development support, but an opportunity to be supported when you don't have all the questions answered, when you're not totally buttoned up. And that period of time is often done alone and on the filmmaker's dime. And we felt like that we that's not the that's not the ecosystem, that's not the process that we want to see for filmmakers, so we launched the research grant.

SPEAKER_03 17:35

And that is how much and how often?

SPEAKER_07 17:39

Um so we uh run that program on an annual basis. Um applications for that um open typically in October, and we make final decisions by January, and there's a six-month that opportunity, the research grant, is a combination of$10,000 of non-recoupable grant money and six months of professional mentorship. So we pick five filmmaking teams and pair them with five veteran filmmakers to work uh as a cohort and one-on-one to develop those ideas over six months.

SPEAKER_03 18:18

Wow. So you work with five veteran filmmakers. Are they people that you have funded in the past, mostly?

SPEAKER_07 18:27

Yeah, great question. Some are, some are not, some are just filmmakers that we um admire. Um, but a little bit of both.

SPEAKER_03 18:37

Wonderful. This is so great to ask filmmakers to help filmmakers. Wonderful. All right. So this is an incredible uh ability. Ten thousand dollars will help filmmakers that'll give them months, uh, usually, uh, to get uh to give them the time they need to really do the research because research can take you a year. No, but that's very simple, a year, wouldn't you say? Sometimes longer. Sometimes longer, yeah.

SPEAKER_07 19:10

And to feel like uh you know, we all know I mean, launching a film, launching a nonfiction film is just very hard. And uh whatever we can do to support filmmakers in those early stages um feels like good work to do. And so um I think especially in the research stage, it's such a prime opportunity to um have to take risks, to think of different ideas, to hear other people's um kind of weigh in on what you're trying to do and can accelerate that path of thinking um so much. I think a lot of people have said to us uh regarding the research grant, you know, you guys can keep the money. I just want to be in that cohort. I just want to be in that room and you know be developing a project with other people because it's so valuable. Um so we really we feel like we really heard a need in the field in the same way that we heard a need back in 2010 when there was no development support really out there. And here we felt like we heard another need. So um we're in our third year and feeling pretty excited about the program.

SPEAKER_03 20:24

Oh, good. Well, can you walk us through the process of applying for this grant?

SPEAKER_07 20:31

Oh, sure. Um the process of applying both for the research grant and for the development grant are very similar. The application can be found on our website. Um the application window opens for the research grant once a year. So filmmakers should if they're kind of kicking around an idea over the summer, they should, you know, kind of keep their eye towards that. I think next year it'll open in the middle of October. Don't quote me, but I think it is, and you can always call our office to confirm or check our website. And um the questions are pretty straightforward and it's not too difficult of an application. Umly we're asking for generally kind of who those filmmakers are, what their background is, and what they're interested in. And um yeah, it doesn't, it's not, it's not necessarily tied to a particular project. You know, we don't ask for a super buttoned up log line, but we do ask for general ideas of what you're what you're thinking of.

SPEAKER_03 21:35

Okay. Uh you want to know uh it's not tied to a specific project, but you want to know what uh they are thinking and what they want what they may have uh outlined as what they want to do next. And would these people or uh or could these people be uh first time filmmakers?

SPEAKER_07 21:55

Sure, of course. Um absolutely we submit You know, everyone from a first-time filmmaker to the most seasoned filmmaker?

SPEAKER_03 22:07

Great. Okay. All right. So that's really simple. Sounds easy. Now, how do you evaluate the projects and decide which films to fund? For example, is there any specific criteria or qualities that you look for in a film project?

SPEAKER_07 22:29

Great question. Okay, so we do have some criteria which I can kind of um touch on for you. As opposed to our development grant, which is open to any filmmaker in any country, our research grant is only open to filmmakers who are U.S. based.

SPEAKER_03 22:53

Okay.

SPEAKER_07 22:55

It is not a diversity grant, but we are looking to support filmmakers of color. It's not at the exclusion of other filmmakers, but we are kind of trying to focus in that area. We don't focus on any particular idea per se. We're not social issue driven. Like our development grant, we're very interested in strong characters with great stories that have forward motion. Maybe you as a filmmaker haven't quite identified that yet, but if you have a general idea of a space that you're interested in, it's very helpful for us to know about that. There's a part of the kind of the most salient element to how we evaluate those applications are to look at that application as an opportunity for us to get to know the filmmaker, and then ultimately for the filmmaker to get to know us. But any question that you're kind of wrestling with that you think seems intriguing, that you're if it's in if if if it's stuck in your head, we want it to be stuck in our head. So bring us into your mind as to what you feel like is important about it and why you as a filmmaker are kind of the best person to be telling that particular story.

SPEAKER_03 24:19

That's really important. What's your relationship to the material? That's a key, I think. Yeah.

SPEAKER_06 24:25

Yeah.

SPEAKER_03 24:25

Well, do you do you ever call any of these applicants up when they when you get in the final process and talk to them?

SPEAKER_07 24:32

Oh, great question. Yes, that's inherently part of our process. So we um bring it down to the kind of um the key finalists, and then we tend to have a call with every one of them because ultimately there's only so much you can really get across in a written application, and you know, we're not we're not making applications, we're making stories, we're making um cinema. So um connecting with a director is always a key part of the process.

SPEAKER_03 25:02

Good. I would think I think so. Um and for this, do they need trailers or does that help? Is it a trailer and a proposal or what?

SPEAKER_07 25:15

Uh for the research grant, I think a trailer might actually um kind of count as a a mark against you. I think if you've already got a trailer for your project, I think we'd encourage you to apply for our development grant. Right, right. And um then development grant. Yeah, can I just take a minute to explain how the development grant works? Just so filmmakers can know the difference? Okay, great. Thank you. So the application for the research grant opens in October in the fall of every year. You can check our website for the exact date, and we make final decisions by January. Our development grant, we review applications in rounds. So the first round is open from January till the middle of February, and we make final decisions by May, and the second round is open from June to the middle of July, and we make final decisions by October, November.

SPEAKER_03 26:12

Okay.

unknown 26:13

Okay.

SPEAKER_03 26:15

All right. So um now, what advice would you give to filmmakers who are interested in applying for the fund or seeking funding for their film projects generally? Uh sure.

SPEAKER_07 26:30

Um I think um one of the key um bits of advice that I might make to a filmmaker thinking of applying to Catapults is um we are really interested in hearing your particular voice or very much understanding you as a director, the hand of the director. I think we um have a pretty good sense of what the key issues are um that filmmakers tend to gravitate towards. So as opposed to highlighting, you know, the urgency of climate change, kind of be a air more towards how you as a director want to tell that particular story.

SPEAKER_03 27:19

Yes. Right.

unknown 27:21

Right.

SPEAKER_03 27:22

What is your vision of this story? Right.

SPEAKER_00 27:26

Exactly.

SPEAKER_03 27:26

So this is what you want from them or from your this is a good suggestion for anyone applying for any grant, is to make sure that we can see your vision or uh understand your vision in the application. Absolutely.

SPEAKER_07 27:42

I mean, I you know, we totally understand um, you know, documentary filmmakers tend to be so passionate about the subject and you know, feel that they really want to communicate their passion for that idea, but you know, there are often limitations. So what we at least at Catapult gravitate towards is really thinking of it as an opportunity to get to know the filmmaker. So what's you what are you in particular as the director bringing to this subject matter?

SPEAKER_03 28:12

Right. Okay, let's talk about some of your success stories or memorable films that you've made. Um how about Crypt Camp? I would love to know uh w what the application looked like when they came on board. Tell us about that. Yeah.

SPEAKER_07 28:32

So um sure, I'd be happy to. So that's a wonderful project, and I really I can see that day really clearly. So uh Jim LeBrecht and Nicole Nunam are both San Francisco-based filmmakers who we at Catapult know very well. And um Jim came to us back in 2018 um with his laptop and had all of these home um movie footage um of Camp Toned, which is the camp that's featured in Crib Camp. And we were sitting there looking at this amazing footage and talking to Jim and Nicole about the concept for this film. And we ended up supporting Cripcamp with its first grant and continued to support the film with uh a few more rounds of um financing as well as mentorship all the way to what became the opening night film at Sundance in 2019. And um, you know, in some ways Cripcamp it's like the fantasy. Someone comes in and they have this idea and they're not quite sure how they're gonna get it off the ground, and they're not sure anyone's even gonna believe in it, and then they get this shot and this support and this belief that they can get going and they're on their way, and then look what can happen.

SPEAKER_03 30:00

It's amazing. What a story. I mean that that that will last for years. That's certainly an evergreen story, isn't it?

SPEAKER_07 30:09

Yeah. Um, and again, like that, you know, that film you know, they had those assets, those home movie footages from that camp, and they had questions that they were asking, but they didn't have a clear sense of what ultimately became that movie. And that's what I was sort of referring to earlier on, that creativity is iterative, and you need to be in a space where someone says, I believe in you. Like go ahead, think, think big, dream big and and and and try and feel supported. So it's sort of what I'm talking about. You can have those kind of kernels, but you don't need to have it all buttoned up.

SPEAKER_03 30:49

Right. Think big and dream big. Well done. Well, talk to me about the American Factory. That uh that was connected to Obama, I I think, and the film was on Netflix, and then I thought uh I think the Obama's production company was involved, the higher ground productions. How did that uh come from your grants?

SPEAKER_07 31:13

Uh sure, thank you. Um that's another one, you know, that's such a gorgeous film. Um uh Julia and Steve came to Catapult with that project. Um you're asking me all these tricky questions that I'm not sure I can answer, but I think it was 2018. And uh Catapult was the first grant to support that project. I feel like we knew that project was going to be beautiful because of the exquisite caliber of Julia and Steve, who, you know, have 50 years of filmmaking behind them. I feel like it's a stunning project, but it was it was almost a no-brainer for us to come on board. There was no risk involved. We knew that was going to be a stunning film. I think at the time they had not done a ton of shooting, but they had great access to the factory. They were based in Ohio and um had kind of uh you know, communicated what they were trying to do with all the protagonists in the film, and all the protagonists in the film were on board, so they just needed our support and we rushed to give it to them because it was just such a great idea, and they're such such beautiful filmmakers. Oh you know what? I'm just realizing we came on board that project in 2016. So quite a while ago. Yeah, we came, we were the first supporter of that project, and we're honored to have that opportunity.

SPEAKER_05 32:43

And I think Carol, the the three films that you um mentioned or the three films you're asking about, they're they're so different, um, I think, Megan, in that some of the filmmakers were known, you know, to Catapult. Some of them, you know, we're uh I I don't know if Shannick had been supported by Catapult in the past, right? That I there are filmmakers. We we meet, right, through the application process. So it's really amazing just you know, the the type the ways that we're able to come onto projects, um, whether we have a relationship with a filmmaker or not, right, Megan?

SPEAKER_07 33:17

That's right. Yeah. Sha we did not, we had not had the opportunity to meet Sean at that time. That film was called Airborne when he applied in 2019. And um he was a new a new filmmaker to us.

SPEAKER_03 33:34

This is American uh uh factory that you're talking about was called Airborne.

SPEAKER_07 33:39

No, all that breathes.

SPEAKER_03 33:41

All that breathes, airborne. Yeah, sorry, I'm not being clear. Yeah. But you know, that was the most heartfelt story. Uh you just fell in love with the guys and you kept thinking, I don't it's hard to believe. Their whole life is dedicated to these birds. And and then when they went out in the lake and one guy is saying, Oh don't do this. It's one bird, don't go out there and get that bird the guy said, I can't I can't leave the bird, I have to go get it. What a story. And the birds in the cages were very quiet, very still. It was as if they all knew, like, this is a repair shop, they're going to fix me up.

SPEAKER_00 34:24

The birds knew.

SPEAKER_03 34:26

Have you ever seen anything like that?

SPEAKER_07 34:28

You sound like maybe you're a bird lover or have a bird in your life?

SPEAKER_03 34:33

Well, no, I just yeah, I have crows. I love my crows, but I I was so impressed with that relationship between these people and those birds, and uh their life was dedicated to it. And the um satisfaction they got working on these b birds was incredible. I mean it w what a nice life they have. And then when you came along and supported them, and in the end, did they get a grant to build uh the uh sanctuary that they now have?

SPEAKER_07 35:08

Yeah, they did. The support for their work since the film has come out has been overwhelming.

SPEAKER_03 35:16

See what you did. I mean you changed people's uh thinking. You're so nice.

SPEAKER_07 35:23

We're really grateful for the um the credit, but really the credit goes to the filmmakers. But thank you for the credit, we appreciate it.

SPEAKER_03 35:31

Yes, it's understanding and seeing that and supporting. Well, all right, so aside from the grant, I know that Catapult Swaps Catapult supports filmmakers in other ways. So could you tell us about the Rough Cut Retreat? Um, sure.

SPEAKER_07 35:50

Um Teresa, do you want to talk about the Rough Cut Retreat or?

SPEAKER_05 35:53

Sure, sure. So the Rough Cut Retreat is um it's a really unique um and again I think it speaks to our values and it speaks to, you know, the ways that we believe uh bringing people together um during critical parts of a project's journey and a filmmaker's filmmaking journey can can make magic, you know, and so this is a partnership that uh we run with True False Film Fest. And we basically every year, um five days in the summer, uh invite five film teams who have a project at the rough cut stage. And um essentially we also invite five uh again experts from the industry, sometimes these are editors, sometimes these are directors, sometimes these are film executives who have, you know, uh a lot of experience kind of giving um pointed feedback on a project at a particular time. And we um go off to usually a really nice, and this this will be my first summer attending the Rough Cut in person, so I'm very excited about that. Um typically they're places um, you know, in nature, what near a body of water, a place where we can really get away, you know, um from it all and and kind of break the monotony and the isolation of one's typical editing experience, which you know you have the kind of view in your mind of somebody locked away in their editing dungeon, not talking to anybody, just kind of in throws of, you know, their sequences and things like that. So this is really a chance to be in the community, to be in, you know, nature and to really have dedicated time and conversation around your project that is both with structured time and including, you know, screenings that are dedicated to your phone with folks who um are giving feedback for your particular film, as well as time where you know people can just um be together, sharing meals, you know, maybe sitting um uh by a river or swimming hole and and naturally, organically conversation can arise. You know, so it's both it's really that idea of community building, it's really that idea of of conversation and and nurturing of a project when you're really kind of at a point where an external um perspective could be super useful. One of the unique characteristics, I think, of the Rough Cut Retreat is um is a part of the criteria that's looking for film teams who don't have traditional feedback networks. So these might not necessarily be filmmakers who um either have a lot of industry support or industry relationships. Maybe their team is insular, or maybe they've really just kind of not had a chance to make many connections outside of their immediate, you know, circle. And so having access, you know, similar to our research program, having access to industry experts who can give, you know, that really uh experienced uh their experienced eye, have that on their project at this particular time. And for it to happen in the summer is super strategic because it allows the film team to then go back, take that feedback, take those those conversations, and then you know prepare a cut just in time for some of those festival deadlines that happen in the fall and winter. Um and so you know that's that's happening this summer. Typically, I think the applications open earlier in the spring, around February or March, and then um similar to our other processes, uh we whittle it down to finalists, we have deep conversations with our programmatic partners, truefalse, uh have conversations with the finalists, again, because you can only learn so much in an application, in a standard application, and then make the decisions late May and June, and then the actual uh retreat itself happens typically in late summer, either late July or early August. I don't know, Megan, if if there's anything else you wanted to add about that, but um it's a very it's a unique component to to the way that we're supporting filmmakers and a beautiful partnership at TrueFalse.

SPEAKER_07 39:56

Um yeah, I think I I mean I think I would um only uh if that's perfectly described, I would only add that um it's a a a program that we launched with TrueFalse and envisioned with TrueFalse and are thrilled to have the support of Chicago Media Project. And um talking a little bit about the mentors that we select, we select our mentors not just because they're brilliant people, but because their editorial insights and their real generosity of spirit to provide critical supportive feedback at a time when filmmakers are usually so close to the material that it's hard to see it clearly. So it's that generosity of spirit that we look for in a mentor, uh a mentor who can meet the filmmaker where they are in the process, as opposed to being prescriptive about what they think might be best for the film, um, but more supporting the filmmaker to realize what they're trying to do with their project is key to that process.

SPEAKER_05 41:03

Yeah, that's such an important point because you know, so many filmmakers, I've I've worked on projects and many, maybe many of your listeners, Carol, have had that experience where you get you have a feedback screening or you show a cut to somebody and it's really, you know, it could be it could completely derail the the trajectory of the project if the feedback isn't maybe um delivered in a way that that is productive, or if there isn't an authentic relationship or an authentic, you know, uh or a or a productive environment for that feedback to be delivered. You know, so I really think that's what makes this program so special is again, it's it's listening to what folks are needing in the field, really thinking um intentionally and creatively around ways to ensure that filmmakers are getting the kind of support that they need at that critical moment, that rough cut moment, right?

SPEAKER_03 42:03

Yes, yes, that's very important. So you put them in a very nice place, sometimes uh near uh water. So but this immediately reduces the tension and inspires creativity. Just getting in balance with nature can bring out your creativity. That's a great idea, first of all, right? I think your uh filmmakers would love that, and then you surround them uh with uh talented people to give them feedback on what daily basis or how often do they work together?

SPEAKER_07 42:44

Um I think you're working with your mentor and with a group throughout the t entire five days. I think you're you're really zeroing in on such a an important point, which is that to really hear feedback, you first have to develop trust with someone. Um and you have to feel like they understand what you're trying to do to really be able to hear the feedback that they're trying to give you. So we do, we create um, you know, the natural environment, the water, the cocktail hour, the spa nights, the games, all those different ways that we kind of accelerate that connection between the filmmakers and the mentors and the true, false, and catapult staff, so that you leave there um you maybe walk in a little bit unsure, but you walk out having, you know, 21 new best friends because that space is so much of a kind of a precious connective space. And then, you know, everybody can hear feedback from their best friend.

SPEAKER_03 43:50

Exactly. Right. And it's all taken uh with the way it's given in support and nurturing.

SPEAKER_01 43:58

Yeah.

SPEAKER_03 44:00

I and opening you up to new ideas. Uh uh because sometimes filmmakers do not see the big picture. I I I have found that so many times that they have gotten so close to it that it it's like I tell them you have to pull back to Cincinnati and look at it because you have a bigger film than you see. Oh my gosh.

SPEAKER_07 44:22

Yeah, you're so yeah, they're so lucky to be getting your feedback.

SPEAKER_03 44:27

Well, I know you see that uh in your grants because they uh they need someone to believe in them and that's exactly what you two are doing. Thank you. So much for that. So tell us what we can expect to see from Catapult in the coming years. What what are your long-term goals? Where are you going?

SPEAKER_07 44:50

Um Well, I have a few things that I'd like to say. Thank you for asking that. Um we at Catapult are are we you know, I think we're always gonna do exactly what we do, which is to provide early stage funding and mentorship to nonfiction films. I think one of the things um we have kind of cooking, um, and I don't want to speak too specifically about it, but I think we're excited to um kind of move the needle on what development really looks like. I think right now um we have normalized the process of getting a film off the ground. And I think what we're hoping to do over the next one to three years is see if there are different ways that we can launch projects and if that accelerates the creativity, if that accelerates the path to market, if there's a different way of doing the work that we're doing now. I think we're excited to take those risks and experiment with different opportunities. So that's one of the main things that we're working on.

SPEAKER_03 45:57

That's encouraging. Oh, that's exciting. Thank you very much. We'll all look forward to hearing more about that. Thank you. In closing, tell us how uh people can find it, tell us about your website and how people can reach your company. Uh sure.

SPEAKER_07 46:14

So our Oh go ahead.

SPEAKER_05 46:16

Oh, yep. Um, yeah, you can reach us our website. Uh it's catapultfilmfund.org, O R G at the end. And um you can follow us on socials. We do have, you know, a traditional Facebook and Twitter account and our Instagram. Um handle catapult film fund is really where we're the most active. And so we're sharing updates about you know our projects that are going on to film festivals. We share updates on when our upcoming application um cycles are happening. So, you know, be please keep an eye out and and follow us and stay tuned and and hear more about what we have coming down um coming coming down to pipeline.

SPEAKER_03 46:54

Great. Okay. Oh, thank you both very much for all the information and and uh we really hope that you continue with uh this company and and reach your goals because it's obvious that the filmmaker is the key. Uh your direction is nurturing and supporting filmmakers from the beginning through the editing to the Sundays or uh the best film festival possible for that film. So thank you both very much for joining us.

SPEAKER_07 47:33

Well, thank you very much for inviting us. We love the work that you do, and we're so grateful that you provide this opportunity for filmmakers and as a way to learn more and connect us all together. It really is incredibly special. So thank you very much for what you're doing.

SPEAKER_03 47:48

Oh, Megan and Teresa, it's so good to get to talk to you and hear your voice and and see your vision for catapult and filmmakers. So thank you both very much.

SPEAKER_07 48:00

You're very welcome. And um, filmmakers, we look forward to hearing from you. Please send us your project. Right.

SPEAKER_03 48:08

Okay. Best of luck.

SPEAKER_07 48:10

Thank you. Thanks so much. Take care. Bye-bye.

SPEAKER_03 48:12

Okay. Bye.

SPEAKER_04 48:17

Okay, and be well, everyone. Thank you, Carol. Now, in its second edition, Carol Dean's popular book, The Art of Film Funding, has 12 new chapters to cover all areas of film financing and how to avoid expensive pitfalls. Learn how to start with an idea and end with a trailer. How to make an ask for money. Create your story structure and your trailer, legal advice, fair use, successful crowdfunding, how to ask for music rights, and what insurance you can't shoot without. Available on Amazon under Carol Dean and at FromTheHeartProductions.com. I want to remind our listeners that David Rakelin is a brilliant and talented award-winning musician who scores films and can compose music for a trio or for a full orchestra. David is a very good friend to the independent filmmaker and comes highly recommended by From the Heart Productions. If you need music to help tell your story, please contact him at Davidrakeln.com. That's david R-A-I-K-L-E-N.com. And Carol and I want to thank you for tuning in to the Art of Film Funding. Please visit our website at FromTheHeart Productions.com. You can also find us on Facebook and Twitter. Good luck with your films, everyone.

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