The Art of Film Funding
Discover the secrets to funding and creating successful indie films with The Art of Film Funding Podcast. Join Carole Dean, President of From the Heart Productions and author of The Art of Film Funding, and Heather Lenz, director of the award-winning documentary Kusama-Infinity, as they chat with top film industry pros. Get practical insider tips on crowdfunding, pitching, saving on budgets, marketing, hybrid distribution, and the latest in A.I. filmmaking. Whether you’re funding your first project or navigating new trends, this podcast has everything you need to succeed. Subscribe and let’s get your film funded!
The Art of Film Funding
Surviving the New Film Industry: AI, Studios, and the Indie Filmmaker’s Advantage
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Jonathon Smith is a writer, director, and producer whose work spans independent film development and forward-looking conversations about the evolving film industry.
Known for his thoughtful approach to storytelling and production, Jonathon has been actively exploring how emerging technologies, shifting studio structures, and new distribution models are reshaping opportunities for filmmakers.
As both a creative and a strategist, he brings a valuable perspective on how filmmakers can adapt to industry disruption while staying true to their artistic voice.
Jonathon is especially interested in how independent filmmakers can use new tools—including artificial intelligence and evolving digital platforms—to develop projects, reach audiences, and build sustainable careers in filmmaking.
Today we're talking about the massive changes coming to the film industry from AI to studio ships and what you as an independent filmmaker need to understand right now to survive and thrive.
SPEAKER_00Thank you for joining us on the Art of Film Funding podcast. I'm Claire Papan, your co-host. This is where we explore the creative and practical side of getting films made. Independent filmmakers are standing at a fascinating crossroads. The film industry is shifting faster than ever. Studios are merging. Technology is transforming storytelling. Artificial intelligence is raising both excitement and concern. And independent filmmakers are asking a very important question. Where do we fit in this new landscape? Today's guest brings a powerful perspective to that conversation. We're going to talk about the future of filmmaking, what the recent paramount developments could mean for creators, how AI may reshape storytelling and production, and most importantly, how independent filmmakers can prepare themselves to thrive. Because while the industry changes, one thing remains true. Great stories told with passion will always find their audience. Let's explore what's coming next. Our guest, Jonathan Smith, is a writer, director, and producer whose work spans independent film development and forward-looking conversations about the evolving film industry. Known for his thoughtful approach to storytelling and production, Jonathan has been actively exploring how emerging technologies, shifting studio structures, and new distribution models are reshaping opportunities for filmmakers. As both a creative and a strategist, he brings a valuable perspective on how filmmakers can adapt to industry disruption while staying true to their artistic voice. Jonathan is especially interested in how independent filmmakers can use new tools, including artificial intelligence and evolving digital platforms, to develop projects, reach audiences, and build sustainable careers in filmmaking. And Carol, I understand that Jonathan teaches for you on your learn-producing bimonthly class.
SPEAKER_01Yes, Claire, and all of us love Jonathan for his expert ability to predict where the industry is going and to show us how to thrive in chaos. Thanks for joining us, Jonathan.
SPEAKER_02Thank you for having me, both of you.
SPEAKER_01Okay, so let's get started with the changing studio landscape. Now the film industry has been going through enormous structural change, and recently we've seen major developments surrounding Paramount. So from your perspective, Jonathan, what is this signal about the direction the studio system is heading?
SPEAKER_02Yeah, so I've talked about this in previous uh webinars and previous classes, that what we're seeing the studio system going towards is we're seeing major studios just simply sell and get out of the business. And the reason that we're seeing that is the traditional studio model that would work in the past, all the way probably from 2000s um all the way back is simply changing and not working. So uh Warner Brothers is looking at the future and they essentially just want to get out. And the reason why Paramount and Netflix were interested is they have other properties and other um another tech companies that they can utilize these IPs for and um utilize the characters, worlds, and things from Warner Brothers that can be utilized for other projects. So that's where we're going to see more of a shift in. And AI is going to be a big part of that. Uh, in a sense, where people are going to spend less time, I believe, in the theaters. They're going to um want more interactive experiences. And Paramount and different um companies and different tech companies are positioning themselves for that future. Meta also, Netflix also. So that's that's where we're seeing the shift and the change.
SPEAKER_01Wow. And you at one time you uh told us that studio that theaters may change entirely. They may become a sales uh source for the films they're promoting. Like one company, let's say Netflix, uh, controls a theater and all that they sell, then they would be selling their subscription and products that go with the films they're selling in the theater, right? Is that still on board?
SPEAKER_02I believe it can happen, especially if um theaters start are in danger of going out of business or um a major player like um AMC or Cinemark is threatening to just leave and get out of the business, um, they're gonna have to figure out a way. Um I know that there's, I believe the term is antitrust. Someone can correct me if I'm wrong, but I believe there's legal reasons why studios have not been able to buy theaters. But if a theater is threatened to go out of business or file for bankruptcy and completely um just leave entirely, I think there is a chance that we see adjustments to that, and a big player buys out one of these theaters and then does exactly that.
SPEAKER_01Yes, so it becomes a point of sale place, and you could uh have all kinds of uh events that sponsor uh one uh director or or one star, and people get involved in uh films that way going back. But they are going to have to really do marketing to get you in the theater, right?
SPEAKER_02Yeah, they'll still have to figure out a way to get you to the theater, it could be more interactive experiences, it could be merchandise, it could be turning them more into like restaurants or events. Um, there'll probably be less theaters too as well. So if you're not in a major city, there may be less theaters, or you're gonna have to count on independent theaters, but independent theaters have been losing ground and losing um buildings and places to uh to have independent theaters. So um it's gonna be a very interesting five years.
SPEAKER_01Okay, so um historically, the studios controlled the development, the production, and the distribution. Now, with this system shifting, do you think this opens doors for independent filmmakers, or is it more challenges?
SPEAKER_02It's gonna be both. I believe um within the next five years, we're already seeing um incredible films. I mean, even in when we just had DSLR cameras, there were still great films being made. Um, the barriers are gonna get lower and lower to entry. I think the challenge isn't gonna be just making the film. The challenge is gonna be is how do people see it with so much noise in the marketplace? That's gonna be the challenge. So, filmmakers and independent filmmakers before trusted their distributor to um help market their film, that if they did all the work of financing, raising it, uh making the film and editing it and getting it ready for post-production, that the distributor would take care of that. And I don't think that world is going to um completely exist for most independent filmmakers, they're gonna have to figure out the marketing side and the um sell side of it as well in order to thrive.
SPEAKER_01So they're going to have to create an audience and maintain, entertain, let's say, their audience while they're making the film. Um, but Jonathan, yes, I agree with you because recently um a filmmaker who was under the sponsorship from The Heart had to raise the number of names on her uh social networking page by a couple of thousand before the distributor would take her, right? So this is they're gonna be looking at how many people do you have uh on your social networks, right?
SPEAKER_02Yeah, this is gonna be extremely important to distributors. Uh I talked to a recent filmmaker recently that um his audience that he's been building for five to seven years has been a great aid in getting distribution. So it's a nice it's a necessity for an independent filmmaker to have some sort of audience now, or you're gonna have to figure out how to either self-distribute and you know take it from there.
SPEAKER_01Well, yes, actually, a self-distribution line Peter Broderick talks about for documentarians is a wonderful way to go after money that you don't have to uh return and take your film to its own audience by finding that audience while you're making the film. So that may turn into how features have to work, right?
SPEAKER_02Yeah, it's gonna be the same for features. And I think one of the challenges independent filmmakers are gonna have is, you know, what features are they gonna make? Are they gonna make a feature at all? It doesn't make sense to to do that. And I believe you're gonna start seeing filmmakers play with different um different screening times. Like, does the story need to be 90 to 100 minutes like the traditional theater model? That was based on, you know, maximizing screen. That was based on maximizing um popcorn time, right? And maximizing how many people can get in the seats and clean up the theater so you can maximize the revenue for a potential movie. So with that out of the way for most filmmakers, I think you're gonna start seeing people play with um the amount of time they need to film and make a movie.
SPEAKER_01Well, right, because vertical films uh that are shorter uh are really getting a lot of eyeballs, right?
SPEAKER_02Yeah, vertical content is getting more eyeballs, um, especially in the um sort of Hallmark drama um sort of um genre, and then other other genres are looking to break into that ground, and plus you have uh shorts and other entertainment and YouTube documentaries and self-improvement education. There's just so much media that's out there now.
SPEAKER_01So you're saying that they may find that 40 minutes or some unusual number is uh the is the right number for uh the new market, the online market, right?
SPEAKER_02Could be. I think it's gonna be dependent on your audience. Like, you know, is it 20, is it 30, is it 40? Are you gonna present at a college campus? Is it gonna be online? Are you looking at I think filmmakers have to balance the opportunity cost of what it costs to make the film and the audience, what they're willing to pay for and also to keep their eyeballs on?
SPEAKER_01Because you may not be able to get money from any other distribution area. You're going to have to make it yourself. Is that right?
SPEAKER_02Uh correct. And making a 40-minute film is a lot, not a lot, but it's cheaper than making an hour and 20-minute film, right? That's less days on set, less people, less crew, um, less time editing and post-production. So I think filmmakers are gonna have to add these choices. It just depends on like what their choice is and what they want to do for this particular film or project.
SPEAKER_01Right. Okay, well, and what do you think about building a YouTube platform? You have to have money behind you to do that, right?
SPEAKER_02No, we can start on YouTube today. Like, you can just start and share your thoughts, start looking in your niche and seeing what's successful, and just start making content. There's nobody stopping you from doing that. There's no one stopping you from building your audience today and seeing what happens.
SPEAKER_01Great. Well, that's what you're doing, right? Is that the direction you're going in?
SPEAKER_02Yes, yes. I've worked, I mean, we're we're getting that into that later, but I've been learning so much. Um, Claude took a huge, um, took a huge jump in like what you can do and um information you can share to Claude to help you create content and to scale your content. There's so many tools out there now that if you're willing to take the time to learn, um, it's gonna help you significantly if you put put your mind to it and put the effort in.
SPEAKER_01Wonderful. That's great. Well, okay, let's get into um uh filmmaking trying filmmakers trying to finance their films today. So, what lessons should they take from the instability and the console uh consolidation that's happening among the major studios?
SPEAKER_02Um so as far as like financing, it depends. Like, are you looking to finance from the major studios? You're probably gonna be disappointed. There's actually probably gonna be more. Pierre Mont doesn't like to talk about it because the merger's happening, but it happens all the time with tech and different companies. They they never announce the layoffs until after the sale has gone through, and usually three to four months after leadership changes. Um, so you're actually probably gonna see less financing from the major studios on certain projects until um there's a new equilibrium, but I don't think that equilibrium is going to be uh particularly beneficial for filmmakers trying to break into the major studio system. So filmmakers are gonna have to depend on themselves to finance their films and their audiences. I don't I don't just see a future where a lot of major studios are going to finance a film unless there's a a proven uh sort of track record. And that could be your own audience, that could be an IP that has done well. Um, but I think the days of having like a SPEC script that's really interesting and really good, unless the studios like see a major star, a major support behind it. But even then, there's there was a talk recently where I think um even Steven Spielberg says like not all of his scripts get through, or he has scripts that he's very passionate about, and there's just no one biting. So it doesn't really matter who you are in this era right now. It's it's difficult to get financing for your film.
SPEAKER_01Okay, so for filmmakers who are out there raising money to make their own film, they really need to find avenues for their own distribution and and go into this knowing uh that a three million dollar film may not be able to be to recoup its uh money. Is that right?
SPEAKER_02Yeah, there was uh a filmmaker I talked to, he had some decent stars and some TikTok stars, and uh they made it for like three million and no one bit. They were like 2.5 million in the hole.
SPEAKER_01Oh my gosh.
SPEAKER_02Yeah, yeah. So their investors are not happy.
SPEAKER_01And no, you have to know what's happening. Uh so all right, let's talk about AI and the rise of AI in filmmaking because um artificial intelligence is entering almost every part of filmmaking, from script development to reading your script and giving you feedback and then adding visual effects and building storyboards, etc. So, what are the biggest changes that you see coming in the next five years?
SPEAKER_02Um, biggest changes we're still gonna see there's I think one of the biggest, biggest changes is going to be uh AI that you personally own off platform. So that means that you're going to have, like, for example, there's Clain, there's Seedance, there's different AI video models that you could use. So I think in the future, people are going to train their own models that are free of copyrighted material. And once those models get good enough, I think are going to see a major shift in filmmaking where people can put their own assets, whether that's the actors they choose, storyboards, different scripts, and from there they'll build their own, um, they'll build their own art that's more protected. And that we'll we'll see how the C dance, um, the C dance sort of conflict between C dance and the studios go. And we'll see when C dance is allowed to release and how powerful it is if there's um if there's some uh conflict between the material they learned from the studios and the internet and what and what the courts allow. So that's going to be um the major shift. And I think you're also gonna see less people required to make a film, and um you're also going to see hopefully, hopefully more films. I think it can actually be beneficial as well. It's not entirely scary, and it's gonna be a necessity thing or a necessary thing because the amount of money independent filmmakers are gonna be able to make on one film uh is gonna be difficult to um to be profitable.
SPEAKER_01Yes, so you have to be lean and mean, which is where independent filmmakers came from back in the 70s. They were out shooting without uh having union people uh stealing shots in the middle of the night of trains and things like that they needed. Uh, and that was the heart of the independent filmmaker. So it we've gotten very soft recently because we had good distribution models, but then now they're falling apart. So you have to get back to finding ways to save money on your production and work with a tighter crew and use what you can on AI, right?
SPEAKER_02Yeah, and um, this is a you know a much more complicated topic for this blog. We talk about this in our producing class where we have actual lessons and and breakdowns of how you can do these certain things, but uh just realize I I I was working with Claude recently and I fed it some of my data from past scripts, notes that I've taken from screenwriting courses on how to write beats, and I prompted it in a way to ask me questions on my thoughts and what I was thinking, and it was amazing. Like it was one of the best brainstorming partners I've ever had for working on a screenplay, and it actually helped me break some barriers and some um and some uh writing um writing blocks that I was having for a particular story. So it's it's incredible what some of these tools can do now. And it's only 2026, right? It's only March. The jump from January to March has been huge. So just imagine the jump from March to December.
SPEAKER_01Right, right. You know what we did um is we put in, you put in uh on the learn producing clock course. You can find that on from the heart's website, from the heartproductions.com, under uh classes is learn producing. And that's where uh Jonathan's been teaching us all about AI and how what the benefits are, what are the best programs, etc. So um the things that we're learning is that um we just you put in a documentary film and said, uh, tell me the grants that are available for this. And the amount of research you did in less than two minutes was incredible. It would take human days to find that information. And then you said, turn this into an Excel file with uh the dates, the deadline. Dates, the content they want, uh, who, what the email address is, what's the mailing address, and wham. Everything was there. That was astonishing, Jonathan.
SPEAKER_02Yes. And also importantly, you can also tell it to um in the Excel sheet, put where you got your sources from so you can cross-check it as well. So you don't have to completely depend on it too. You can also use human insight to make sure that it did the work correctly.
SPEAKER_01Right. Um, okay, this is really important. Uh, but now a lot of filmmakers are concerned that AI is replacing creative jobs. So do you see AI as a threat or a tool or both?
SPEAKER_02Um, both. I think what you're seeing, you're not just seeing it in film, you're seeing it in other industries as well, is there people and businesses are going to start asking for the top people to just do more work. So instead of them doing the work of one person, they'll ask them to do the work of three. So, for example, you may see um an editor have to do color correction, balance out the sound, work on visual effects or minor visual effects. So those would have all been four or five different jobs, but there's a chance, especially on smaller films, that an editor may be doing four or five jobs. And I think that's what we're going to be seeing the most danger as far as creative jobs. It's not that I don't think AI is going to replace editors, directors, or even actors or writers anytime soon. It's going to be the jobs below that, right? The assistant jobs, things, jobs that people used to break in. I think those are going to be the most in danger. And to bring budgets down, both independently and in the large, larger studio films, I think they're going to ask the people that are already doing well, they're going to ask them to do more with the tools that we have and to learn them and to train on them.
SPEAKER_01Yes. One time I saw that because when I was running my company, I dealt with major television stations. And I always went and took them to lunch, and we had a wonderful hour together, and it was a monthly thing. So I go into the one of my uh suppliers' offices to talk to her, and she has this apple on her desk. So I said, Where are we going to lunch today? And she held up the apple and said, I'm eating at my desk because we have laid off a lot of people. I'm now doing two jobs, right? And that's that was the end of the fun lunches and the happy days are gone. You same person, but they have to work two more hours a day to keep their job.
SPEAKER_02Yeah. Yeah, or they're going to be entrepreneurial thinking people that can say, oh, instead of working for one company, I can work for three different companies because I understand to use these tools and people don't. So I'm going to maximize the time that we have now and I'm going to do the work of three people. Um, instead of just work with one company, I work with three because I'm able to work quicker and faster than other people are.
SPEAKER_01And smarter. Yes.
SPEAKER_02Yes.
SPEAKER_01In fact, the point is, learn the programs that will help you the most. So can you give us an idea of what some of those are? One or two would be helpful.
SPEAKER_02Um, if I had to start fresh again, I would learn Claude, the whole Claude Suite, Claude Co-work, um, Claude chat, like the regular Claude chatbot, Claude Code. I would learn that first because you that so far is the best one I've seen where you can train it on your personal inform, like personal written information. Um, it's locked on your computer, so they're not training your their data on it. And um that that would be the one where I would start playing with first if I had to start over.
SPEAKER_01I love my uh chat GPT, and I just learned how to separate things. You can have a whole separate file on one subject so it will not forget everything.
SPEAKER_02Um yeah, projects.
SPEAKER_01Yes, projects. Set up your projects. If you don't know how to do that, get I'm sure they'll tell you on YouTube somewhere, right?
SPEAKER_02YouTube, or you know, of course, come to come to our classes and we show you how to do these things step by step.
SPEAKER_01Yes, I'm learn producing. You can learn a lot. Now, um yesterday I ran into this post-production specialist who she works out of uh Oxnard, California, and she's telling me that the distributors she's working for do not want any films with AI clips because they're afraid of legal aspects. So what's this all about?
SPEAKER_02Um, it's gonna depend on the distributor. Also, I think it's going to be very hard to fight it eventually because um the brutalist used AI in their film in many different forms and it got distribution. That's like saying, oh, we're not gonna take any films with visual effects. I think there's some concern right now for distributors using AI, but if you're going to just not learn AI and not use it because you're concerned a distributor is going to do something, these things are gonna change. And also the power structure of distributors are already changing, right? Just because you get your film distributed doesn't mean it's going to gather an audience or make money. So the idea that you're not going to learn or adapt because a distributor may or may not take your film, um, it's probably not the best way. Now, if you're partnering with a distributor from the beginning, then yes, please ask them, hey, before we start filming, what is acceptable with AI? What contracts do you need? What do we need to give you for post-production to make sure we're legally okay? You're probably gonna need like um financial insurance as well. They're gonna probably ask for that, but they already do um for documentation and things like that. So that part hasn't changed. If you're already working with a distributor or you plan to work with a distributor, just ask them their AI policy and what they need, but don't say, Oh, I'm not gonna learn this because of this. I think that's gonna put you way behind.
SPEAKER_01Right. Well, if you're a director and you're really all right brain, find somebody that is a techie because that's where it's going. You're gonna have to have both the creativity and the technology working together, right?
SPEAKER_02Right, and I guarantee these large studios are already using AI in ways you don't know. I went to um a conference three years ago and I saw a demo where they could change the actors' facial expressions, um, dialogue. They can do localization where the diet where their mouth matches the different languages, and that was three years ago. They're using it in ways you don't know. So this idea that distributors aren't taking AI stuff is just wrong.
SPEAKER_01Okay. All right. Well, with all these changes, do you think the fundamentals of storytelling are changing? Or do great stories follow the same principles they always have? And will they rise to the top?
SPEAKER_02Uh, I think great stories will always thrive, and I think the future is the length of stories, and I think people are gonna be stories, meaning that people are going to want to um follow people and follow ideologies and beliefs and belonging. I think that's the future. As AI decentralizes things, we don't know how much is gonna um change things. We don't know if it's going to lead to complete unemployment or if it's just going to lead to um 10 to 20% unemployment, but there's gonna be people searching for belonging. Um, this idea that AI we seem to be in this era where it's either AI is going to destroy everything and everybody will be UBI, or AI is completely useless. No one's willing to admit that there's a possibility that it's somewhere down the middle, and um people are gonna need to search and find belonging. And that's where I think stories come in. And I think um the change in story is going to be, and I think all filmmakers are gonna have to do that. Is is like, how do you galvanize people to either a cause or your story or make people feel like they belong and what you're doing? I think that's the future.
SPEAKER_01That's brilliant, Jonathan. And to do that, you need to be promoting yourself as the filmmaker so they will follow you and uh and you are their storyteller. You become that part of their life where they are checking on you all the time to see what's new. So it would be creator content, right?
SPEAKER_02Yes, and I mean you're just gonna build your own story and marketing machine, that's where it's headed.
SPEAKER_01Say again, marketing machine, your own story and marketing machine.
SPEAKER_02You know, you can't, unless you have a lot of money, you're not gonna be able to have um, you're not gonna have a studio or distributor to depend on to do the marketing for you.
SPEAKER_01Yes. So you have to do it yourself. Now you have to learn marketing.
SPEAKER_02Yeah.
SPEAKER_01Oh, great.
SPEAKER_02Absolutely.
SPEAKER_01Well, that's one of the things we've been covering in the Learn Producing program. So, um, and you've been so good with teaching filmmakers about AI, not to be afraid. Check this out, you're gonna find it helps. Um, but what kind of knowledge do filmmakers most urgently need right now?
SPEAKER_02I think people get too obsessed with tools. I think you're better off to change the way that you think. And the people that I've seen most successful with AI, um, Carol, you'll probably relate to this are business owners. How do business owners think? They think in systems. They think like, okay, in order to make this product, right, I need these machines, I need these parts, I need these people to put these parts together. They they systemize their thinking. And I think when it comes to AI, the people that are able to systemize their thinking and say, okay, these are the most important factors, my creativity, my ability to plan and see things, my vision, these are the most important things and most things I should prioritize with my time. And then to think of AI or freelancers or whoever as um the people that bring help bring that vision to life. So I think the people that are more entrepreneurial thinking or can think in systems are going to be the ones to thrive. And if you don't have that way of thinking, um, you can learn, you can practice, you can try different things, you can map out your current process of just living your life. Um, one thing I did in uh, you know, early on um in my educational journey was I took geoscience and that really helped me visualize things and systems. And I believe people who visualize things and systems are going to thrive the most in this age.
SPEAKER_01Exactly. This is how entrepreneurs think you're so right. Because from running a business, I had to create systems that worked. And when something went wrong, it was either a procedural problem or a personnel problem, someone who didn't understand their job, or I had created a system that didn't work anymore, something changed. So we do we because if you really want, it's like a factory, Jonathan. You have to think like you're a factory and you're producing something, and it should take only so long, and this is what you want to achieve. And A does one thing and B does another, and it all works. Um, so this is really methodical thinking rather than the overview that most bright-brained people have on the creative side. But we don't want to lose that, that's what makes it so special. But we need to integrate into film production more uh entrepreneurial concepts like you're suggesting. That's great. Well, um, the Thrive program that we just recently launched, this is where filmmakers can access free educational resources and then join membership tiers for deeper mentoring and support. So, what do you think about communities and mentorship uh in today's landscape? Do you think they are more important than ever?
SPEAKER_02Yeah, I think they're more important than ever. And I think um, like I said, people are gonna want to find a sense of belonging. Um, I do think there's a lot of bad content out there on social media that is, you know, in you know, better way to say it, slop. And communities and mentorship are gonna be the best places to find content. And there's gonna be people willing to pay to have that sense of belonging and to get better information than what's out there.
SPEAKER_01Yes, Jonathan. I think that more than ever you need uh a mentor, a brainstorming partner, someone who's not on your crew but can give you, or someone who's run a business. When I first started running uh from the heart to grants, I realized that the 30 years of running a business had given me a lot of benefits to share with filmmakers because they are truly entrepreneurs, but they are creative thinkers. So getting the business side education is um on the fly is not easy. So uh you need to talk to your sponsor if you're physically sponsored, or bring in some advisors who run corporations, right? So you have the corporate concept along with the creative.
SPEAKER_02Yes, you're gonna need both.
SPEAKER_01Right. So looking forward, if you could give independent filmmakers one piece of advice about preparing for the future of the film industry, what would that be?
SPEAKER_02Don't hold on to the past if it won't help you.
SPEAKER_01Thank you, Jonathan. Tell us how we can find you.
SPEAKER_02Uh, you can find me on Instagram at Malibu Cinema and send me a DM. That's probably the easiest way to reach me. Um, and then we're on Thrive, Carol and I. So that's probably the second easiest way. We're on there bi-weekly and I answer questions there. I have so many projects and things going on, it's harder to reach me through phone or email. Um, so the most effective way is either on Thrive or at uh my Instagram.
SPEAKER_01Okay, thank you so much, Jonathan, for sharing your insights and helping filmmakers understand how they can navigate this rapidly changing industry. Because while technology and business models are evolving, one thing remains the same and will never change. And that is the power of a filmmaker with a vision. You just get out of the way because they're gonna make that film, with or without you. So, as filmmakers, we live in one of the most extraordinary times in the history of storytelling. Yes, the industry is changing. Studios are restructuring, and technology, like AI, is moving faster than any of us expected. But there is one thing that's really important to remember. Filmmakers have always adapted. We went from silent films to sound, from film stock to digital, from theaters to streaming. And every time the industry changes, new voices rise. Storytellers get in there and they find their way, and then new opportunities appear for those who are prepared. And this is exactly why education and community are so important. So, and from the Heart Productions, our mission has always been to help filmmakers understand the landscape, connect with the right people, and learn the tools that allow them to bring their stories to life. So if you're listening today, you're already doing one of the most important things you can do as a filmmaker. You are learning, you are preparing, and you are staying aware of where the industry is going. Because the future filmmaking will belong to those who understand both story, strategy, and entrepreneurial ship. So keep creating, keep learning, and keep believing in the power of your story. Thank you for joining us today on the Film Funding Podcast. Jonathan, thank you so much. And Claire Papin, thank you for being our co-host. And remember, the film that changes everything may be the one you create.
SPEAKER_02Absolutely. Thank you both for having me. And we'd love to see you on the inside of Thrive or wherever we meet.
SPEAKER_01Join us on Thrive. Thank you so much, Jonathan and Claire.
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