W e are looking for compelling and highly cinematic stories with strong narrative structures and a potential for a global release. We have a remarkably eclectic slate spanning all genres, from topical current affairs to character-driven, environment and arts.
We can come in at any stage of a project but usually prefer to get involved in projects with significant pre-existing footage. Our participation – as executive producers or co-producers – can range from writing, fundraising, doctoring, editing and all the aspects of post-production.
We’re pretty open to considering anything that might fit our company spirit. We like to champion uniqueness and identify game-changing, irreverent, culturally relevant films with built-in audiences. But first of all, we need to fall in love with the story!
We’re interested in projects that come with a hook we can use in marketing the film, be it name cast, unprecedented access, exclusive footage, or just a strong angle from which we can generate interest. For instance:
- You have direct access to a person – because you are childhood friends, or you’ve toured together for many years, for instance – an artist (the lead singer of a famous band, an actor/actress, etc.), a public figure (a high-profile politician, a candidate to office, a CEO, an Elon Musk, Trump’s physician) or any anonymous character’s story (a former sniper now acting on Broadway). Or you have unprecedented access to an event or a place where no film crew has ever been allowed before (ie: Werner Herzog’s “Cave of Forgotten Dreams”).
- You own hours of exclusive archival footage, which documents an aspect of our collective history for an unprecedented point of view (ie: “Apollo 11”), or a personal story (ie: “Grizzly Man”). This applies also to audio (interviews or conversations on tape with – for instance – Orson Wells, Truffaut, Jessie Owens, Bush Jr, etc) and still images or negatives (a suitcase full of negatives; unpublished images of a specific event, etc). If you think there might be a story, we’ll make it happen.
How we work
We really like working with first and second time filmmakers supporting them and building those relationships.
We are interested in long-term partnerships, and the success of our filmmakers is as important to us as our success.
Although the majority of the films we consider come to us via relationships, sales agents, agencies, and producers, we are really open and do take blind submissions. And we don’t mind persistence in following up, as we get so many submissions regularly.