Tips & Tools for Open Call Applications

In response to the growing demand for submission resources, the ITVS Programming Department hosted two informational webinars for filmmakers submitting for Open Call funding.

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Throughout the year, hopeful applicants have a tendency to bombard the ITVS Programming Department with questions regarding their submissions to various funding initiatives. This year, Programming Manager N’Jeri Eaton hosted two webinars offering insight on the process and firsthand advice for filmmakers for their treatments and work samples.

The first webinar was devoted to the art of treatment writing, where Eaton was joined by ITVS-funded filmmakers Christine Turner (Homegoings) and Llew Smith (Denial: An American Dilemma).  The filmmakers shared excerpts from their treatments and answered questions from the webinar participants.  You can watch the full webinar below:

Treatment Writing Webinar 12-9-13-vimeo from ITVS_VIDEO on Vimeo.

Next, ITVS hosted an OVEE screening featuring three 10-minute work samples that had been recently funded by ITVS: Samantha Grant’s A Fragile Trust, Juli Vizza’s Nine to Ninety, and Jamie Meltzer’s Freedom Fighters.  Due to clearance rights issues, we are unable to post the work samples, but you can read a transcript of the informative chat here.

And, as an extra bonus, we have a revised edition of our guide to Writing an ITVS Treatment. Continue reading

What Makes a Good Work-in-Progress? Part 3: Late Production

By N’Jeri Eaton
Programming Manager, ITVS

The third and final installment of our Open Call “Work-in-Progress” series focuses on the determined filmmaking duo behind Give Up Tomorrow, whose dogged persistence in refining their work-in-progress finally resulted in their film being greenlit. Having successfully submitted to ITVS Open Call, they reveal the thought process behind their editing decisions and advice for potential applicants.

NOTE: Due to rights clearance issues, we are unable to share the work-in-progress samples for these films. Continue reading

What Makes a Good Work-in-Progress? Part 2: The Veteran Filmmaker

By N’Jeri Eaton
Programming Manager, ITVS

The ITVS Open Call deadline is only five days away, making it the perfect time to read the next installment of our ‘work –in-progress’ series.

Submitting an enticing ‘work-in-progress’ can be difficult, even for the veteran filmmaker. Today, we bring you As Goes Janesville’s  Brad Lichtenstein, who despite having vast filmmaking experience, had to learn how to wrangle five main characters in his sample before being successfully funded.  Continue reading

What Makes a Good Work-in-Progress? Part 1: Early Production

By N’Jeri Eaton
Programming Manager, ITVS

With the ITVS Open Call deadline right around the corner (next week in fact!), BTB brings you the first in a three part series breaking down the elusive ‘work-in-progress’.

Here at ITVS, one of the most asked questions is “What Makes a Good Work in Progress?”.  Unfortunately, there isn’t a simple answer.  The answer can vary depending on what material you have, the style of your film, what stage of production you’re in, etc.

Over the next three days, we will share the experiences of three ITVS-funded producers who successfully submitted their work-in-progress samples to our Open Call initiative.

Today we bring you More Than a Month’s Shukree Tilghman, the first time filmmaker who, despite being early on in production, received funding the first time he applied. Read on as Tilghman reveals the thought process behind his editing decisions and advice for potential applicants. Continue reading

Open Call Deadline Two Weeks Away!

Hurry hurry hurry! If you need funding for your film, don’t miss the deadline for Open Call funding on Friday, August 6, 2010.

Open Call provides completion funds for single nonfiction public television programs on any subject and from any viewpoint. Projects must have begun production as evidenced by a work-in-progress video. Open Call funding is only available to independent producers who are citizens or legal residents of the U.S. and its external territories.

One question we get asked by many filmmakers concerns the previously completed work and work-in-progress requirements. If you’re still cutting, here are some tips on what to submit and what we’re looking for when we do our evaluations.
Continue reading