You may have an uncompleted script, or one that’s in its third re-write. You may have a documentary that’s burnt through three editors and all of its budget. You may have a finished feature that’s never been shown to anyone other than friends and family, and lacks a plan of attack. You may be writing a funding proposal, or notes to guide the press in writing about your finished film. I work with you to lift your work to its highest potential, communicate clearly and compellingly about it, and strategize your next steps.

My interest, and my talent, has to do with clear and compelling communication. Is your film speaking clearly? Does it make sense internally, and does it make the same kind of sense you think it does? Does it contain even more potential than you realize? Are you communicating clearly about your film with funders, festival organizers and distributors? If your communication actually is clear, do your ideas sound exciting? This is where I come in.

IMPORTANT: I am not an expert in financial organization, entertainment law, line producing, or such trades as cinematography and sound engineering. I have an understanding of these areas that can enhance and inform our conversations, but the bottom line in my work is clear and compelling communication, on the page, on the screen, and in the way you present your work.

Too many times I’ve heard filmmakers bemoan their lack of knowledge after they’ve made a film, or shown one to audiences. “If only I’d known my script wasn’t ready to shoot, I’d have spent more time on it.” “If only I’d known that sound quality was important in a DV feature, I’d have hired a professional sound person.” “If only I’d known how festivals work, I might have sold my film by now and cut out a lot of needless work and shlepping.” Sad to say, the most common complaints boil down to: “why did I spend all that money before I was ready?” Sometimes I hear, “why didn’t anyone tell me what I needed to know?”

The problem? Many independent filmmakers only have access to relevant information through friends (whose moral support can be mistaken for good advice) and through the school of hard knocks. Either of these can help get a film made, but often with a hex on it (subpar script, flat production values, budget overruns) that can gum up the film’s career, and its director’s too. Filmmakers who appeal to professionals (festival programmers, agents, producers) for advice on their work, thinking that these are the people with answers, are usually disappointed. Such professionals are usually either too busy to get involved, or too bound by professional courtesy to go out on a limb. I know; I was one of them.

In my consulting capacity, it’s my pleasure to do what I could never afford to do before: be absolutely candid about your project and its quality, your vision and its clarity, the viability of your plan for festivals and beyond, and especially, how you communicate all these things. This applies to any script or working version of your film, and any funding or press/PR document you may be preparing. If you mainly need compliments, you might as well stick with your best friends (though I love to compliment excellent and promising work!) If you’re looking for honest, seasoned insights, and to avoid the school of hard knocks, that’s what I’m here to provide.