Every investor is different. They each have their own distinctive tastes, personal motivations, preferred methodologies and, yes, creative expertise. They are as individualistic, in other words, as the filmmakers they support. Which is why we at Slated have just inaugurated our Filmonomics Talks, a monthly series of candid film financing discussions that recognize investors as much more than just the money. Investors are full partners in the filmmaking process and like every other player in that ecosystem, they want to learn from one another, swap war stories and make meaningful connections both across the industry and among their peers. Slated’s online filtering tools, scoring systems and informational resources are designed to remove much of the guesswork out of that matchmaking process; Filmonomics Talks now adds a personal dimension to what is after all a human business still driven by personalities and preferences.
Ever wonder why certain film projects gain rapid acceptance by the industry, while others languish in development? Or why the lists of talent attachments that excite - or turn off - film financiers, sales agents, studio greenlighters and acquisition scouts seem governed by their own confounding logic?
Slated is divided into three main sections - “Films”, “People” and “Companies” - and each section will now see “Scores” attached to them. These numbers show the relative strength of film projects, filmmaking talents and film companies as they might be measured by their business peers. They serve as another filtering layer that will accelerate discovery, improve matchmaking, aid packaging and facilitate ever-more introductions across Slated.
Some watershed news. Fully five projects listed on Slated have just succeeded in raising tranches of film financing from fellow members as a result of introductions forged here on the platform. We can report on a couple of those films already - two very different stories but each, as it happens, revolving around a mother who kidnaps her daughter - and we’ll fill you in on those remaining investments as they become public. Co-producer Cordelia Stephens has confirmed that DUKHTAR (DAUGHTER) has secured backing from Shrihari Sathe of Infinitum Productions. At the same time, writer-director Will Raee has closed two financing deals on LOST IN AUSTIN, one of them with Tommy Levin of Saguaro Partners Holdings LLC. “Things are looking really good,” marveled Will..
Revolutions come in stages. This is as true of political and societal upheavals as it is of business transformations. Sometimes, to borrow from the film editor’s lexicon, these transitions are the jarring equivalent of jump cuts, scene wipes and other radical gear-shifts; but more often they take the more gradual form of dissolves in which one scenario is seamlessly replaced by another and the story moves on to a new phase. And so it is with Slated. Having played a seminal role in re-thinking the entire film packaging and financing process, our pioneering website is now undergoing a smooth transition of its own.
Two years after introducing Slated to the industry at the 2012 Sundance Film Festival, Co-founder Duncan Cork is stepping down as Chief Executive Officer and as a member of the Board of Directors. The Board has appointed Co-founder and Chairman Stephan Paternot as Slated's new CEO going forward.