HOW

TO ASSESS A DOCUMENTARY PROPOSAL

Donating to an Australian documentary need not be overwhelming or prohibitively expensive. The key elements of a documentary proposal will largely be the same as any traditional proposal a foundation receives from a charitable organisation. A foundation will need to examine what the film is about, the project’s aims and objectives, why the film is being made, who is making the film, how the film’s success and effectiveness will be measured, and the budget and timeframe of the film project.

Below are some explanations of the elements of a documentary that a foundation needs to consider in a submission for funding.
Read More in Guides for Evaluating Projects

THE SIZE OF THE GRANT

Like existing grants in the philanthropic world, a project may be funded by a number of foundations over a period of time. Cost should not be a barrier as a foundation, individual or corporate donor does not have to fund the entire documentary project alone. In the examples from the USA, there are multiple funding sources throughout each project (see Trembling Before G-d in Case Studies). Some of the larger foundations experienced in funding films will often give significant amounts and potentially fund the entire documentary’s budget. Other foundations might give smaller grants, funding particular aspects of the production. These smaller amounts can make a great difference to a filmmaker: at the beginning when he/she is struggling to get a project off the ground; at the next stage of production or towards the end, when the filmmaker needs to get the project finished and marketed. Donating smaller grants can also provide a donor the flexibility to make other grants as the project develops.

Staged support can be given, for example, across the life of a project, through research, production and post-production. Sustaining a relationship in a community for an extended period of time allows for more substantial long-term projects requiring time spent with people to build trust, rapport and ongoing relationships. A long-term supported project provides a deeper and more meaningful relationship, ultimately creating a more sustained impact (see Hurt and Knot at Home in Case Studies on the Documentary Australia Foundation website).

FILM BUDGETS VARY

The budgets of documentary films vary from a few thousand dollars to over a million dollars. This depends on many factors: the length of a film for example, whether or not it is intended for broadcast, whether the documentary is made on film or video, the size and experience of the crew, locations and other costs such as archival footage or music, in addition to the size and outreach of the educational program.

It is important to remember the perception that documentary films are costly should not hinder the desire to make a grant. Grants can be made in stages targeted to a specific phase of production or made for the outreach and educational campaign of a finished film.

WHAT KINDS OF GRANTS CAN BE MADE?

We believe a grant to a documentary should be treated the same as any other grant in the gift-giving portfolio of a foundation or individual. Just like a traditional grant to a charity, the donation can be made for all or a part of the project. The donor can be the sole donor, or equally be part of a team of several donors (including a mix of private and government funders).

Supporting a filmmaker’s capacity to develop a number of projects is another recommended way to give. This can enable a filmmaker to work across a number of related areas simultaneously, to develop projects and create resources that reach beyond the linear documentary, reaching out to audiences and raising awareness in different ways connecting to different aspects of need, engagement and training. This may involve developing websites, educational kits, building community relationships and involvement. It also reduces the risk as the grant is not tied to one specific project but to a program of ideas consisting of a range of outcomes, including documentary, education and online initiatives.

GRANTS FOR STAGES OF PRODUCTION

The production of a documentary film happens in stages, including:.

1. Development
2. Production
3. Post Production
4. Marketing & Distribution
5. Educational and Outreach

Different benefits and risks result from funding each stage. It can be rewarding to be involved in the funding of the entire film, but also effective to fund documentaries in stages.

Here is an outline of each stage of production:

1. Development funding

Following a film through from development to completion is rewarding, but this presents a higher level of risk. Development funding is often called ‘seed funding’. Seed funding occurs when a project is still a developing idea. This type of funding helps a documentary film gain its initial momentum. When a project is being developed, a filmmaker writes a proposal outlining its parameters. The filmmaker will often make a trailer to show potential funders some visual material, characters or locations and generate interest in the idea. Various costs are associated with these processes.

Funding at the development stage may help a filmmaker with costs resulting from creating a showreel or trailer. It might help a filmmaker with research or travel costs helping refine the original idea.

Funding at this stage is more risky, as some projects never get off the ground, but when they do it can be more satisfying to have involvment from the outset. Research is crucial to the success and benefits of every project.

If no-one was prepared to fund at the development stage, many valuable and innovative projects would never be anything more than an idea. Research is the area that can profoundly determine and target an audience, define community interest and prove a project’s relevance and potential impact. If total funding is given for the documentary the donor can at least “guarantee” that the film will be made.

2. Production funding

Production funding refers to the stage where a film has moved beyond development and is actually being filmed.

The expenses at this shooting stage include equipment, crew, location costs, editing equipment, access to and use of archival footage and music rights. Donors may give an amount covering a specific aspect of these production costs or they may elect to give a more general grant. Donors may request to see footage to assess the ongoing direction of the project and then choose to be involved in funding subsequent stages. Joining forces with other foundations to support a project at this more expensive stage shares the risks amongst like-minded philanthropists and ensures the project receives the funding it needs to achieve its goals.

3. Post-production

Post-production is the time spent on editing the film or video. It takes the project from the shoot (the raw material) to the screen and includes editing, creating the soundtrack, music composition, sound mix, picture grade, titles and effects. At this stage, assistance may be sought to complete the project, offering the grantmaker the opportunity to close the gap and allow the documentary to be fully realised.

4. Marketing and Distribution

Distribution is the process through which a film reaches its audience. This could include a television broadcast, cinema or festival release and a DVD that is marketed and distributed as widely as possible according to a marketing strategy. Promotional material, website, stills, CDs, flyers, posters, electronic and paper press kits are created during this stage.

5. Educational and outreach funding

This is the most accessible stage to support a documentary. It is extremely valuable to develop extensive outreach strategies and this is an opportunity for a foundation to add value to their aims, increase their effectiveness and support the sustainability of an issue. For a foundation, educational strategies are identifiable and easy to assess because the documentary is complete, making the outreach plan concrete. Outreach and educational strategies focus on schools, libraries, universities, community and affiliated groups. They also involve internet strategies to enhance access to the work. Educational kits targeted at curriculum areas and distributed to teachers and students assist a documentary's relevance in the classroom. The more effort committed to education and outreach, the more visible the objectives, making it easier the effectiveness of the grant easier to measure.

Below are examples of recent Australian films that illustrate how local filmmakers approach outreach for their documentaries:

i) THE MAN WHO STOLE MY MOTHER'S FACE
CATEGORY: SOCIAL JUSTICE

Synopsis: Two days before Christmas in 1988, a woman is sexually assaulted and savagely beaten in her home by a young white teenager. Fourteen years on, the woman has still not recovered from this assault. The police bungled the investigation, the neighbours disputed her version of events and her son blamed her for allowing the perpetrator into her house. The teenager, identified from a school photograph, was never charged and remains a free man.

“A key feature of the project was that we did not rely only on the documentary film and television broadcasts to spread the message. We set up a comprehensive website right from the start that deals in depth with the issue of sexual assault. The site was approved and supported by key sexual assault and women’s health agencies in Australia and South Africa, and they have used the film and the website to raise awareness and generate wide community discussion on its important themes and to advocate to government for more assistance. The site tells the story from the perspective of 11 characters and provides follow up material and updates on the story. It also raises other important issues such as men’s role in confronting this crime, myths and stereotypes, information about healing and recovery and links to key help organisations and other useful websites. There is a comprehensive Study Guide for use in schools and a web diary and news section.” – Cathy Henkel

See full case study of The Man Who Stole My Mothers Face.

ii) KANYINI
CATEGORY: INDIGENOUS

Synopsis: Kanyini is a story told by Bob Randall, an Aboriginal man, who lives beside the greatest monolith in the world: Uluru in Central Australia. Based on Bob's own personal journey and the wisdom learnt from the old people living in the bush, Bob tells the tale of why Indigenous people are now struggling in a modern world and what must be done for Indigenous people to move forward. This is a story of Indigenous wisdom clashing against materialist notions of progress. This is not only a story of one man and his people, but also the story of the human race.

“Uncle Bob’s and my overall dream was to ensure that every Australian school child would have a chance to see Kanyini before they left high school.

Within a month of completing the final draft I had a distribution contract from Hopscotch in my hand – a dream come true! Funding of the Print and Advertising Budget was provided in part by the Macquarie Indigenous Development Fund. Then the Rio Tinto Aboriginal Foundation called up and said that they had heard about the film and wanted to be a sponsor. The GPT group was the company behind the tourist resorts on the other side of Uluru. They were very supportive of Kanyini and thought it was wonderful. The managing director agreed to cover the remainder of our deferred costs. This act of the GPT group was an act that sealed their wish for Mutitjulu to become a healthy, happy community.

The first point of call was Macquarie Bank. I met with the Macquarie Indigenous Development Fund. Within five minutes the fund wished to support the film through sponsorship. We were on our way and faster than I thought we would be.

It was the grant from the Shark Island Documentary Fund that sealed our chance to market and promote Kanyini to every Australian school. We needed assistance building up the website, creating marketing material, promoting to schools via screenings and mail-outs and the logistics of distributing the DVDs to schools right around the country. Having every child around Australia view Kanyini is an ambitious plan but it’s an achievable one and one we are starting to realise. Getting the film in front of teachers seems to be the key.” – Melanie Hogan

See full case study of Kanyini.

Read more in the Case Studies.