
Every Filmmaker Needs a Better BS Detector
Film attracts dreamers. Unfortunately, it also attracts people who make money exploiting those dreams.
Dr. Xavier "X" Mitchell is the founder of Providence Film Group and the CEO of Valiant Eagle, Inc. (OTC: PSRU). Film Faster is a Providence Film Group platform. He began in the creative side of the business — writing for television and film, directing and shooting music videos, and producing concerts for emerging artists. He founded Providence Film Group to take on larger film and television projects, and has since overseen productions including The Knock and Ambush Karaoke, alongside international partnerships and financing structures for independent features. That work expanded into a group of entertainment companies under Valiant Eagle, spanning film and television, publishing, gaming, digital television and a record label. The through-line is the same problem in different forms: how a project gets financed, made, seen and paid for. He writes here about what he has actually had to figure out — packaging, financing, distribution, audience, and the professional habits that determine whether a filmmaker gets asked back. The perspective is a producer's and an operator's rather than a critic's. A U.S. Army Desert Storm veteran, he founded San Diego Community Assist and has run it for more than thirty years.

Film attracts dreamers. Unfortunately, it also attracts people who make money exploiting those dreams.

Your one-sheet is not the place to tell everybody everything. It is the place to earn the next conversation.

Filmmakers routinely spend years making a movie and several weeks thinking about who will watch it. Reverse that.

A screenplay becomes easier to understand when the people, plan and market around it begin taking shape.

Passion gets people interested. Preparation keeps them in the room.

Many filmmakers begin financing conversations too early. Before asking where the money is, ask whether the project is ready for money.

A long FilmFreeway receipt is not a festival strategy. Every submission should have a reason behind it.

Too many filmmakers treat their short film like something that expires after the festival circuit. Think bigger.

A giant contact list doesn't make a filmmaker powerful. A reliable circle of people who make things happen does.

Finishing a movie is an accomplishment. But finishing the movie and building a future for the movie are two completely different jobs.

There is more filmmaking information available than at any point in history. So why do so many filmmakers still feel stuck?