Last night I went to a Raindance class on film financing. Other than an open evening a couple of years back, most of which I seemed to spend listening to the woes of an increasingly drunk Irishman, this is the first time I’ve dipped my toes in the Rainwater.
The lecture’s chief effect was to teach me why no-one has picked up Dark Side yet. Explanations of things like completion bonds shed light on certain concerns that were brought up by the financing company I dealt with last summer.
When I give lectures myself, I always advise people to go to the pub after any course they attend, because that’s where the important networking is done. So despite wanting to get home in time for Family Guy, I practiced what I preached and followed half a dozen or so other attendees and the lecturer to the bar around the corner. (I felt strangely as if I’d just been to a Rural Media workshop in Hereford and it was 1998 all over again.)
Stories of fundraising woe were shared – this time without drunkness, Irishness or bitterness over a financially and emotionally crippling divorce. After hearing about how I made Soul Searcher, including The Guardian’s article and the DVD release, one of my fellow attendees said, “You must have no trouble getting money for your new film.” If only.

As you have probably sensed, things are not going well. I’m trying to attach another writer, but that seems to be just as difficult as attaching an actor. Again, it’s Catch 22: the agents don’t want to know unless there’s money already in place. Screen West Midlands don’t know whether they will be able to run the Production Development Fund this year.
Things are looking better for Soul Searcher. I’ve just signed a new deal including the US rights, and the feature length behind-the-scenes doc, Going to Hell, has also been picked up for independent distribution via tinternet and possible TV broadcasts overseas. Ironic that the easiest feature film I’ve ever made (I’m talking about G2H, not SS, obviously) should prove the most popular.