Business Mentoring for Filmmakers: Saint Louis Filmworks #218

In this episode of The Screen Lawyer Podcast, host Pete Salsich interviews Mary Kay Sheets, the Executive Director of Saint Louis Filmworks, a nonprofit dedicated to supporting emerging filmmakers in Saint Louis. 

They delve into the organization's origins and mission, which began in 2020 with the goal of centralizing local creative talent and promoting Saint Louis as a film industry hub. The episode also explores the benefits of filmmakers partnering with a fiscal sponsor for fundraising, the concept of finishing grants for post-production, and an accelerator program designed to mentor filmmakers, enabling them to focus on their strengths and collaborate more effectively.

Original Theme Song composed by Brent Johnson of Coolfire Studios.
Podcast sponsored by Capes Sokol.

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Transcript

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So how do you organize a whole bunch of creative people with great ideas, lots of energy, but not a lot of communication amongst each other? You get somebody like Mary Kay Sheets, my guest on the podcast today, Mary Kay, is going to join us. Welcome. Okay. Thank you for having me. You're going to hear all about Saint Louis Filmworks and all the work that Mary Kay is doing. Stick around. Hi there. Welcome to the Screen Lawyer Podcast. I'm Pete Salsich, The Screen Lawyer. And joining me today is my guest is Mary Kay Sheets, Executive Director of Saint Louis Filmworks, a nonprofit organization here in Saint Louis devoted to helping the emerging filmmaker, the storyteller. Really, the film business here in Saint Louis that is booming in light of the Missouri motion media tax credits that came online last year. Welcome, Mary Kay. Thank you for having me. Yeah, this is great. And I mentioned Saint Louis film Works, but obviously there's a lot more to Mary Kay Sheets right now. Indeed. Yeah. And you and I have known each other, have been working together for a couple of years on this. And I think it's really exciting to have you here to kind of talk through some of the things that are going on in the film world. Oh, absolutely. And there's a lot and, as you said, we could probably was we were talking right before we got started with all the different conversations we could have on this topic alone. So, no, I'm excited to be here and, and talk about what's going on. And. Yeah, so let's talk about let's start with Saint Louis film work. Saint Louis Film Works is a 501(c)(3) nonprofit organization. but let me stop there and let you pick it up and say, what? What does Saint Louis Filmworks do? So, Saint Louis film works really got started in, about 2020. And it was really when there was an emergence of just a lot of synergies starting to come together and percolate back up. You know, we had, and there was there's so much creative talent here, but it it really was, you know, all over the place, you know, small groups doing their thing. And there was not a lot of common communication and so forth. and my co-founder and I got connected, just right after the In Motion Film Council, our conference that they did in the end of 20 or 2019, and, it had been something that had been pursued in me with my background to kind of help pull together an initiative if you will, an economic initiative around how do we build the, this hub of talent back up? How do we start, marketing what Saint Louis is in terms of the entertainment industry and so forth. So we got together, we both have such, we had a nice mesh of backgrounds because, you know, Shad is a native of Saint Louis and just loves Saint Louis and his creative as as a creative director and my background as a I'm a fractional executive. My day job, I worked for myself for like 29 years. And, so I really work with senior executives. And, my early part of my career was a lot in entrepreneurship, business startups. Right. Well, in essence, you know, once I got enmeshed in this industry and this world and that's a whole nother conversation. that, you know, I really saw that, you know, the independent filmmakers are entrepreneurs. Absolutely true. Yeah. And they they need to understand what that means and so forth. So between taking our two backgrounds on my business side and the creative side, and I also have a creative side on my background too. But by the time we brought those two things together, we knew that we probably could put together a really good vision on what needed to happen. So Saint Phil, Saint Louis Film Works really was all about, you know, originally, building a a vision, I guess, and really saying, okay, how do we market Saint Louis? Better. Right. How do we, centralize the hub or all the talent to communicate, right. Some, some common ways people can find out about what each other's doing, that sort of thing. And, and I think it's important just to. I mean, because I knew this, but sometimes it's a reminder you were doing this, starting this, coming out the the genesis of it before Covid hits, right before Covid hit. And then you have to do the work during Covid. And all of this is several years before we have a tax credit. Oh, absolutely. We really we're we're focused on, because of the onset of the digital age and the, opening to usually in the lead as a very tight, organization to try and get into our industry to get into. It really exploded. Sure, absolutely. So we knew that we had an opportunity to become a go to hub for the independent storytellers, and that's ultimately what we were focused on. We were not focused on the tax incentives because we knew tax incentives are going to come and go depending on the political, I'm sure, you know, wave, so to speak. And, you know, the tax incentives are awesome because, you know, they bring in, they open the conversation for Saint Louis, right? Because, you know, the larger studio projects, even the larger independent projects are going to go where they can grow, used to utilize their budget. Sure, absolutely. And which is talent stuff. So we knew that we had so many other opportunities to be a hub for the independent filmmakers, whether we had tax incentives or not. Yeah. and so we really dug in to say, what do they need? You know, they needed mentorship. They need to know how it what what we mean by filmpreneurship. They need funding, right? They need to be connected and networked. And so, you know, in finding our lane, you know, when we really started, it was, you know, we had the film office, but, you know, Rene was doing a phenomenal job with, you know, when productions were here and the boots on the ground and everything, but there was no, common advocacy to really kind of get the word to try to attract other projects or to help. And at that time, I think, too, you know, and we, we got connected. Maybe you were two years into it Saint Louis Filmworks when you and I started talking. but at that time, you know, there wasn't, it seemed to me because of my, my experience working with, production people as their lawyer, there was a lot of, in the independent film world, it was get some, get some money, shoot some footage, get some money, shoot some footage. And that's a standard sort of, you know, guerrilla way to assemble a project. And a lot of documentary filmmakers work that way. So the nature of the storytelling process for them and the fact that they also I typically, for sustainability, have to work another job oftentimes. And it has to go around their schedule. Right. Yeah, that's actually a really important point to when you're because a lot of this community that, that you're focused on, isn't the five six time filmmaker who's done it a bunch of times and knows how to put together a team and knows how to start with a budget, right, knows where they're going to try to at least seek the financing. However, our accelerator's leaning towards that more seasoned independent filmmaker. And that's. Yeah. And I want to talk about the Evolution Accelerator. in a second, I think the, but but even the people we're trying to attract in this entire process is I sort of thinking of there's two ways. And the tax incentive does help. as you said, part of it is to maybe bring someone who's going to shoot this project somewhere, right? So they're going to choose a place where the budget works best. So that person's looking around. They can go to any state or any of however many. And you know, you've got to have the right type of location for the story and that sort of thing. Right? But if you've got the tax incentive, you're part of that effort is come here, come here. Right. But the other part of it, and maybe the longer term important part that you've been spending so much time with, is building up the local filmpreneurs and helping them understand the business of it. Right, right. That role of that producer to start so you can get finance and you can do those things well. And, you know, and over this four year period of time as a young nonprofit, and initiative, you know, are we initially were out saying, okay, let's identify what the gaps in our market is, what what do we need? And that was one thing we needed that connectivity. We needed to help those starting on our, filmpreneurs and independents have a starting ground and, spent a lot of time, connecting people. Right? Yeah. So it's all about connecting and having a place where they can go to say, where do I start? Who do I see who's doing what in, in the ecosystem. Right. So it was educating and and letting everybody know who is even existing in that, that ecosystem. What do we have, what do we need. And as we have found more our lane now because as the tax incentives have come and, the other we have some other great non-profits, whether it's, you know, continuity, and moment doing their thing for the, you know, we have everybody doing their thing and building up, what they are doing in their focus. And so Saint Louis film works, we've tried to get back down into a very specific lane, and we spent a lot of time early on with advocacy. Right. right. And, and gathering people and sharing what we felt the industry needed after talking with many of them. And over time now we've tried to get back into our lane to say we need to be more focused on, you know, there's a lot of crew development, crew training, but there's no one working with the writers. Yeah. And and the storytellers on, you know, workshopping the content and the distribution angle of it and understanding the business of it. And how do I build a career, not just one project. Right, right. You know, and so that's where, you know, we've tried to start honing in on that lane more and more, right, to say, okay, what can we provide them? but this year, which was, a huge kind of hit for us, is, you know, we started the, SLFW network where we do monthly meetups. Right? And boy, did that turn into oh, those are those are great, I remember. So the first one you did was in January. Yep. Right. Call. And you know, like it was a week or so after the holidays I fired call and it was a bad dog. Yeah. It was, it was great great great. great. How would you describe it was just amazing turnout. There's the energy and the energy in the room. I mean, we had probably over 150 if not pushing a couple of hundred that showed up. And we I remember and it was it was sort of more it was more than word of mouth. I mean, you put the word out there, but it was like social media and stuff. But it wasn't it was it? I think there was such a hunger. There was especially coming out of Covid. There was such a hunger. And why was constantly seeing the chatter online of cash? I wish, you know, is there something going on that we can all connect with? I wish there was something. And, and that kind of, you know, we were starting to do some of that, especially with the conference right at the start of, you know, Covid, unfortunately. And then everything came to a screeching halt. And then there was such a hunger for it. And so it has just been great. And it was a you know, the goal was ultimately we just want to get everybody in the room to be connected, to know who's who's here and then we take the opportunity. Why we're there to, you know, my goal especially starting, was let me point out the people you need to know in the room, especially from the film office or, you know, continuity, what's, what's moment about, you know, and who these people are and why they need to know them. Right. because especially the the new ones coming out or like, I didn't know I had these resources. Yeah, absolutely. I mean, I and we so I, I remember going the first one and really kind of being amazed at the size of the crowd, and, and then sort of thinking, well, maybe I shouldn't have that. Right. I kind of know that there's this, but to see everybody come together like that and then each successive one over the course of the year, you're seeing more and more people because there were plenty of people. I've been doing this for a fairly long time in this town, but still, it's the actual number of people that I know well and work with is pretty small. Yeah. And so that's growing in large part because of these groups. Yeah. The database actually is already over a thousand. Yeah. I mean every I'm amazed every time we have RSVP. and there are people sign up that how many new people are there. Well the people spread the word. Hey, you should come to this thing next time. I, we hosted, one of those in one of the meetups in May. Had a great turnout here. It was really. It was a really fun night. And I think that's, we got another one coming up. Very cool. Yeah, yeah. We'll be we'll be hosting that group. Well, we'll be dovetailing with our masterclass as part of the Saint Louis International Film Festival and, but but you're right, those kinds of things. So over the course of this year, that process has really been impressive to me. And to see that working and, but but then also we started working earlier in the year, on, an accelerator program. And you mentioned that earlier. So, so let's, let's talk a little bit about that because to me that's another, another offering. Ready. That's, that's on the horizon but not quite there yet. Right. Well, and as an entirely volunteer organization, you know, we we're kind of stair stepping. We always kind of say, okay, what are the paths to least resistance on what we can offer? our filmmakers and so forth, you know, so we, you know, started with our fiscal sponsorship program. Right? You know, we really focus on helping. I was like, where are elements that we can help. And, and so and so for people who don't I'm sorry to cut. Yeah. But I want to I want to touch on that for a second, because the fiscal sponsorship program was a really important tool that people may not know a lot about. Is as a way to finance particularly documentaries. Right, if you've got any, quite frankly, because it's a it's a mechanism for the filmmaker to one, ask for donations through our organization and they're tax deductible for. So, you know, a lot of times when you're doing your passion projects are getting started and so forth, or even larger organizations come on fire. I mean, we we raised a probably pushing 180,000 at the tail end. You know, they came in and we were their fiscal, sponsor for their so you can raise a great sum of money because they got foundational grants, right. So you can raise money through tax on individual tax deductible donations and or it allows you to, apply for grants and through the foundations. As a 501(c)(3). Right. So so yeah. And so the way it works and correct me if I get this wrong, but because I worked with a couple other clients that have worked through that type of situation and essentially the filmmaker, the production company is an independent, you know, for profit entity, whether metrics are profits. Another thing. Right. But in terms of its corporate structure, right. Because it's not going to take the time. Typically those are independent single purpose entities to get formed. Yeah. For each project. Right. Just by the nature of the copyright ownership, investment, everything else. So they if they partner with a with a fiscal agent. So someone like you that's a 501(c)(3) then they can go out and attracting if people want to support the project. But would like to do so with a tax deductible donation. Exactly. Whether it's a foundation or just an individual, they, they they make the donation to you. You send them the letter. Here's your tax deductible donation, etc. but they can direct their funds for this project. Exactly. and that's a really powerful tool. Yeah. And we basically, you know, you apply and then we set up a funding website. So that's directed to a specific website, just like a crowdfunding. Right. website. And so as those donations come in, they go into our, our, our basically a restricted fund for that project. And and then we grant that back out to the filmmakers, you know, so it's, it's it has to be mission aligns. as far as you know, we are about, you know, growing and elevating the careers and the work of independent storytellers. This is that works. Therefore, this is just one of our programs that we can now help support those independents through that mechanism. So that was the first thing that we did, to do that and get ready for doing it on a scale which, you know, is a great and we've done several of them this year. And so that's and that's our current like if there's somebody out there that's trying to figure out how to raise some money in that fight, that might be something that's currently available. Yep. Applications on SLFW.org So and guidelines are down in our show notes. And yeah the guidelines are all there. And then we moved on and we did our, finish line grants. you know, ultimately we we want to be able to do up to $250,000 grants, but we have to in order to do that. One, as a young organization, you've got to get your foundation underneath you. You've got to have a certain amount of experience before you can start raising, a large amount of funds to do that. Ultimately, the goal is so that that is a an amount that can support a full crew because, you know, and so the whole goal there was, you know, to be able to give enough money there that not only are we supporting the filmmakers work, but they don't have to beg, borrow and steal their crew and everything. So it becomes a self-sustaining ecosystem, right? you know, and so that's that's the big dream. But we had to start, you know, where we could. And so we started with small finishing grants, and those grants, we just piloted that. And so we gave out four grants for that. And that's for people that are in post-production. Right. And as we all know, we all run out of money at the end of the production. And we're always tight on budget. And so this was how can we help some of those projects get finished up and out into the market, and how can we elevate them so they can be a better product, meaning instead of you having to, you know, buy already pre-made music or whatever you want, an original score, you know, something that can elevate the project as well to another level to to say, hey, who can you bring in as a professional level to elevate it? And as you said that and by the by the defined term finishing grants, these are to help you finish these or not to get started. This is not exactly the way to this is you're close and we can put you over the top and and help you not have to sacrifice that thing at the end. Yeah, exactly. Not have done all this great work. And then all of a sudden it's like, oh, well, that's going to be kind of crappy of the end because I don't have any money or I can't do that, or I'll have to edit this myself or color correct it. And you're not as good at that. so, you know, so that was what we thought, would be a great thing. Then we started and we've been working on the accelerator, since the beginning of the year. And really, we're into the content creation of what those that is. And so to talk a little bit about that. Yeah, let's let's set the tone just for people who may not understand what that term is. So I and I had some experience when I was, probably ten years or so ago working with an accelerator program, based here in Saint Louis, that was focused on startup companies. In this situation, everything had to do something with sports Stadia Ventures. So going around great program and what they would do as an accelerator, it's typically a method where candidates, in that case companies, in this case film projects that are close to done right or fairly mature. And we'll talk about that. Right. But they they're applying to be a member of the A cohort. And the accelerator program has a period of time might be 12 weeks whatever as it's built out. And as they come into the program, there's a series. We take them through different steps of education and learning, and then there's a series of mentors that are applied, come in and share their experience, get them accelerate from, you know, we're not helping them at their startup stage, right? Right. We're helping them get to that point where they can pitch to investors or something like that. Exactly. And so we really wanted to focus, at least on the pilot, segment of the accelerator, it's about taking those independents that have done, you know, maybe they've done a $20,000, $50,000, maybe even $100,000. I yeah, you know, film before and they are and, but they have self-funded or are not gone after those like equity investors and so forth. And they're really ready. They are very ready to elevate to the next level in their career. And they're going after those creatively and in the business, in the business end creatively, like this project is more ambitious. It may have a $250,000, it might have a, you know, 1 to $5 million budget. But they're seasoned. They have a clear plan. They've had some, you know, clear success in their portfolio as far as what they've done. So we know that they're at a certain level. Right. And now we want to come alongside them because we want to help them be on a solid footing to launch that to that next level. And in doing so, what we'll do is identify they apply and we'll probably do 6 to 8 in a group. and it will be several weeks. And it is about surrounding that filmmaker with the, about 6 to 7 mentors in different areas. For instance, they'll be looking at the the project content itself. So the screenplay or, or and saying, hey, let's workshop this is it, tight getting them in front of a, distributor, advisor and saying, what is the marketability of this? Is this a great time for this right now? what's the transmedia opportunity to earn money back so we know what to sell to the investors? and so having that conversation upfront and then talking about filmpreneurship, which is kind of my wheelhouse and where I'll be developing the content, is understanding where you are in your career, what you're trying to do. What does it mean, to be a film preneur because you're not only a content creator, you're a business person. And what does that mean? And how do you have to function to do that and surround yourself? And like an entrepreneur in the software world or any other world, sometimes the founders are brilliant, but they're not business people, and so they need to partner up with somebody that's a CEO or who can help them channel that vision. Right. And it's understanding sort of where you don't. You're moving from wearing all the hats to into wearing the right hand. Exactly. And as the advisor, you know, you know, you're involved in the accelerator. So because there's a whole legal component to everything you do on the business side to just the project, to, your own branding and, and marketability and everything, and so that's the legal side of it. And then bringing the distributor back in. and then we have a marketing advisor component to talk about, you know, is this being, you know, marketed appropriately, what's your overall brand and how does it fit into you as a filmmaker? This brand of what kind of content you want to put out in the world? so it's bringing that, that group of people together to walk them through, customize that plan, because sometimes they, you know, we've already been interviewing some potential people in our pilot program, and some of them have, you know, some really great experience. And it's like, hey, I got that piece already done that right, but here's where I really need more help. So this way we can take in that accelerator and say, okay, over this course we're going to have some group work, then we're going to have some individual work and we're going to tailor, do I need more, you know, information on prepping for the tax incentive and, and how do I get paperwork ready to actually go after investors and all that and be ready to pitch at that level? and I really want to focus on that versus, hey, I got the, you know, we, you know, we're we're really prepping them up to pre-production and, and prepping for going after investors or the tax incentives. And that's kind of where then they go off and then move on. potentially. And so we are also still playing with the idea of, you know, is it a kind of a year long residency in some other because we have some strategic partners in conversation with, do we actually add a little bit more? on the sustainability side, this originally is supposed to be something that these, filmmakers pay for, but we all know, that filmmakers are always trying to find sustainability in your own life. So we're looking at, you know, strategic partners saying, hey, how can we partner with somebody that pays for them to go through the accelerator? And there's, you know, there's an extended stellarator. So we're still having a lot of those stations. We were moving forward very quickly. And then, you know, the summer came and there was networking took off and all kinds of stuff was going on. And so now we're just kind of getting back into that development this fall and saying, okay, where are we at with this? And and I think it is as somebody who's been in those conversations earlier this year to the, I now think a little bit differently about it than I did then, just because of the things that have happened in the course of the last four months. Yeah. So, so, yeah. So where it will is unfolding and, and as we bring in people and kind of talk with the filmmakers and stuff to see what they need and stuff and that's, that's the ebb and flow of, of yeah. You know, nonprofit and finding, you know, where your your best you can service in those gaps and stuff and we're we're still doing that. Well I think it's fantastic. And thank you for being here. And you and I have these conversations all the time. And I you know, the other day, like, wait a second, we should share this, right? Absolutely. And, and, and you and I could continue talking about this forever, but we want to be mindful of people's ears and the fact that they're busy and doing other things. But how can let's let's bring it home here. How can people again find Saint Louis Filmworks, find the next meetups? What's the best way to learn more about what you're doing? So, well, obviously SLFW.org is the website in which we, you know, post all the, the basic programs and such that we do and then, follow us obviously Instagram, LinkedIn, Facebook and all those links are also on our website. and then, they'll, I always post and create events for the meetups and then you'll get into our meetup group, you get into our meetup group, Your Golden, because that's where we really continue to communicate all the things, up and coming. And, we're starting to expand a little bit on on what we, share with that, not to inundate, people with emails and stuff that really be, very informative. Yeah, well that's fantastic. So, folks, it's absolutely worth it if you're local, even if you're regional, if you're if you're listening to this and you're wondering what you're hearing, maybe some buzz that's going on. There's a lot happening in Saint Louis. And I would encourage you to check out Saint Louis Filmworks because it's a great, if nothing else, checking in regularly gets you a sense of, what's going on, and then you can go. Other places are absolutely. Well, Mary Kay, thank you very much. Thank you for last, folks, if you have enjoyed this content, please, if you're getting the audio podcast, find us and follow us wherever you listen in your ears and if you're watching on YouTube, hit that like and subscribe button so you'll get all of our content every time we, issue new content. Right? And then that works. I think that's how it works. Right? So anyway, check us out and you can always find us at TheScreenLawyer.com. Thanks, Mary Kay. Thank you. Talk to you soon folks.