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SCREW THE GRANT SYSTEM.

GET FUNDED BY PRIVATELY

PITCHING YOUR FILM.

Finally! A step-by-step system to getting money for your film, even if you hate selling and have no idea how to talk confidently about yourself. Guaranteed.

Learn the rules of pitching.

Ethically influence them.

Get your film funded.

FUCKED UP TRUTH #1

BEING A "GREAT" FILMMAKER IS NOT GOOD ENOUGH.

FUCKED UP TRUTH #2

"WHO YOU KNOW" IS ONLY 20% OF WHAT GETS FUNDING.

The problem is, grants won't “risk” their money on you, since they’d rather put out tepid and mediocre content, because you’re “unproven.”


Same with TV networks. (and don't get me started with Netflix!)


Plus it’s even harder to pitch to Hollywood, since they don’t take unsolicited scripts. 


You wake up every day with the dream of wanting to make films that “change lives” yet your life isn’t changing. 


You’re in the same place as you were last week, with people who seemed interested in your project not responding to emails...


And with a bank account that makes you wonder if you can ever make a living in film, but...


Let’s be honest. If you’re real with yourself, you’re probably pretty damn smart and creative. Admit it. 


You wouldn’t be reading my material if you weren’t committed to change, and that’s great. You’re already on the right fucking track.


The thing is, something’s gotta give. Why does it feel like progress is so slow? 


It feels like... man, people should REVERE your name by now! Right?!


But for some reason, you can’t convince those with the big bucks to take a chance on you, let alone convince the right crew to work with you.


It's not your fault. You've been lied to by the industry.


But I'm a fan of 100% transparency so here are some truths that no one else will tell you.

This was true, like 20 years now, but now being good is not good enough. Even "great" is not good enough.


The trap filmmakers fall into is what they've been told by "gurus" who don't know any better, which is "Work on your craft! Film every weekend! Write / Shoot / Edit / Repeat!"


But how many people do you now that have amazing talent, yet they're languishing in obscurity?


What people don't tell you is that there's a HUGE difference between the craft of filmmaking -- and the game of filmmaking.

Even filmmakers who admit that talent isn't everything know that it's a "who you know" business. 


What they don't tell you, is that you can know the most wealthy billionaire, and if you can't convey your message in a proper manner, in a language that that person cares about, then you're not gonna get a dime.


Knowing your value is one thing. Communicating it is another.


Believe me... I had to learn that the hard way.

Hi, I'm Curt, and I wanna confess something to you...


I thought that my films would stand on their own. And sure they may have won an award here and there, but in the long run it meant nothing. I had no respect, no future prospects, and no money.


I wasn't good at the whole booze/schmooze thing and couldn't talk confidently about myself with seeming like an arrogant ass.


Oh, and whenever I would try to pitch anything, either people's eyes would glaze over or WORSE -- they would politely nod, say they're interested, and then never respond to my emails!


AAAH!


That's when I became OBSESSED... And after years of rapid-learning, reading over 200+ books on psychology, I started to learn some things... 


Some really unintuitive things that were really weird at first but when I tested them, I began to see immediate results in how people reacted, and more importantly, how people became interested in my projects... People with money.

Curt Jaimungal

Director / Writer, and CEO of indiefilmTO


When I started putting out emails about this course, look at what people would send:

I wanna show you exactly how I raised 5 figures for my feature, how I've helped raise 6 figures for one of our incubation clients, and even the exact tactics I used to get a startup $920,568 within 8 weeks from crowdfunding.  (collectively raising $1,655, 202 USD in 2 years)

None of my methods would mean anything if I didn't have my own field tested results behind it. Plus the filmmakers I've helped.

I show you this not to impress you, but to impress upon you... How do I get emails like this? Is it because my content is so good? Maybe. 


Is it because I’m so good looking? Perhaps.


But even if you have something of OUTSTANDING VALUE (think your script), it means NOTHING to the other person if you aren't able to systematically communicate how amazing it is.


People have their guards up, and if you at all sound "sales-like" they will INSTANTLY shut you down in their minds.


It's not their fault. They don't hate you. It's unconscious.


What you have to do is bypass their unconscious mind.


You do this by setting the right mental frame (Module 2), then implying your idea is mouth-watering and letting THEM put the pieces together on their own (Module 4).


The moment you do that, it's not selling. It's not manipulation. It’s true respect.


See, anyone can try to get funding by selling themselves.


But it takes respect to find out what the other truly person needs, communicate it in a language they understand (Module 6), and meet them on their terms.


What most people don't get about pitching is that securing funding / selling yourself isn’t about being cocky or arrogant.


True pitching is about respect. Respect for the other person and (through mastering your own psychology) respect for yourself.


That’s what Pitch Your Film is about.

A step-by-step  system of exactly how to sell yourself and your script. Even if you’re not confident and around people you’re just a mumbling mass of murmurs and moans. Guaranteed.

7 Module online video course that you take at your own pace.

Lifetime Access.

Craft the perfect pitch every time with our 22-point checklist.

[Module 4]

Learn where the investors are and how to meet them.

[Module 5]

MODULE 1

The Psychology Of Pitching

The two drives that influence every single person.

How to get investors to buy NOW, so you're not left waiting for them to answer emails.

Easy trick breakthrough your limiting beliefs of a low-self worth in 5 minutes.

MODULE 2

Identifying When You're Losing Their Interest

The four main types of investors you'll encounter and how to identify them in 15 seconds.

Hijacking their “lizard brain” with these key phrases so that you capture their attention .

The Rollercoaster Strategy to make sure you don’t lose the investor’s attention once you’ve got it.

MODULE 3

Commanding Respect For You And Your Film

The specific opening words to say when encountering each of the four types of investors.

Bonus material on getting "anyone" to buy into virtually any idea you have, using our Co-Creation Persuasion tactic.

Learn how to flip the power dynamic when an investor thinks of you as "low value."

MODULE 4

Elements Of The Perfect Pitch

The never-before-released film pitch structure to have them glued to your every word.

Method to test your pitch, before you're ever in high-stake situations.

Winning pitch outlines that you can model the exact format of.

MODULE 5

Where To Find Investors

The mistake that 99% of filmmakers make is they go after "film investors." What to do instead.

How to turn investors into a friend so they can repeatedly invest your films.

Bonus material on Signals Of Interest; hidden signs to look out for when gauging their interest.

MODULE 6

 Pitch Decks and Pitch Tear Downs

The 5 most important things to include in any "pitch deck." What they're doing wrong so you don't make the same obvious mistakes.

Never-before-released advice from filmmakers who receive 7-figure funding on a regular basis.

Advice from an FBI negotiator on developing rapid fire rapport so the investor feels instantly connected to you.

MODULE 7

Bringing It All Together

The full Pitch Your Film system summed up (with a chart), so you can know exactly what to aim for at any stage in the pitch process.

What funding you can expect a 1 month from now, 6 months from now, and 1 year from now.

Bonus video on the details of a film deal and how to construct the best package using our Upper Limit Package technique.

Standard

You get the full 7 module Pitch Your Film course. For life.

Pro

$

The Pitch Your Film course plus, unpublished bonus material and 60 mins of personal pitch critiques and coaching from Curt.

Learn the rules of pitching.

Ethically influence them.

Get your film funded.

BONUS MATERIAL

I know you're thinking "but Curt, you're already giving so much value, I can't possibly accept anything more from you." Shh little one... I love you, remember?


That's why as an added bonus for joining you'll get access to all of the stuff below, 100% for free.


"Curt you're amazing." Why, thank you for saying that.

This will show you exactly who to contact.

eBook Of All Active Film Distributors (USA / Can / UK)

Exclusive Access To Beta Courses

We're constantly testing new material. You can see new courses in their rawest state.

Bonus Vault Material

Hours of bonus videos on how to pitch. Plus access to anything we add over the years.

1-on-1 Film Coaching With Curt

Personal critiques of your pitch and help with anything else film related. *PRO version only*

Tour And Meeting With Curt

We can eat, grab a coffee, or you can come to our office for a 60 minute tour. Whatever you want. Your choice. *PRO version only*

24/7 Email Support

In the first 4 weeks, feel free to email our staff if you're ever stuck, and they'll help you out.

14-DAY MONEY BACK GUARANTEE

ACCESS FOR LIFE

OUR 10X MASTERY GUARANTEE

We're so confident that you're going to love this course that if you don't feel like you have a 10X improvement in your ability to pitch, get funding, or convince the right crew to work with you, then email us within 14 days and we'll be happy to give you a 100% refund.


I'll even personally pay the credit card processing fees.


Why do we do this?


Because we know this material works. We know because we've tested it, over and over, and lastly...


We're super confident that if you're a filmmaker who's been suffering constant rejections and broken promises from people who say they like your films, then this is definitely for you.


And we put our money where our mouth is.


"Curt's positive energy and "defining" the audience was a winner. Oh there's that great word again 'connect' and understand. Define your audience first is a really the best way to start thinking about creating a film story.


How emotions worked got me excited..."


- Producer, Director, Writer for TVO

Peter Hitchcock

“I can't tell you how much the [Psychological Frames of Module 3] has opened my perception of life, work, and relationships. Especially, in the last few weeks. 


I even saved the list on my cell phone. That may sound excessive but I feel that it was necessary and it has helped a great deal.”


- Writer and Producer

Sara Ayysed

“Without Curt's marketing strategy and God-like pitching ability, I would not have raised over $1.5 million (total) for my companies. You're dealing with a Jedi.”


- Onion Omega Co-founder and Sonnet Co-founder

Boken Lin

“I was able to raise over $50,000 for my film, The Queen's New Guard, and that was using just some of the advice from Curt - and a lot of hard work of course!”


- Director and Writer of The Queen's New Guard

Carter Smith

"I LOVE that his emails strive to touch on the toughest side of this business: the HUSTLE.


He's not just plugging gear or his own agenda. Curt's giving tangible, real-world advice backed up by actual experience and seeking to create a dialogue which is huge. Nothing worse than these YouTube pundits who just spout so-called wisdom and never ask for your side of it.


- Feature film Director, Driftwood

Patrick Strevens

"In the middle of Module 1 and the "ERBN" point hit the core of my heart and something clicked.


This week I have been struggling a lot with the #metoo hashtag because the last time I publicly proclaimed my story, I wasn't emotionally ready and I didn't get the response I was looking for.


Now it would be the perfect time to seek out "ERBN" people specifically women in the industry. "


- Actress / Singer / Dancer / Producer

Karlie Pinder

My film is really experimental, and there’s no one who wants to invest because it’s too risky. What should I do?

I would question that premise to begin with. People invest in many things are really risky, even things that have a 99% chance of failure (for example, venture capitalists in Silicon Valley). 


The question is, how much are they willing to give you relative to the amount of risk there is.


Finding out this “buying room” is what Module 7 is all about. Alternatively, there are other reasons investors buy other than ROI.

I’ve been just doing short films, will this help me?

I did only shorts and still used these techniques to get my first feature funded. In our experience, your limiting factor isn’t that you haven’t done a feature yet; it’s that you don’t have the confidence. 


That’s why we have a whole module on the psychology of self-confidence, so you can convey your message with conviction, without being cocky or arrogant.

I've taken many courses like this before, and none got me results. Even if the material is great, how can I be sure I'll follow through?

I feel the same way. Think about all those courses in school, from books, from DVDs, even seminars, that you attended and even though you knew the information was great and could drastically help you, you were jazzed in the moment but then you got home and "life got in the way."


I didn't want this to happen to our students at indiefilmTO. So we address it in two ways:

  • Accountability
  • Getting your friends / family on your side

For the first month, you get a personal coach from indiefilmTO (for some of you, it will be me personally), who will check in with you weekly and ask you how you're doing with the action steps. (you have to request this first)


The second reason people don't follow through is because while they're pumped in the moment, they go home to their friends / family and while they don't do this conciously, they will unconciously hold you down. They do this by saying things like "oh you think you know it all now? You know the odds of you making it are basically non-existent. Just go into accounting."


It can hurt. Which is why we've included exact word-for-word scripts on how to get the people you care about to help you on this pitching journey.


Okay Curt, your ninja-pitching skills worked and I joined! Now what? I'm excited!

I'm super excited for you too. I'm doing cart wheels and every one is looking at me weird.


When you sign up, you’ll receive one module each week, with specific action steps at the end, so you can TAKE ACTION and get results right away. This won't be vague fluff stuff that is all theory that you can't apply.


Our students say after they've taken just the first module, they "start to see the Matrix." What Matrix? The Matrix of human interaction / pitching / selling.


Over the next 8 weeks, you’ll be getting more and more material sent to your email, which will lead you to a password-protected page with extra content.

How can you be so confident in people getting results from your course when 99% of what actually matters is the talent and creative quality behind the work itself?

I couldn't agree more. And actually, I would ask two questions.


1) Is it necessarily true that if you have a good/great film, it will get noticed and you'll get the results you want?


2) Conversely, is it true that if you have a "bad" film, it won't sell? It won't allow to make your next one?


Let me get this out of the way. I'll say it here, and I'll say it again many times within the course itself: If you're film is not outstanding, then go back and work on your film. 


You NEVER want to be selling an inferior product.


With that out of the way, there are a lot of filmmakers I know, and I'm sure you know, that are OUTSTANDING at what they do, yet can't get their next film funded, or can't get connected, or can't get distributed, etc.


We're here for THOSE filmmakers. Don't join if you're not a part of that group.

FAQ

Questions you tend to ask me on a regular basis.

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