Albert Einstein used to say that we only understand what we are able to explain to our grandmother. Just like science, stories also need to be explained, not only clearly, but also emotionally. Stories should transcend the diversity of the audience, its culture and generation. Only that way, they are truly global.
The production of documentaries and feature films has in financing one of the roughest reefs.
Co-producing supposes the seduction of distant people to our own cultural references. To involve them in our project we should value universal aspects like narrative, aesthetics, ideology, humanism or emotions. Sacrificing most of the times, local and reductionist views.
The seed of every audiovisual coproduction is produced in the pitching. This is a unique occasion in which the author disposes of 3-5 minutes to convince a dozen investors of the importance of adding themselves to the adventure. These are determining minutes in which every word, tone, movement or gaze is scrutinized by the interlocutors. The empathy, clarity, charisma or oratory are some of the keys in connecting with investors.
The efficiency of pitching transcends the cinematographic capacities of the author. If there is no determination, emotion in the speech, aplomb in the answers, a bit of self-confidence and humbleness, the fire won’t catch. Pitching is a technique that is leaned with practice. It requires a listening capacity for feedback and braveness in redefining what does not work in the projects.
The pitching is not more than a strategy that merges suggestion and omission. In it, the value placed on the personality of the author and his or her flexibility towards the demands of a prospective co-producer. Co-producing is in essence, sharing, but also offering a personal vision of the story being told.
Investors look mostly for great stories; this should have a personal vision that makes them different; a staging that communicates the perspective of the director and that generates emotions.
There are dozens of markets and pitchings every year in which interesting projects are not successful. The main reasons for that are an inefficient staging or a nervous breakdown. Training and pitching, at least once without the expectation of getting an investor proves efficient. The next experience will be lived with appeasement and self-confidence necessary enough to be convincing.
