This influences several areas: 1) There are now online schools where aspiring filmmakers can train and work with a mentor. 2) Traditional fundraising methods to secure film distribution are becoming outdated, while new funding opportunities for independent filmmakers are emerging.

Big productions are favored by international financiers. To fund blockbuster film projects in the past, New Zealand subsidies and German tax shelters have been used by many large studios. But what of the independent filmmaker? Where does funding come from for these projects?

The digital revolution is changing both the distribution of films and how they’re made. Independent filmmakers no longer need a large distributor because faster broadband now allows people to watch movies from their computer screens. Some films are simply available for anyone to purchase from the film’s website online. “The Fall of America and the Western World” is one such film.

In the future these changes will expand all of the opportunities for independent filmmakers who are hoping to receive funds for their film projects.

Current trends include companies online that are helping filmmakers finance their films by matching them with investors and/or distributors. Filmmakers from small towns can make use of these kinds of services.

It also helps when an independent filmmaker has good movie reviews from film critics for past film projects. These movie reviews lend credibility to filmmakers when they are seeking investors.

When it comes to online websites for filmmakers and investors, the way it typically works is that the filmmaker submits a description of their project or film for consideration. There are many investors registered on the website who can then access the list of projects at their own pace, and review those projects that are in need of funding. Because they can contact the filmmaker directly, the middlemen of old are no more.

Independent filmmakers are also assisted by some non-profit organizations to locate financing and distribution for their projects. They offer fiscal sponsorship to filmmakers, but don’t fund them. Sponsorship allows filmmakers to receive funding from sources that limit their funding to nonprofits.

Independent producers can also post website ads and information abour their projects on other websites that link them to investors.

Several areas have been influenced: 1) Filmmakers now have online schools where they can get training, learn about filmmaking, and locate a mentor in the industry to work with. 2) Traditional fundraising methods to secure film distribution are becoming outdated, while new funding opportunities for independent filmmakers are emerging.

Internationally, financiers favor big productions. In the past, many of the large studios have used German tax shelters, New Zealand subsidies, and pre-sales to fund big blockbuster film projects. But what about the small independent filmmaker? Where can he get funding for his projects?

Right now, the digital revolution is not only changing the way films are made, but how films are distributed. Independent filmmakers no longer need a large distributor because faster broadband now allows people to watch movies from their computer screens. Anyone can purchase some films from their websites. “The Fall of America and the Western World” is one such film.

Independent filmmakers who are hoping to get their film projects can look forward to the future when these changes increases their opportunities.

There are also online companies that match filmmakers with distributors and/or investor nowadays. Filmmakers from small towns can make use of these kinds of services.

It also helps when an independent filmmaker has good movie reviews from film critics for past film projects. These movie reviews lend credibility to filmmakers when they are seeking investors.

The filmmaker would submit a description of their film for consideration to these online websites. There are many investors registered on the website who can then access the list of projects at their own pace, and review those projects that are in need of funding. They in turn can directly contact the filmmakers, which cuts out any middlemen as was popular for film financing in the past.

Independent filmmakers are also assisted by some non-profit organizations to locate financing and distribution for their projects. They don’t fund filmmakers, but they do offer fiscal sponsorship. Sponsorship allows filmmakers to receive funding from sources that limit their funding to nonprofits.

Independent producers can also post website ads and information abour their projects on other websites that link them to investors.

Oftentimes, movie reviews are the basis for moviegoers on whether they’ll watch that certain movie or not. Proprietary research conducted for MovieReviewIntelligence.com demonstrates that 81 percent of moviegoers follow reviews, or about 71,485,980 moviegoers.

Reviews analyzed by MovieReviewIntelligence.com are submitted to over 65 US and Toronto periodicals. This is a group of selected media – the most important and representative of their kind, as determined by the size of their readership.

MovieReviewIntelligence.com differs from other review websites in the kind of approach – it emphasizes on what is going on in the real world of movies and movie-going. The website evaluates what moviegoers are reading are seeing, the very things that count in a review.

The publications covered by MovieReviewIntelligence.com include key national media, as well as the top 25 local markets in the U.S. plus Toronto. The top 25 markets represent about 50% of the U.S. population and 60% of total U.S. moviegoing. Reviews from the leading alternative weekly papers, NPR as well as “At the Movies” are collated by this website. The audience catered to by these publications and programs reach to more than 150 million. The publications and critics covered by MovieReviewIntelligence.com are leaders online, in print and on the airwaves. Over 165 million unique visitors are being catered to by the newspapers alone.

MovieReviewIntelligence.com organizes the reviews into eight categories that are reflective of the moviegoers’ tastes and parallel how movies are released. The eight categories are: 1) Broad National Press; 2) Local Newspapers; 3) Alternative/Indie; 4) Highbrow Press; 5) The Movie Industry; 6) New York/Los Angeles/Chicago/Toronto; 7) Cities 4 to 11; and Cities 12 to 25.

The product of 10 years of research and development, here is what MovieReviewIntelligence.com does to ensure that the full range of reviews is taken into account. MovieReviewIntelligence.com:

1) Covers more than sixty-five of the biggest publications and programs;
2) Weights the reviews in proportion to their readership/audience;
3) Covers the top 25 local markets;
4) Covers the alternative/indie weeklies in the top markets;
5) Assesses the key subgroups of publications and reviews according to taste and geography.

MovieReviewIntelligence.com checks the following key factors for movies released in the U.S.: Positive Reviews Ratings; Review Mixture; Coverage, Volume, and Length; Review Timing; as well as Review Media Value.

MovieReviewIntelligence.com is a realistic tool that moviegoers and movie industry professionals can utilize in their decisions; movie reviews and summaries are presented in a friendly manner. Therefore, MovieReviewIntelligence.com is clearly the leader in reviews.