September 29, 2025 • 17 mins
In these new short episode series of DOA (Diary of an Artist), podcast host Cindy Claes, shares the real month-to-month work of an artist, the messy behind the scenes, the months of negotiating to get new gigs and contracts, as well as the exciting moments of creating magic in film, theatre and dance!
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
SPEAKER_00 (00:00):
Welcome to the Loud Whisper Takeover Podcast.
My name is Cindy Klass.
I'm an action actress and afilmmaker.
I have a background in dance andchoreography.
I used to be a theater maker,and obviously, right now I'm in
the world of sci-fi, thrillers,action movies.
In other words, I'm a movementnerd in everything that I do.
And right now I love tellingstories through the medium of
(00:22):
film.
Welcome to this new episodeseries: Diary of an Artist.
These episode series are short,but I hope it will give an
insight to those that are not anartist of what is actually
happening behind the scenes,what the life of an artist looks
like.
We are not always working onset, but behind the scenes, in
(00:44):
preparation of it, there is aton of things happening.
I also hope that these episodeseries will inspire peer artists
because we are all going throughthe same ups and downs,
exhilarating moments andchallenges.
Diary of an Artist Episode 1,what has been happening on my
side over the last month or two?
(01:04):
First of all, as an artist, weare always looking for support,
mentorship, finances to make ourprojects and our ideas
happening.
So I've been writing quite a fewapplication forms.
I had a whole list ofapplication forms I had to fill
in.
And I probably didn't do half ofit, but those that I have filled
(01:25):
in, I'm very proud of.
Why did I not fill in the otherones?
Some because I didn't feel readyyet with my project to submit
something that was strongenough.
Some because I felt the valuesof the organization were not
fully in line for what I standfor as an artist.
And that was a big eye-openerfor me.
For example, there was oneparticular application form.
(01:47):
I was struggling,procrastinating, procrastinating
to even write it.
And I thought, but why, why?
And then there was anotherapplication I had to send in at
the same time where I was superexcited about.
And I realized it's because thecore principles, the core values
were so different.
So I'll tell you the one that Iwas excited about.
(02:08):
That was Berlinale Talents.
It's a film festival in Berlin,and they offer an opportunity
for filmmakers, actors, peopleof the industry, screenwriters
to be mentored and to access anetwork of decision makers and
production companies so thatthey can really move their
projects forward.
It was an exciting applicationfor them because, on top of the
(02:31):
usual questions, you have tosend in your CV and show your
video portfolio.
There was a ton of questionsthat were about getting to know
us as artists.
And that was really cool.
For example, we had to createour own question for the
application form and answer it.
(02:53):
And I think that says so muchabout what you want to share
about yourself.
There was a question aboutmilestones.
What are the milestones thatyou've accomplished throughout
your life, personal orprofessional, in the world of
volunteering or the world ofprofessional contracts you had?
And that was such an excitingmoment because we go through so
(03:16):
many things in life challenges,passion projects that we set up
that really impact us as humanbeings, and that then also
nourish our artistic work.
And being able to share that insuch a way was super exciting.
So Berlin Alley Talents, I willhear around uh December, if I go
(03:37):
through.
And it was just a delight to bewriting this application form.
I sent in another applicationform, and that is to receive
mentoring and support in thewriting of intimate scenes.
So I'm a screenwriter, and I'mwriting a series, a short, and a
feature film at the moment.
And there are some intimatescenes.
(03:58):
So in our world, in the world ofcinema, there is something
called intimacy coordinators.
These people basically join theteam and support the actors and
support the director inchoreographing intimate scenes.
These could be sensual scenes,these could be sexual scenes.
In my case, it's actually ahospital scene where there is
(04:20):
nudity involved in the hospitalscene.
So it's nothing to do withsexuality or sensuality, but
it's related to an old womanthat is stripped away from her
power both physically andemotionally because she's sick.
And so showing the nudity of anold woman and also this nudity
(04:44):
happening in front of herdaughter and this
mother-daughter relationship notbeing a Hollywood kind of
relationship, I think it's avery intimate moment, and it's a
metaphor of what is reallyhappening inside, both in the
mind of this older woman thatwas always independent, that was
(05:04):
always a strong woman, but nowbeing sick, she's being stripped
away of all her power of doingthings alone.
And then this mother-daughterrelationship that had never
really shared anything intimate,hugs, personal stories, they
have a lot of secrets for eachother.
So this is a very intimatescene.
And I've requested support withmentors.
(05:26):
There were masterclasses thatthis particular organization is
offering as well in how to writeyour script, but then also they
give you masterclasses in how topitch your work afterwards to
production companies.
So I'm excited to hear aboutthat as well.
And writing that applicationform actually made me rethink
(05:46):
the movie and the scenes thatI'm writing about.
It gave me more depth.
So while writing applicationforms is something that takes a
huge amount of time and can bevery draining, it also can give
us clarity as artists of wherewe're going and why we're doing
what we're doing.
Another application form thatI've sent was to receive a
bursary, which I've got.
(06:08):
So I'm going to be doing awriter's workshop for series.
So I'm writing a series at themoment.
I've never written a series ofmy life before.
And there is something veryspecific in how you write a
series.
So this workshop will give meaccess to creative professional
development, but also it teachesyou how to pitch your series to
(06:29):
production companies, which willbe very valuable to me.
Another important thing thathappened over the last few weeks
is injury management.
So, as an artist that is workingwith her body all the time,
injuries are also a part of ourjobs.
Uh, I had an injury that wasannoying me for the last six
months, and I couldn't figureout what it was.
(06:50):
I finally got help and found anamazing physio, an amazing
massage therapist, both to whomI'm very grateful for.
And this is now under controland healed.
Training, training, a veryimportant part of our lives as
an artist, is that we constantlyhave to train.
When we are an actor, we're notalways doing a movie, but we
(07:13):
have to still keep the brain ofthe actor, keep the soul and the
heart of the actor alive.
When we work with our bodies, isthe same thing.
We need to make sure that ourphysical capabilities are always
at a level that is employableand ready for casting.
So I have thrown myself into acouple of new challenges.
(07:35):
Obviously, I keep liftingweights at the gym and that sort
of things.
I keep dancing, but I wanted tolearn a new set of skills.
So I signed up uh for Aikido, uha Japanese martial arts
practice, karate, and kobudo.
Kabudo is all about manipulatingweapons, bowstaff, psi, and so
(07:55):
forth.
And I'm super excited about thatbecause over the summer I've
spent a lot of time learningartistic bow staff manipulation
and also nonchakus.
So these three martial arts willbe a part of my weekly training
now.
It's quite hard on my body atthe moment, but I'm starting to
get into a routine.
The dancer in me is alwayslooking for some sort of
(08:17):
artistic challenge too.
So I've also signed up for aroller dance course, and I'm
actually improving prettyquickly, which is really cool.
And that sort of also allows meto express a bit more of a
feminine side of my movementquality because all the
weightlifting and the martialarts can sometimes put my heart
and my soul in a very masculinesort of energy field, but there
(08:42):
is this femininity that I wantto express as well, and so that
I find often through dance andnow this roller skating
challenge.
As an actress, I'm superexcited.
I have a project coming up inNovember, so I have quite an
important role in a featurefilm.
I'm not gonna say the name ofthe film because I'm not sure
that I'm allowed to yet, but atthe moment, I have not learned
(09:05):
my lines yet because the scriptmight still change.
So I've obviously read the wholescript and I'm super excited
about it.
At the moment, the creative teamis working on the set design and
more the preparation of theshooting days.
But I'm super excited tobasically get with the whole
team, do a table read and thatsort of things.
(09:25):
But I'm still waiting for it.
Unfortunately, as an actress, inthe last month I haven't had
many castings, and that can besuper stressful.
As an actor or actress, when youdon't get castings for a month,
you have the impression, youhave the feeling that it's like
an eternity.
But when you zoom out, itdoesn't mean anything really.
Um, there are periods of theyear where there are more
(09:46):
productions happening, whereyour profile will be more
requested than others, but stillit feels stressful.
When that happens to me, I justdecide to do a lot of research
on acting in general.
By research, I mean I can bebinge watching a series or
certain types of movies, but Idon't watch it just to watch it.
(10:07):
I actually analyze it in depth.
I'm trying to see why certainactors really stand out and what
their special source was and howthey eventually got there.
I watch a lot of BTS behind thescenes footage on YouTube, the
making of certain movies orcertain series, so I can
(10:28):
understand a little bit more howactors are diving into their
characters.
So I have done a lot of researchon comedy and especially
American comedy.
I developed a solo, which is alittle bit of me the actress
one-woman show mixed withinteractivity, mixed with public
(10:50):
speaking.
I started to test it out a fewmonths ago.
It's a solo about loneliness.
The best way I can describe itis it's a one-woman show, me as
an actress, slash publicspeakers, slash interactivity
with the audience.
And after about six months ofnegotiating with an
(11:10):
organization, I got about sevenbookings of it.
So the six months of negotiationwere really worth it, and I'm
really excited because I will beperforming it a couple of times
next month.
Post-production.
Oh my god.
So I have done a short film as afilmmaker, director, writer,
(11:31):
which is called A Walk-in.
It was shot in Barcelona inMarch.
We are now end of September, andwe are still in post-production.
So that's another importantthing to know.
Yeah, post-production can takeages, even though it's a short
film.
Long story short, unfortunately,my first editor had a bit of an
existential life crisis.
(11:51):
Wasn't really sure anymore if hewanted still to pursue the path
of being a creative and anartist.
I hope he will continue becausehe's so talented.
But this is a part of ourrealities as artists as well, is
that we question these thingsall the time, and we can lose
confidence or even loseourselves in our passion.
(12:13):
Anyway, so I had to collaboratewith a new editor, and we agreed
that the process would be slowbecause he's working on other
projects, but this is reallyhard on me in certain ways and
exciting.
I have an incrediblerelationship with this new
editor.
Like I feel creatively speaking,we speak the same language.
(12:36):
But I think when post-productiontakes so much time, what is
difficult is not just havingpatience of seeing the end
result of the project, it's alsoas a filmmaker, while time
passes, you also grow as anartist, and so by the time the
(12:57):
film comes out, you're not fullythe same anymore, and so the end
result doesn't fully representwho you are anymore.
I've had that as an actress aswell.
So I was in a film calledDaniela Forever, it was shot in
2023 and it came out in 2025.
(13:18):
But then two years later, yousee yourself on screen and it's
cool and it's amazing, butreally you're not the same
artist anymore.
There is something about youthat has gone through so much
over the last two years.
And as a filmmaker, is the samething, or as a director, is
taking a movie till to the endand then seeing the end result.
(13:39):
There is something exhilaratingabout it, and also something
about is that still me?
So, anyway, a walk in, we'restill working on it.
I really want to see itfinished, but it's a really long
and slow process.
What I definitely don't want isthat this movie ends up in a
drawer and that nobody ever seesit.
Like I need to take it to theend with my team.
(14:00):
Also, in the last month, I'veshot a new short film, but it's
actually a mini short film.
I want to try the festivalcircuit for the mini short
films.
Usually they ask for films thatare under two minutes.
But with two friends, Jada andMartina, we have made same shit
another day.
Same thing, I think thepost-production process will
(14:21):
take a bit of time, but I'mreally excited to see what we
will come up with.
Then there is me as the teacherthat has been expressing herself
and sharing herself again withthe world.
So I've been teaching a coupleof dance classes, and most
importantly, I've been teachingthe Action Actors Lab.
And that's a workshop for actorsthat want to do action movies
(14:41):
and actors that want to connectwith their bodies.
We cover physical theater,fighting choreography, scene
work, and also top tips forself-taping for action scenes.
Last but not least, I'veattended a couple of networking
events, masterclasses, seminarson the codes and the rules of
(15:01):
thrillers and what makes athriller a good thriller.
And this really helped me toanalyze all the scripts that I'm
writing at the moment as ascreenwriter.
I also went to an eventorganized by Media Arte, which
is an organization that does alot of things and events and
masterclasses for filmmakers inBelgium.
(15:22):
And they set up a meeting withproducers and production
companies so that filmmakers canunderstand how we can pitch our
projects, when, at which stageof the development of our
projects, and yeah, dive alittle bit deeper into our
(15:43):
expectations of what we canactually request, expect from
working with a productioncompany.
And that was super interestingbecause obviously at the moment
I'm writing a series, a short,and a feature, and I'm in this
process of trying to approachproduction companies in Belgium,
especially in Belgium, there issomething that is a little bit
(16:04):
different from other countries,is that most of the fundings and
the finances that you want toapply for, you already have to
have a contract in place with aproduction company.
So you, as the writer director,you don't go directly to ask for
the finances and the money andthe fundings, you have to go
(16:26):
with a production company withwhom you already have an
agreement that you're gonna worktogether.
In other countries, that's nothow it works.
Usually a production companycomes on board at a later stage
of the development.
Here in Belgium, the rules areturned upside down.
So I will be sending my firstcouple of emails to production
(16:47):
companies with my projects topitch it more in the next
episode, and I will give you anupdate of all what has been
happening in between.
Please let me know how thisepisode landed for you and if it
was inspirational or if youlearned anything, send me a DM.
I would love to hear from you.
Welcome to the Loud Whisper Takeover Podcast.
My name is Cindy Klass.
I'm an action actress and afilmmaker.
I have a background in dance andchoreography.
I used to be a theater maker,and obviously, right now I'm in
the world of sci-fi, thrillers,action movies.
In other words, I'm a movementnerd in everything that I do.
And right now I love tellingstories through the medium of
(00:22):
film.
Welcome to this new episodeseries: Diary of an Artist.
These episode series are short,but I hope it will give an
insight to those that are not anartist of what is actually
happening behind the scenes,what the life of an artist looks
like.
We are not always working onset, but behind the scenes, in
(00:44):
preparation of it, there is aton of things happening.
I also hope that these episodeseries will inspire peer artists
because we are all going throughthe same ups and downs,
exhilarating moments andchallenges.
Diary of an Artist Episode 1,what has been happening on my
side over the last month or two?
(01:04):
First of all, as an artist, weare always looking for support,
mentorship, finances to make ourprojects and our ideas
happening.
So I've been writing quite a fewapplication forms.
I had a whole list ofapplication forms I had to fill
in.
And I probably didn't do half ofit, but those that I have filled
(01:25):
in, I'm very proud of.
Why did I not fill in the otherones?
Some because I didn't feel readyyet with my project to submit
something that was strongenough.
Some because I felt the valuesof the organization were not
fully in line for what I standfor as an artist.
And that was a big eye-openerfor me.
For example, there was oneparticular application form.
(01:47):
I was struggling,procrastinating, procrastinating
to even write it.
And I thought, but why, why?
And then there was anotherapplication I had to send in at
the same time where I was superexcited about.
And I realized it's because thecore principles, the core values
were so different.
So I'll tell you the one that Iwas excited about.
(02:08):
That was Berlinale Talents.
It's a film festival in Berlin,and they offer an opportunity
for filmmakers, actors, peopleof the industry, screenwriters
to be mentored and to access anetwork of decision makers and
production companies so thatthey can really move their
projects forward.
It was an exciting applicationfor them because, on top of the
(02:31):
usual questions, you have tosend in your CV and show your
video portfolio.
There was a ton of questionsthat were about getting to know
us as artists.
And that was really cool.
For example, we had to createour own question for the
application form and answer it.
(02:53):
And I think that says so muchabout what you want to share
about yourself.
There was a question aboutmilestones.
What are the milestones thatyou've accomplished throughout
your life, personal orprofessional, in the world of
volunteering or the world ofprofessional contracts you had?
And that was such an excitingmoment because we go through so
(03:16):
many things in life challenges,passion projects that we set up
that really impact us as humanbeings, and that then also
nourish our artistic work.
And being able to share that insuch a way was super exciting.
So Berlin Alley Talents, I willhear around uh December, if I go
(03:37):
through.
And it was just a delight to bewriting this application form.
I sent in another applicationform, and that is to receive
mentoring and support in thewriting of intimate scenes.
So I'm a screenwriter, and I'mwriting a series, a short, and a
feature film at the moment.
And there are some intimatescenes.
(03:58):
So in our world, in the world ofcinema, there is something
called intimacy coordinators.
These people basically join theteam and support the actors and
support the director inchoreographing intimate scenes.
These could be sensual scenes,these could be sexual scenes.
In my case, it's actually ahospital scene where there is
(04:20):
nudity involved in the hospitalscene.
So it's nothing to do withsexuality or sensuality, but
it's related to an old womanthat is stripped away from her
power both physically andemotionally because she's sick.
And so showing the nudity of anold woman and also this nudity
(04:44):
happening in front of herdaughter and this
mother-daughter relationship notbeing a Hollywood kind of
relationship, I think it's avery intimate moment, and it's a
metaphor of what is reallyhappening inside, both in the
mind of this older woman thatwas always independent, that was
(05:04):
always a strong woman, but nowbeing sick, she's being stripped
away of all her power of doingthings alone.
And then this mother-daughterrelationship that had never
really shared anything intimate,hugs, personal stories, they
have a lot of secrets for eachother.
So this is a very intimatescene.
And I've requested support withmentors.
(05:26):
There were masterclasses thatthis particular organization is
offering as well in how to writeyour script, but then also they
give you masterclasses in how topitch your work afterwards to
production companies.
So I'm excited to hear aboutthat as well.
And writing that applicationform actually made me rethink
(05:46):
the movie and the scenes thatI'm writing about.
It gave me more depth.
So while writing applicationforms is something that takes a
huge amount of time and can bevery draining, it also can give
us clarity as artists of wherewe're going and why we're doing
what we're doing.
Another application form thatI've sent was to receive a
bursary, which I've got.
(06:08):
So I'm going to be doing awriter's workshop for series.
So I'm writing a series at themoment.
I've never written a series ofmy life before.
And there is something veryspecific in how you write a
series.
So this workshop will give meaccess to creative professional
development, but also it teachesyou how to pitch your series to
(06:29):
production companies, which willbe very valuable to me.
Another important thing thathappened over the last few weeks
is injury management.
So, as an artist that is workingwith her body all the time,
injuries are also a part of ourjobs.
Uh, I had an injury that wasannoying me for the last six
months, and I couldn't figureout what it was.
(06:50):
I finally got help and found anamazing physio, an amazing
massage therapist, both to whomI'm very grateful for.
And this is now under controland healed.
Training, training, a veryimportant part of our lives as
an artist, is that we constantlyhave to train.
When we are an actor, we're notalways doing a movie, but we
(07:13):
have to still keep the brain ofthe actor, keep the soul and the
heart of the actor alive.
When we work with our bodies, isthe same thing.
We need to make sure that ourphysical capabilities are always
at a level that is employableand ready for casting.
So I have thrown myself into acouple of new challenges.
(07:35):
Obviously, I keep liftingweights at the gym and that sort
of things.
I keep dancing, but I wanted tolearn a new set of skills.
So I signed up uh for Aikido, uha Japanese martial arts
practice, karate, and kobudo.
Kabudo is all about manipulatingweapons, bowstaff, psi, and so
(07:55):
forth.
And I'm super excited about thatbecause over the summer I've
spent a lot of time learningartistic bow staff manipulation
and also nonchakus.
So these three martial arts willbe a part of my weekly training
now.
It's quite hard on my body atthe moment, but I'm starting to
get into a routine.
The dancer in me is alwayslooking for some sort of
(08:17):
artistic challenge too.
So I've also signed up for aroller dance course, and I'm
actually improving prettyquickly, which is really cool.
And that sort of also allows meto express a bit more of a
feminine side of my movementquality because all the
weightlifting and the martialarts can sometimes put my heart
and my soul in a very masculinesort of energy field, but there
(08:42):
is this femininity that I wantto express as well, and so that
I find often through dance andnow this roller skating
challenge.
As an actress, I'm superexcited.
I have a project coming up inNovember, so I have quite an
important role in a featurefilm.
I'm not gonna say the name ofthe film because I'm not sure
that I'm allowed to yet, but atthe moment, I have not learned
(09:05):
my lines yet because the scriptmight still change.
So I've obviously read the wholescript and I'm super excited
about it.
At the moment, the creative teamis working on the set design and
more the preparation of theshooting days.
But I'm super excited tobasically get with the whole
team, do a table read and thatsort of things.
(09:25):
But I'm still waiting for it.
Unfortunately, as an actress, inthe last month I haven't had
many castings, and that can besuper stressful.
As an actor or actress, when youdon't get castings for a month,
you have the impression, youhave the feeling that it's like
an eternity.
But when you zoom out, itdoesn't mean anything really.
Um, there are periods of theyear where there are more
(09:46):
productions happening, whereyour profile will be more
requested than others, but stillit feels stressful.
When that happens to me, I justdecide to do a lot of research
on acting in general.
By research, I mean I can bebinge watching a series or
certain types of movies, but Idon't watch it just to watch it.
(10:07):
I actually analyze it in depth.
I'm trying to see why certainactors really stand out and what
their special source was and howthey eventually got there.
I watch a lot of BTS behind thescenes footage on YouTube, the
making of certain movies orcertain series, so I can
(10:28):
understand a little bit more howactors are diving into their
characters.
So I have done a lot of researchon comedy and especially
American comedy.
I developed a solo, which is alittle bit of me the actress
one-woman show mixed withinteractivity, mixed with public
(10:50):
speaking.
I started to test it out a fewmonths ago.
It's a solo about loneliness.
The best way I can describe itis it's a one-woman show, me as
an actress, slash publicspeakers, slash interactivity
with the audience.
And after about six months ofnegotiating with an
(11:10):
organization, I got about sevenbookings of it.
So the six months of negotiationwere really worth it, and I'm
really excited because I will beperforming it a couple of times
next month.
Post-production.
Oh my god.
So I have done a short film as afilmmaker, director, writer,
(11:31):
which is called A Walk-in.
It was shot in Barcelona inMarch.
We are now end of September, andwe are still in post-production.
So that's another importantthing to know.
Yeah, post-production can takeages, even though it's a short
film.
Long story short, unfortunately,my first editor had a bit of an
existential life crisis.
(11:51):
Wasn't really sure anymore if hewanted still to pursue the path
of being a creative and anartist.
I hope he will continue becausehe's so talented.
But this is a part of ourrealities as artists as well, is
that we question these thingsall the time, and we can lose
confidence or even loseourselves in our passion.
(12:13):
Anyway, so I had to collaboratewith a new editor, and we agreed
that the process would be slowbecause he's working on other
projects, but this is reallyhard on me in certain ways and
exciting.
I have an incrediblerelationship with this new
editor.
Like I feel creatively speaking,we speak the same language.
(12:36):
But I think when post-productiontakes so much time, what is
difficult is not just havingpatience of seeing the end
result of the project, it's alsoas a filmmaker, while time
passes, you also grow as anartist, and so by the time the
(12:57):
film comes out, you're not fullythe same anymore, and so the end
result doesn't fully representwho you are anymore.
I've had that as an actress aswell.
So I was in a film calledDaniela Forever, it was shot in
2023 and it came out in 2025.
(13:18):
But then two years later, yousee yourself on screen and it's
cool and it's amazing, butreally you're not the same
artist anymore.
There is something about youthat has gone through so much
over the last two years.
And as a filmmaker, is the samething, or as a director, is
taking a movie till to the endand then seeing the end result.
(13:39):
There is something exhilaratingabout it, and also something
about is that still me?
So, anyway, a walk in, we'restill working on it.
I really want to see itfinished, but it's a really long
and slow process.
What I definitely don't want isthat this movie ends up in a
drawer and that nobody ever seesit.
Like I need to take it to theend with my team.
(14:00):
Also, in the last month, I'veshot a new short film, but it's
actually a mini short film.
I want to try the festivalcircuit for the mini short
films.
Usually they ask for films thatare under two minutes.
But with two friends, Jada andMartina, we have made same shit
another day.
Same thing, I think thepost-production process will
(14:21):
take a bit of time, but I'mreally excited to see what we
will come up with.
Then there is me as the teacherthat has been expressing herself
and sharing herself again withthe world.
So I've been teaching a coupleof dance classes, and most
importantly, I've been teachingthe Action Actors Lab.
And that's a workshop for actorsthat want to do action movies
(14:41):
and actors that want to connectwith their bodies.
We cover physical theater,fighting choreography, scene
work, and also top tips forself-taping for action scenes.
Last but not least, I'veattended a couple of networking
events, masterclasses, seminarson the codes and the rules of
(15:01):
thrillers and what makes athriller a good thriller.
And this really helped me toanalyze all the scripts that I'm
writing at the moment as ascreenwriter.
I also went to an eventorganized by Media Arte, which
is an organization that does alot of things and events and
masterclasses for filmmakers inBelgium.
(15:22):
And they set up a meeting withproducers and production
companies so that filmmakers canunderstand how we can pitch our
projects, when, at which stageof the development of our
projects, and yeah, dive alittle bit deeper into our
(15:43):
expectations of what we canactually request, expect from
working with a productioncompany.
And that was super interestingbecause obviously at the moment
I'm writing a series, a short,and a feature, and I'm in this
process of trying to approachproduction companies in Belgium,
especially in Belgium, there issomething that is a little bit
(16:04):
different from other countries,is that most of the fundings and
the finances that you want toapply for, you already have to
have a contract in place with aproduction company.
So you, as the writer director,you don't go directly to ask for
the finances and the money andthe fundings, you have to go
(16:26):
with a production company withwhom you already have an
agreement that you're gonna worktogether.
In other countries, that's nothow it works.
Usually a production companycomes on board at a later stage
of the development.
Here in Belgium, the rules areturned upside down.
So I will be sending my firstcouple of emails to production
(16:47):
companies with my projects topitch it more in the next
episode, and I will give you anupdate of all what has been
happening in between.
Please let me know how thisepisode landed for you and if it
was inspirational or if youlearned anything, send me a DM.
I would love to hear from you.
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