Joyce Mishaan

One of the greatest joys of coaching filmmakers is seeing what happens when they start building momentum.

When I first met Celene Beth Olsen, she had spent nearly a decade developing her feature documentary, "Killing Theodore". She had the vision, the passion, and years of work invested in her film, but she wasn't sure how to navigate the business side of filmmaking or what came next.

Within just a few months, she:
✔️ Was invited to speak on a panel during the Sundance Film Festival
✔️ Built meaningful industry relationships
✔️ Secured an Executive Producer
✔️ Secured a Producer
✔️ Earned a fellowship for Killing Theodore

And her momentum continues.

Her latest wins include:
✨ Winning a special jury prize and mentorship during a highly competitive pitch competition.
✨ Being selected for Sundance documentary training with an industry advisor.
✨ Participating in a prestigious documentary fellowship.
✨ Being accepted into a selective pitch deck cohort, where she'll pitch Killing Theodore later this summer.
✨ Continuing to build relationships with potential Executive Producers and funding partners while preparing applications for additional grants and labs.

Film funding isn't about one pitch, one investor, or one lucky break. It's about building the foundation, confidence, and strategy that create lasting momentum.

I'm incredibly proud of Celene and can't wait to see where Killing Theodore goes next.

Watch her story below.

Not every investor is motivated by making money.

Some are looking for access. Some want credibility. Some want to be part of something meaningful. Others are attracted to momentum and the opportunity to support a project they believe in.

That's why one of the most important skills in film finance is understanding what currency your investor values most.

When you stop leading with what you need and start understanding what they want, your fundraising conversations become far more effective.

You’ve rewritten the script 12 times. You’ve gotten feedback. More coverage. Another workshop. But what if the thing holding your project back… isn’t the script anymore?

At a certain point, getting your film made stops being about the screenplay and starts being about everything around it.

And no, “packaging” doesn’t automatically mean landing an A-list actor or knowing the right people.

In this clip, I break down what packaging actually means and why filmmakers get stuck after a “finished” script.

👇 Have you ever felt stuck in the “my script is good… now what?” phase?

Indie Filmmakers: Investors don’t fund scripts. They fund projects.

A great script matters. But what actually gets attention is confidence:
- Can this get made?
- Is there an audience?
- Is there a path to recoupment and visibility?

If you’ve got a script and no idea how to get people to believe in it, this is for you.

Register for my free webinar:
How to Find Investors for Your Indie Film
📅 Weds, May 19
⏰ 3:30 PM ET

Comment WEBINAR or hit the link in bio to save your spot.

Your script might not be the first thing that gets produced... but it could be the script that gets you signed, gets you in rooms, and gets you hired.

Too many writers stay stuck asking, “How do I get this made right now?” when the smarter question is: How can this script open doors for me?

If you’re sitting on a strong script but don’t know how to use it to get representation, meetings, momentum, or paid opportunities, this is the shift that changes everything.

Your script is not just a project. It can be your career lever.

DM me SCRIPT if you want help turning your screenplay into real industry opportunities.