With shorts from Paul Thomas Anderson and David Lynch sitting alongside Oscar-winners, it’s fair to say streaming giant Netflix pays close attention to the world of short film. Until recently, their strategy seemed to revolve around snapping up some of the big-name, award-contenders from the festival circuit (as usual they had the majority of the Short Doc Oscar nominees available for streaming), but they’ve also decided they want to give back to the community, launching the Documentary Talent Fund – aimed at supporting emerging filmmakers and nurturing the most innovative and creative minds of the future.

With the announcement made at the tail-end of 2020, the ten films are now complete and released on Netflix’s Still Watching YouTube channe, we asked S/W alum, and one of the first recipients of the fund, Seán Mullan, to provide insight on the process of making a short film for Netflix. Though specific to the Netflix fund, his insight should prove useful for anyone looking for funding for their short or thinking of applying to a similar scheme.

Be sure to check out his short Hyfin, made as part of the fund, below – Rob Munday (Managing Editor)

First Steps

After first hearing about the Documentary Talent Fund on the newsletter of Northern Ireland Screen, and then a post on London Film Forum, from there I signed up to a public zoom session with Elisabeth Hopper from WDW Entertainment, Matt Kay, director of Netflix-acquired Little Miss Sumo and Georgie Yukiko Donovan, director of AMA and a producer of the Netflix fund. In the presentation, they broke down the scheme and gave some advice from their own previous experiences. After the zoom and some research, I quickly realised that my idea about young Derry men and music would have the cinematic scale and universal themes perfect for this fund.

The Application/Pitch Process

The application process was divided into four stages, with the first idea-focused avoiding the headaches that come with the usual mountains of paperwork and proof. All you needed was a simple logline, an explanation on why you want to make the film and links to two previous films (at any level). The stage felt very balanced and inclusive of all levels of experience, which is obviously how these funds should work, but I also knew that this level of accessibility would open the floodgates to thousands.

I submitted my project, which I had great confidence in, but knew the competition for places would be fierce, so I tried to remain realistic about my chances. Thankfully my project caught their attention and I was selected for stage two, where I’d need to submit a 1-2 minute video pitch featuring more info about the filmmakers, our team (if we had one) and our short documentary idea. Once again, the process was fairly relaxed and instructions were provided to guide you through creating the video. I think having the option to present your project on-screen offers much more scope than doing so on paper. I’m comfortable in front of the camera but decided to use one minute of my video to highlight the intended tone of the film and then the other minute was just me chatting.

Mullan in the midst of an in-person pitch at Netflix HQ in London

The video pitch obviously did its job, as I made it through to stage three, where the applicants were asked to supply more detailed plans for their projects – mood boards, CV, crew list, timeline, budget etc. Again it was all very supportive, guidelines were provided and we were able to ask questions, via email, if needed. It was at this stage I decided the time was finally right to approach my protagonist Hyfin! I found a contact for him, rang him up and explained how I was interested in his music and story and that I’ve been floating an idea to Netflix. We then met to discuss and pretty shortly he was on board. I said let’s get started regardless and we’ll just see what stage 4 brings.

Then amazingly I made it to the shortlist of the final 20, where I was invited to an in-person pitch at Netflix HQ in London, where we were asked for a five-minute presentation, followed by a two-minute teaser. This was presented in front of a panel of eight industry experts – Kate Townsend Director of Original Documentaries Commissioning at Netflix, Jonny Taylor Original Documentaries Commissioning at Netflix, Joanna Natasegara Producer, Director & Founder of Violet Films, Kirsten Johnson Director, Shanida Scotland Head of Film at Doc Society, Jamal Edwards MBE Entrepreneur, Founder & CEO of SB.TV, Lindsey Dryden Producer, Director & Founder of Little By Little Films and Akua Agyemfra Cultural Strategist and Founder & Creative Director of Bea London.

“It’s important that when you’re given a time limit for a pitch you should stay extremely strict to it”

This pitch was obviously the moment you can no longer hide behind a PDF or a screen, so nerves and excitement levels were up. We were at a point where it all began to feel real, this was a moment that really mattered and in situations like that, commitment is easy. Applications, funds, pitches etc can be so soul-sucking at those times when you can’t see anything on the horizon, so much effort and time goes into them and when they’re fruitless you can often look back at that time and wonder if it would have been better spent making films.

The pitch flew by, I mean it felt like seconds. I pitched alongside my co-producer and editor Michael Barwise and although it went fast we were confident that we’d pitched well. It’s important that when you’re given a time limit for a pitch you should stay extremely strict to it and Michael and I had rehearsed with a timer to ensure we had a good rhythm and flow. After we were done we went to a Japanese restaurant around the corner and celebrated with sake. Then, it was back to waiting and two weeks later we received the phone call informing us we were part of the fund.

Pitching/Funding Advice

I would say regardless of finances, you should be continuously working on a slate of ideas and films you are strongly passionate about and dedicated to, even if it’s just reading, draft writing or sketching ideas with an iPhone. Then as the funds come and go all the time, with enough perseverance and scanning you’ll come across the right opportunities. With this selection of potential films at your disposal, if you know your ideas well and how they need to be made, you’ll be able to see opportunity X and think of idea Y as a good match. I would always avoid specifically creating a film around a scheme or tailoring an idea for a fund.

The Idea

The inspiration for my narrative came from Instagram. I was scrolling through my feed one evening and Hyfin appeared rapping in a Derry accent. He was staring down the lens with an intensity and confidence that seemed so much more than just rapper bravado, he had this magnetism that what he was doing was a must, that it had to be done. Being from Derry myself, I had never really seen anyone rap like that before. People would often poke fun at those who were trying to pushing boundaries, and trying to express themselves in new ways, saying things like “Derry accents can’t rap”, but to me what they meant was that Hyfin had the skill but that he just shouldn’t be rapping. I was taken back by his technical skill but more importantly, it was this deeper sense of confidence in why and what he was doing, as if he could see a bigger picture.

Mullan (L) with Hyfin during the shoot of their short documentary.

I also write and direct fiction and one writing method I often play with is taking the camera to real events, documenting characters that catch my eye and then I take them back to the page and embellish them or navigate them in different directions. I was at the August bonfires in Derry doing this very thing and I came across this noticeable atmosphere in the young males of Derry. Paired with Hyfin’s music I knew I could intertwine them both to capture an important story better suited to a documentary approach.

Post-Application

Once we were successful with our pitch Netflix, along with WDW Entertainment, set up weekly webinars breaking down each department from creative to finance, legal to production. They were very supportive in ensuring we held the rights to the finished films and letting us have full control throughout the process. They offered a list of companies as a compass to begin production but were also accommodating if we wanted to go through our own companies. This is what Michael and I did, we co-produced the films ourselves through our production company based in Derry called Haus Eight Films.

From here they set us up with a line producer, a producer for any general assistance and a mentor with knowledge of our area and project, ours being the fantastic filmmaker Alison Millar. Overall, we were left with a comfortable amount of space to get stuck into it at the pace and direction we preferred.

Mullan (R) filming Hyfin for his Netflix funded short documentary.

Production

The involvement of the Netflix Documentary Talent Fund meant I could make several changes with regards to how I’ve approached production in the past. First and foremost, the funding allowed me to pay my crew properly, while also permitting me to commit myself entirely to the film, as it should be, without needing to juggle an unacceptable amount of freelance work.

It also gave us more time in the edit, so we could focus on developing relationships with the atmosphere and characters. It also allowed me to work on elements of shorts you rarely get to sharpen due to budget and time restrictions. For example, in creating the original music for the short I was able to work with NI based composer Conor O’Boyle and a choir.

Netflix really did just let us go ahead and do our own thing throughout 90% of the production, until some standard last stage notes. 

Feedback

Through each application stage we received helpful encouragement, but there wasn’t much in terms of feedback on why they selected each project. I can’t really speak on behalf of Netflix for the exact reasons they chose our film, but I believe they were attracted to it for a couple of reasons. Firstly, with the brief for this fund stated as ‘Britain’s Not Boring And Here’s A Story’ our film focused on an area that needed more stories, with new sounds, new angles and new dreams, of a younger generation coming from it. Then what Netflix did well was the fact that it was a documentary talent fund, it gave my team and I the chance to pitch ourselves, our approach and the film’s form. For me, that is equally as important as narrative.

“There were healthy discussions on the notes, nothing was forced or mandatory”

For the edit, each team was assigned with a member from Netflix’s creative department and we had Jonny Taylor. We were given a great amount of creative freedom throughout post-production and after we submitted a rough-cut we had a zoom with Jonny where we discussed our thoughts and his. Again, this process was very helpful and personable and was followed by a reasonable one-page of bullet-point summary notes. Then same again with the fine cut. There were healthy discussions on the notes, nothing was forced or mandatory and at the same time, nothing was indifferent or general. It was a valuable learning experience all around and the only strict element of it all was that the commission had to come in at the 12-minute mark.

(L to R) HYFIN, Conor O’Boyle, Mullan and Barwise attend a screening of the Netflix Documentary Talent Fund Films in February 2022 (Photo by David M. Benett/Dave Benett/Getty Images for Netflix)

Online Release

After finishing the film, it was a great experience having the quick turnaround and being able to show the public and get it out there so soon after creating it. The usual process means it can often be months, or even years, after completing a short before you get to release the film to the masses online, so the immediacy here was exciting. The Still Watching Netflix YT channel has over 2.5 million subscribers, so it was great to be featured on a platform which such a large established audience. Eyes and ears are shifting positions to where films are viewed, but at the same time there can be an overwhelming amount of material on these channels and things can easily get lost. I think working alongside platforms like SOTW is great for moving eyes in the right direction and making a map to navigate the mountains of short films available.

And yes, having Netflix’s name involved was obviously a big pull. What they did best with the launch was arranging a brilliant premiere screening in London where they invited a host of industry professionals to view the 10 films on the big screen. After the screening, they held a drinks reception and personally introduced us to production companies, distributors, other filmmakers and financiers. It’s rare you get to do this outside of the festival setting and even then the onus is on yourself to make connections.

Comparison to previous work

The Short of the Week audience will probably be familiar with my previous short Inhale, which was a deeply personal and intimate film in my life. A short film involving my uncle and centred around the loss of his wife, daughter and during filming his father (my grandfather), I consider it a piece that was in the making for over a decade. So naturally, from film to film, contexts and themes alter, but in both films, I see a strong connection as both focus on how a person transforms their trials and tribulations into a passion with extreme intensity. Inhale was an internal journey through the past, but with Hyfin it’s more of an internal journey focused on the future. For this reason, the film was more aware of itself through the music video sets and Jordan’s journey of creating Hyfin.

Click on the image to see larger

What’s Next?

After making Hyfin, I’ve gained some interest from established production companies and have already had introductory meetings to discuss potential partnerships, which is all very exciting.

My co-producer and editor on Hyfin, Michael Barwise is also a fantastic filmmaker. We are currently in development to co-direct a feature documentary titled Hy Brasil. Every 7 years, on the 7th day of the 7th month, an island known as Hy Brasil is said to appear somewhere along Ireland’s wild Atlantic way. We both felt this unexplainable lure and calculated the proposed day of reckoning. On the predicted day, we’re embarking on a voyage down the western coastline, with the help of a one-armed sailor to determine the truth of the island. And we are on the lookout for potential collaborators to join us on the voyage to make this film! So if it’s something that lures you too, feel free to get in contact.

Lastly, during the production of Hyfin I had a very welcomed interruption. I was selected to take part in a workshop on the lunar landscape of Lanzarote where I made a short fiction titled Hormigas Y Amigas under the guidance of Werner Herzog. Thats a whole other story for a different day………..

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Based in Derry, Northern Ireland, Seán Mullan is an IFTA (Irish Film and Television Academy) nominated filmmaker with award winning work exhibited in over 25 major festivals internationally.