I’d gotten an imdbpro membership and, after rifling through the endless stack of business cards that I’d amassed after attending Sundance in 2011, (and considering the nature of the film that I wanted to make) I started contacting every single film person that I could think of that had financed,  produced or cast an independent feature film that featured a young, African-American cast between 2007 and 2011. Additionally, I reached out to countless people that I knew, personally, and approached them for private equity investments.]

Concerning the film producers I’ve spoken with, these past few months, feedback that I got on my draft of latest All The Wrong Places, has been: “Yeah, I don’t know, I liked it, but to me, it just kind of read like the Black version of ‘Girls.’” – anon Producer of a feature film that had gone to Sundance, that year “I liked it, but we don’t make those kinds of films anymore.” – anon Producer of a feature film that had gone to Sundance, years before “I don’t work on feature films that have a budget of less than $500,000.” – anon Producer of several Sundance-selected movies “Yeah, I’ll read your draft, but due to familial issues, I can’t really afford to take on projects of this scale.” – anon Producer of several Sundance movies “I’m getting to the point in my career where I can’t take on projects of this size, but I’d be more than happy to read your draft.” – anon Producer with a movie that had just premiered at Sundance. Suffice it to say that this was a small sampling of the people that I’d reached out to, at the time, and that it seemed that the chances of getting the film made were not looking good.