THE MID-CAREER FILMMAKER
The conversation about the “Mid-career” documentary filmmaker is just getting started. “Mid” anything points to something in the middle. At Mid-career you’re no longer “Emerging.” At the same time, Mid-Career filmmakers lack consistent output and distribution to be a full-time “Professional” to finance their films and personal living expenses. In addition they face limited opportunities in an industry that is constantly shifting priorities.
Mid-career filmmakers are stuck in the middle of something. They may be weighing their options for continuing on the filmmaker path i.e. additional work for supplemental or even primary income, or abandoning filmmaking altogether for a job or occupation with more financial stability. This time in a filmmaker’s career requires special attention and a different kind of support from what’s offered to Emerging and full-time Professionals.
Here’s why…..
A few steps beyond “beginner,” the Emerging Filmmaker has a short doc or first feature that’s getting buzz at a film festival or word of mouth. Someone from the industry recognizes the work and maybe the filmmaker gets their first distribution deal on the spot or invited to a promising meeting. The Emerging Filmmaker’s talent is nurtured. They’re given access and resources they didn’t have before to accelerate their career from an experienced beginner to their next documentary project.
The Professional is working on multiple projects each year. This could be a combination of passion projects and work-for-hire documentaries. Their work receives major distribution nationally and globally. Filmmaking has become a business. The Professional has their own production company, and perhaps a non-profit to receive grants directly instead of using a fiscal agent.
Professionals are invited to participate in major festivals and industry events even if they don’t have a film in the schedule. Professionals get the meeting with people who greenlight projects.
Meanwhile, the Mid-career filmmaker has 2 or more documentaries of various lengths distributed on major streaming platforms, network, cable television, national public media, theatrical, educational, and/or featured in Academy Award qualifying festivals. But unlike the Professional there can be an extended pause between the completion and release of one documentary and production of the next or a work-for-hire documentary gig.
Mid-career filmmakers often take 2nd or 3rd jobs to make ends meet. Academia is the preferred landing pad for the Mid-career filmmaker, as well as the non-profit sector. But teaching requires time and attention, and all jobs have required hours and responsibilities. In addition the mental and emotional demands of the “side hustle” can have an impact on the mental and physical fitness required to complete a film.
Mid-career does not mean being a filmmaker who is 40+ in age. Emerging filmmakers can be in their second acts or careers at 40+ even though most Emerging filmmaking opportunities are looking for filmmakers under 40 years of age. Professional filmmakers can get a big break in their 20s and never have to look back. However that’s often the exception and not the rule.
But there is a point when a Mid-career filmmaker has to think about the future; the next 10 to 20 years of filmmaking and life in general. “Will a filmmaking career support education for my children? Will I have money to save for retirement, buy a home or pay rent and other household bills? Take care of elderly family members? Pay for healthcare?”
Having a safety net is especially important to filmmakers who identify as Black, Indigenous, and People of Color (BIPOC), LGBTQIA, living with disabilities, age 50 and over, and/or living in communities with little to no access to filmmaking and other resources.
Working with Firelight Media’s Spark Fund brings the conversation about Mid-career into the spotlight. The Spark Fund is part of the NEH #SHARP American Rescue Plan initiative to support individuals and organizations working in the humanities who were affected by the COVID-19 pandemic emergency. Firelight Media’s Spark Fund provided non-restrictive funds to mid-career BIPOC filmmakers. Non-restrictive stipends can pay for living expenses, and film finishing monies for Mid-career filmmakers.
Non-restrictive stipends and funding can make a big difference to Mid-career filmmakers. Financial stability allows the filmmaker to make their film without the stresses of uncertainty on whether they can cover basic living expenses, healthcare, etc. It can make up for the shortfalls of the side-hustles.
Supporting Mid-career filmmakers, who are talented professionals is an opportunity to raise their visibility within the industry. Coupled with access to and opportunities from the people who can help them finish and distribute their documentaries will be an important step to getting unstuck.
Where are you in your filmmaking career? How do you define Mid-career in documentary filmmaking?