FAQs

When is the deadline?
The deadline is midnight AEDT August 16th. That’s a Sunday night (you’re welcome).

 

Who is Attagirl for?
Attagirl is an intersectional initiative designed to support filmmaking teams with a narrative fiction film in development. The majority of key creatives within the team must identify as female or non-binary folx.

 

Ok cool, what does that mean?
Feminism shouldn’t exclusively champion the equality of white, cisgender, straight women. Intersectionality recognises the complex experiences of individuals who experience oppression not only according to gender but also sexual orientation, race, nationality, age, or ability. It is the responsibility of those with unfair structural advantage, privilege and access to recognise and account for this through creating inclusive spaces that are reflective of a spectrum of identities. Attagirl is such a space.

 

Is Attagirl different from other lab programmes?
To date, there has been no global initiative dedicated solely to developing female/non-binary-generated films. The participating countries, screen agencies and festivals are demonstrating leadership by expanding their influence across borders, widening the reach and  impact of the selected creatives and their work.

 

What about the style of training?
We spent a long time traversing the globe to figure out what was missing in current feature development schemes and how we could design a game changer to support more filmmakers complete their films, but more importantly, have them seen. Whilst the internet can be a wonderful thing, it’s also wreaked havoc with certain processes in film financing, none of which are beneficial to inclusion. The Attagirl approach supports crafting not only excellent films, but also distinct and innovative pathways to audience, in full acknowledgement of the changing distribution landscape. Participants will be connected and matched with organisations and notable figures from across the film value chain so as to sharpen their approach and match intent and impact in distribution and delivery. In a very saturated content-dense landscape the how is as important as the what so we will be working with

 

That sounds great but I have no previous experience in film. Can I still apply?
Sure! We recognise that talent often resides in the most unexpected places and not just in film schools. We would however encourage you to consider the application process carefully as submissions will only be deemed competitive via assessment of a first draft script, finance plan/budget and audience design/distribution strategy, all of which are equally weighted in assessment. 

 

The tuition fee is pretty high, what does it cover?
Training is expensive, good training even more so. The fees cover provision of your training, meaning that rather than paying people to just talk endlessly on panels, we pay our mentors, trainers and speakers to work with and alongside you, and your work. The other parts go towards the last workshop, which will be hosted in person, in Sydney. Bringing lots of international people Down Under is pretty pricey, especially post-COVID so that’s why the fee is the way it is. 

 

Ok, so what doesn’t it cover?
The fee doesn’t extend to visas, getting you to and from your departure airport, ground transport in Sydney, breakfast and evening meals or any additional spending incurred by you or your team. There are no allowances for loss of wages should you need to take time off work to attend. There is however a small bursary fund available for carers with infant children/dependents or those who can demonstrate their attendance would be severely restricted without additional support. We advise however that this will be granted on a needs, rather than application basis and will likely only cover a portion of incurred cost.

 

Is there a tuition waiver?
For most Australian, UK, Canadian, Swedish and NZ applicants, funding has been provided through state or federal screen agencies. If you are accepted into the program your tuition costs will be covered by these partners. If you are applying from outside these territories, you will need to demonstrate your capacity to meet the full program cost upon application to the program.

 

What happens if COVID ruins the Sydney part?
That could happen and if it does, we’ll make a call as to whether we postpone the final workshop until we can travel again or move it to a revised digital model. The most important thing is that we support you and your work to find finance and find an audience so that’s the thing we keep in mind at all times.

 

What about the other workshops – are we going to Toronto?
Unfortunately thanks to COVID, nope. But thanks to our partners and festival champions, you’ll have digital accreditation to the festivals we are working with, and their programs. This is a time of great change and we wanted to move with it, rather than wait for the new normal before launch. As a program designed with adaptation and reflexiveness in mind, this situation is kinda right on brand.

 

So the first two workshops are just endless Zoom meetings?
Not even close. We’re just as bored as you are with putting a blazer over pyjamas to give the appearance of professionalism so we went back to the drawing board to design our approach to digital content. Expect some 1-2-1s but we are also working with a digital experience designer who will be attempting to have you experience that just-went-to-a-film-festival connectedness (without the need for shoes). 

 

What will you be teaching me then?
Our content focuses on three pillars: story – the art, craft and structure of good stories, audience – understanding and planning for how and why people will engage with your work and market – working with the money to make that a reality. We are really big on the interconnectedness of those three things which is why our branding is a triangle (get it?!). 

 

What will I get out of it?
You’ll be matched with a Project Mentor who will support your development trajectory, in the same way an Executive Producer might, to engage with those three pillars as a means to fast-track you into production and release. Your Project Mentor will have input from assigned experts covering the three pillars to identify the strengths and weaknesses in your film and film package and work with you to adapt your approach and strategy. The final workshop will be built around a financing forum where we will bring together stakeholders from existing and emerging investment sectors to hopefully trigger investment and put you on the path to completion. The major outcome for Attagirl participants is to develop strategies to break the cycle of financing purgatory through crafting lateral and autonomous ways around the obstacles that often stall a film’s progress.

 

Will Attagirl fund my film?
No. Attagirl is not a financier or grantmaker however we will be working with our partners and the market to provide access and opportunity with those most likely to, whether they be in traditional or emerging investment markets. 

 

Where is the application form?
It’s on the website, where it says Apply Now.

 

Can I preview it?
You can click through it, sure, but remember that a form will be lodged if you hit ‘submit’ at the end so try not to if you’re just putting in lorem ipsum.

 

What can I expect?
We’ll ask you for your three one-page submissions as well as some questions about you and the film. 

 

Am I able to ask for a second opinion on the result of the assessment?
Unfortunately not. Whilst we can’t accommodate individual correspondence regarding the result of your assessment, you can request for anonymised feedback from our assessors. Please email attagirl@forfilmssake.org with the subject line ‘Assessment Feedback Request’ and please remember to include the email address that you applied with.

 

Who will assess my work?
A group of independent assessors selected by FFS from our global territories. The assessors have been selected on basis of their experience and their ability to represent a diverse range of intersectional identities. We recognise that bias is both conscious and unconscious and seek to safeguard against this through diverse representation. Once the assessments have been conducted they will be shortlisted and the highest 24-30 applicants will be invited to submit second round materials. In the event that two submissions are equally weighted, we’ll select the project with the female/non-binary director, given the historical disparity in this role. All assessments will be read anonymously by two separate assessors.

 

How will they assess my work?
The three pillars of story, audience and market are measured against the three outcomes of distinction, innovation and viability. Hop over to the assessment rubric page where you can. view the guidelines that assessors will be using to conduct your assessment.

 

What happens if I’m shortlisted?
We’ll ask you for complete project materials that a new group of assessors will assess (using the same rubric) and with that feedback, we will share with the funders who have been asked to subsidise any fees. Agency feedback will be added in to the mix of both sets of independent feedback (as every submission is again read anonymously by two separate assessors) with projects ranked in preferential order. A final list of the top 12 (minimum) will be sent to the FFS Board to sign off. We’ll then let you know – simple!

 

I can’t attend all of the sections – should I still apply?
No. Whilst the training is non-linear in its approach, it is sequential and learning is designed to be cumulative.

 

What if I can go but my director/producer can’t, what should we do?
If you think you can rep the project solo, we’ll consider this but we’ll need to chat to you, and the agency covering your fees about it. The training is targeted to both your project and the participants so missing out kinda reduces the last part. It’s not necessarily an impasse however and we can be flexible.

 

Could I take someone else?
If they were crucial to the project, yes.  But you couldn’t take your Mum though, if that’s what you mean. 

 

We are a team of four (or more) – does that matter?
No, although should any more than two members wish to attend the final workshop in Sydney, the sole cost will be incurred by the team. But for the first two workshops, the more the merrier because no one is leaving their living room/office/bed!

 

I’m a dude – can I apply?
If you’re working with key creative ladies or non-binary folx, absolutely!

 

In the terms and conditions you state there may be provision for child care? Is there a provision for carers of elderly and infirmed patients?
Yep, that is most definitely covered.

 

You said we have allowance for childcare, could this extend to an airline ticket for my child?
Only if your baby is one of the key creatives. Just kidding. If you wish to travel with a newborn or infant, that’s what our bursary is for. Please note, the bursary is small (as we are a charity) so all requests are assessed competitively and we encourage looking for further support options in the event that you don’t secure our very limited funds.

 

Are you tired of all these questions?
Yep, aren’t you? The full terms and conditions are at the start of our application form (be warned, they’re long!) and if you’ve read those and still have a real burning question simply reach out to attagirl@forfilmssake.org or lolina@forfilmssake.org and we’ll sort you out.