Summative Report Global Media Makers 2022

Global Media Makers Year 5
Film Mentorship
in Uncertain Times
July 26, 2022
Jena Barchas-Lichtenstein, Joanna Laursen Brucker, Nicole LaMarca, Rupanwita Gupta,

Kathryn Nock, Nezam Ardalan, & Johann Chacko
© 2022 by Knology Ltd., under a Creative Commons Attribution-NonCommercial-
NoDerivs 4.0 International License (CC BY-NC-ND).
Recommended Citation Barchas-Lichtenstein, J., Brucker, J. L., LaMarca, N., Gupta, R., Nock, K., Ardalan, N., &
Chacko, J. (2022). Global Media Makers Year 5 Summative Report: Film Mentorship in Uncertain
Times. Knology Publication #DOS.172.613.05. Knology.
Date of Publication July 26, 2022
Prepared for Louay Khraish

Project Manager,
International Programs
Film Independent
5670 Wilshire Blvd. 9th Fl.
Los Angeles, CA 90036
This material is based upon work supported by the United States Department of State
under Grant No. SFOP0005614. Any opinions, findings, and conclusions or
recommendations expressed in this material are those of the author(s) and do not
necessarily reflect the views of the United States Department of State.
Knology produces practical social science for a better world.
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Knology Publication # DOS.172.613.05
Cover Photo Photo by KAL VISUALS on Unsplash

Executive Summary
In its fifth year, the Global Media Makers (GMM) program has continued to meet its mission
of supporting cultural diplomacy by connecting visual storytellers from around the world
(Fellows) with US entertainment professionals (Mentors). GMM is supported through a
partnership between Film Independent (Fi) and the US Department of State’s Bureau of
Educational and Cultural Affairs; Knology has served as the evaluation partner since 2019. In
its fifth year, GMM sought to bring together independent voices in film, television, and digital
media from the Arab World, Turkey, Sudan, and South Asia. To support these emerging
filmmakers, GMM draws on the world-leading creative and business talent of the US film
industry.
Year 5 began in the Fall of 2019, but soon faced unprecedented challenges as a result of the
COVID-19 pandemic. Fi staff showed great adaptability and perseverance in their
commitment to deliver programming in the face of changing travel restrictions. GMM
succeeded in translating most of its core activities in 2020 and 2021 into virtual or hybrid
formats using Internet-based videoconferencing platforms. In 2022, the capstone Los
Angeles (LA) and Screenplay Development (SD) Residencies both took place in person.
As a result of the extended sequence of virtual and in-person residencies, current GMM
Fellows experienced the longest program to date, resulting in exceptionally effective
relationship- and network-building among Fellows as well as between Fellows and Mentors.
Surveys and interviews have indicated very high levels of appreciation from Fellows in terms
of creative skill development, networking, mentorship, and understanding of US film
financing and distribution. Meanwhile, prior Fellows gained the opportunity to share their
creative work and transfer their skills to filmmakers in their home countries thanks to GMM’s
microgrants, as well as workshops and film screenings.
The virtual segment of the Screenplay Development Residency (SDR) began in May 2020 with
six pairs of filmmakers from across the Arab world and Pakistan. They gained insight into the
US film industry’s standard narrative structures as well as a better sense of how to tap into
more internationally accessible themes. This feedback process boosted Fellows’ confidence
and motivation to continue with screenplay development in spite of difficult circumstances
during the pandemic’s early stages. It also set the stage for nearly two years of programming
that helped Fellows acquire innovative narrative skills.
Limitations on travel led to the cancellation of the planned GMM summit in Kathmandu, and
its replacement with expanded virtual programming at Film independent’s 2020 Forum. The
Forum presented an excellent opportunity for Fellows from all years to reconnect with Fi and
to learn more about the work of other filmmakers around the world. This was followed by
outreach events held in Lebanon, Sri Lanka, and India between March 2021 and January
2022 involving film screenings, workshops and a masterclass. Many of these events provided
opportunities for Fellows of previous GMM cohorts to screen their work and transfer skills to
members of the filmmaking community in their home countries, fulfilling one of GMM’s key
goals.
Global Media Makers Year 5 Summative Report i

Microgrants serve as another means by which GMM continues to invest in and support
Fellows after they have completed their residencies. These grants are available for a range of
uses, from providing funds for professional collaborations, to funding screenings and
workshops that allow Fellows to share their work with wider audiences and transfer skills
back to their communities.
The virtual portion of the Los Angeles residency was held in September 2021 with 28 Fellows.
Many Fellows commented on how efficient and well-managed the 2-hour sessions were,
although they also noted limitations of the Zoom platform, such as the difficulty of
encouraging interactivity in large-group settings or maintaining high levels of engagement
during extended sessions. This report includes a number of specific suggestions on how
virtual experiences could be made even more inclusive, whether by setting aside time for
informal relationship building and networking, empowering participants to manage their
online interaction in ways that increase their comfort level, or facilitating small-group
interaction, including through the use of other platforms.
After repeated pandemic-related delays, Fellows completed the in-person component of the
Los Angeles and Screen Development Residencies (simultaneously hosted by Fi in Los
Angeles) in March and April of 2022. Overall, Fellows found the Residencies an amazing
experience that exceeded their expectations. SDR Fellows were aware that they had “the
longest Residency ever with Film Independent” and saw the length as a strength, because
they received far more feedback—and had far more time to revise—than otherwise would
have been feasible. Gaining hands-on experience and feedback with experienced, often
famous, Hollywood professionals provided highly memorable opportunities for tremendous
learning, as well as confidence-building and networking. In addition, Year 5 Fellows report
exceptionally close personal-professional networks among the entire cohort, which in many
cases has already led to collaboration on projects and the emergence of transregional
networks.
It is also clear from responses across the board that both in-person interactions and Los
Angeles’s film-centric atmosphere played an important role in the program’s impact. The
large number of industry professionals in the city, its diversity, and its cultural openness
helped inspire and energize participants. Fellows also had the highest praise for the
organizational skills, kindness, and consideration of Fi’s staff in facilitating participation,
which has led Fellows to express an interest in maintaining long term contact.
In addition to the successes outlined above, GMM also succeeded in developing Fellows’
business skills and connections through a range of opportunities, from pitching competitions
to masterclasses on proposal writing and opportunities to meet executives at streaming
platforms. Fellows also observed that simply hearing about Mentors’ own experiences with
different funding and distribution opportunities was highly instructive.
ii Knology Publication #DOS.172.613.05

Table of Contents
Introduction 1
About This Report 2
Project History 2
Methods 3
Protocols & Participants 4
Online & Abroad 7

Fellowship & Mentorship: The Two Virtual Residencies 7
Storytelling & Creative Skills 8

Business & Marketing Skills 8
Networks & Relationships 9
Bringing It Home 10
Microgrants 11
Skills 11
Bringing It Home 12
Suggestions 12
Workshops & Outreach 12
In-Person Residencies 14
Storytelling & Creative Skills 14
Business & Marketing Skills 15
Bringing It Home 17
Suggestions 17
Discussion & Conclusion 18

Program Goals 18
Recommendations 19
References 20
Global Media Makers Year 5 Summative Report iii

List of Tables
Table 1. Participants in the Screenplay Development Residency. 4
Table 2. Participants in the Year 5 LA Residency. 5
Table 3. Participation in surveys at virtual workshops. 6
Table 4. Recipients of Year 5 microgrants. 6
iv Knology Publication #DOS.172.613.05

Introduction
Global Media Makers (GMM) is a cultural exchange program which connects visual
storytellers (Fellows) from around the world with US entertainment professionals (Mentors).
GMM is supported through a partnership between Film Independent (Fi) and the US
Department of State’s Bureau of Educational and Cultural Affairs. The program “curates,
nurtures and elevates creative voices who are utilizing film, television, and digital media to amplify
and address issues such as human rights, pluralism, women’s empowerment, and tolerance in
their own countries and regions of the world.” Now in its fifth year, GMM continues to
collaborate with and empower independent film professionals from South Asia, the Arab
world, and Turkey . Through its efforts, GMM aims to:
1. Enhance skills-sharing, provide industry access, and promote on-going and productive
professional connections between Fellows and Mentors;
2. Enable participants to more effectively harness the power of visual storytelling to
explore the critical issues confronting their community;
3. Connect participants with a range of US creative and business leaders through
mentorship;
4. Help visual storytellers acquire innovative narrative skills, enabling them to create
compelling content for multimedia platforms;
5. Establish professional networks, linking participants with each other and with
professional leaders in the US entertainment industry;
6. Develop business skills and connections necessary to secure film financing and
increase market distribution; and
7. Expose filmmakers to community-based organizations that either provide media-
focused training for youth and underserved populations or use film as a tool for social
change, to allow Fellows to be able to replicate similar models in their home countries.
GMM meets these goals through four primary activities: Media Landscape Trips that build
relationships across borders; Residencies that bring international filmmakers to Los Angeles
for a period up to six weeks; outreach activities like workshops and screenings that provide
brief professional development outside the US; and microgrants that allow former Fellows
to extend their work to support professional development at home. Year 5 began in late
2019 and was initially supposed to be completed by December 2021. As such, it was heavily
impacted by the ongoing COVID-19 pandemic and associated travel restrictions. The team
responded by moving all activities online between March 2020 and December 2021, as well
as extending the timeline to allow for eventual in-person Residencies.
Knology has served as the external evaluator for GMM since 2019. In this role, Knology
researchers created a suite of evaluative instruments and methods detailed below. These
included various interview protocols and surveys designed to assess GMM’s progress and
impact from the perspective of Fellows, Mentors, workshop participants, and microgrant
recipients.
Global Media Makers Year 5 Summative Report 1

About This Report
This report encompasses all Year 5 activities. This report is organized at the top level by the
division between online and in-person program activities. Because all online activities were
evaluated in prior reports, these elements of evaluation are summarized. We are reporting
on our evaluation of in-person activities for the first time in this report, and thus present that
evaluation in full.
Each activity is evaluated in terms of its success in imparting storytelling and creative skills;
business and marketing skills; networks and relationships; and impact in Fellows’ home
countries. A final subsection offers suggestions for program improvement, based on the
alignment between Fellows’ feedback and GMM’s seven overarching program goals.
Project History
At the outset of Year 5 in Fall 2019, GMM envisioned in-person programming comparable to
prior years. They planned to complete the series of South Asia Media Landscape Trips begun
the previous year by traveling to Bangladesh for research, planning, and outreach. This
would have been followed by the Los Angeles Residency (LAR) in Fall 2020, offering visiting
Fellows six weeks of intensive workshops and mentorship from US entertainment industry
leaders. GMM also planned to offer an additional two-part Screenplay Development
Residency (SDR) for pairs of producers and screenwriters in Spring 2020, with a 1-week
follow-on in Beirut in August 2020.
Nor were these the only plans: GMM intended to offer follow-on workshops where Mentors
would travel to Fellows’ countries of residence to co-create professional development
workshops with them. The team also planned to provide continued financial support for
local outreach projects through microgrants. Finally, GMM would convene a summit in
Kathmandu, bringing together Fellows from every cohort to date.
The disruption to travel and in-person activities caused by the COVID-19 pandemic, as well
as its unexpected length, forced organizers to adapt. Year 5 activities took place between
Spring 2020 and Spring 2022, with the timeline somewhat extended. The Media Landscape
trip to Bangladesh, the only remaining country they had not visited, was postponed
indefinitely. However, Fi was able to build on earlier visits to Lebanon, India, and Sri Lanka
with a series of virtual workshops held between March 2021 and January 2022.
Due to the cancellation of all 2020 travel for the project, GMM also decided to coordinate
with Film Independent’s larger virtual Forum held in late July and early August and to host
some additional virtual events. These combined activities replaced the Kathmandu summit
originally planned for December 2020. Although the Forum was not a GMM event
specifically, all prior and current Fellows (including Year 5 Screenplay Development Fellows)
were invited to attend this event for free. The GMM team added programming with an
international focus to meet Fellows’ needs, as well as a number of sessions that brought
GMM Fellows into conversation with other filmmakers, showcasing their work for the larger
Fi audience. Additional virtual screenings and other local outreach activities were supported
through the disbursement of GMM’s microgrants.
2 Knology Publication #DOS.172.613.05

The two-part Screenplay Development Residency was designed for producer-screenwriter
partnerships, primarily from South Asia, the Arab world, and Turkey. The first part of the
Residency was to be held in Los Angeles in April and May of 2020, with a one-week local
follow-on planned in August. However, the COVID-19 pandemic required a shift in plans. The
spring session of that Residency was held virtually and slightly truncated, with the second
session postponed repeatedly; it was eventually held in Los Angeles in March-April 2022.
Similarly, GMM adapted the LA Residency (typically a six-week in-person program) into a
two-part hybrid program. GMM opened the call for applications from Fellows for the Y5 LA
Residency in early 2021. The selected Fellows would participate in a virtual Residency in Fall
2021, to be followed by an in-person Residency in early 2022. This Residency was open to
Fellows from all countries supported by Global Media Makers.
Project Timeline
May 2020 Virtual Screenplay Development Residency
July-August 2020 Virtual Film Independent Forum
March 2021 Virtual Masterclass on Documentary Filmmaking, Lebanon (Beirut)
May 2021 Virtual Workshop on Creative Producing & Pitching, Sri Lanka (Colombo)
June 2021 Virtual Workshop on Short Films, India (Dharamshala)
August 2021 Virtual Workshop on Documentary Filmmaking, India (Kolkata)
September 2021 Virtual Los Angeles Residency
January 2022 Virtual Screenings and Case Studies, India (Kerala)
March-April 2022 In-person Screenplay Development & Los Angeles Residencies
Throughout Virtual screenings and brief virtual check-ins
Methods
The instruments used by Knology to inform its evaluation reports are updates to the GMM
Y4 assessment tools also created by Knology (Barchas-Lichtenstein, et al. 2019). They
include:
• A Fellow survey initially intended to be completed both pre- and post-Residency, which
was only completed by SDR Fellows before their virtual Residency;
• A Fellow interview protocol to be conducted with GMM Fellows at two points in time:
at the end of the Residency, and approximately one year later;
• A Mentor interview protocol conducted with a subset of GMM Mentors after
their participation, as well as an adapted version of this protocol to be completed over
email;
• A micrograntee interview to understand the impacts of this grant funding on Fellows, as
well as longer-term effects of the Fellowship; and
• A workshop survey to understand participants’ experience.

Protocols & Participants
The timing of certain research activities was adjusted due to changes in the schedule of
program activities. Specifically, we spoke to participants in the SDR group twice: in the spring
of 2021, about a year after their first engagement with GMM, and again in the spring of 2022,
after their time in Los Angeles. We spoke to LAR Fellows in Fall 2021, after the virtual
component of their Residency, and again in Spring 2022, after their time in Los Angeles.
Screenplay Development Residency

Members of the Knology team conducted interviews with all 12 participants in the
Screenplay Development Workshop in May 2021 (Table 1). Four interviews were conducted
individually, while the others included both members of a project team in a single interview.
Interviews with the first nine participants were transcribed using Otter.ai by a single member
of the Knology team, who also analyzed interviews with the first nine participants. A second
researcher synthesized interviews with the final three participants as a confirmatory
analysis. These interviews occurred as a midpoint checkpoint between a virtual residency
and its in-person follow-up.
Knology researchers spoke with four of the six pairs of Screenplay Development Fellows
between April and May 2022, after their visit to Los Angeles, which allowed us to learn about
the culmination of their experience. A second Knology researcher transcribed the interviews,
and one of the two researchers who conducted the interviews analyzed them for themes
aligned with program objectives. Then the researchers who conducted and transcribed the
interviews reviewed the final findings.
Table 1. Participants in the Screenplay Development Residency.
Fellow Name Country Project Title

Ali El Arabi Egypt The Legend of Zeinab
Ahmed El Zoghby and Noah
Gaby Zarazir Lebanon The Fifteen
Michel Zarazir
Rashid Adbelhamid Tunisia & Palestine A Respectable Family
Ismahane Lahmar
Bader El Ketbi United Arab Emirates Banana
Lubna Bagsair
Nabeel Qureshi Pakistan There Was a Boy
Fizza Meerza
Lotfi Achour Tunisia Severed Head
Anissa Daoud
LA Residency
Between late September and early December 2021, pairs of Knology researchers conducted
individual interviews via video chat with three Mentors and 25 of the 28 Fellows who had
participated in the virtual Residency (Table 2). One researcher facilitated each conversation,
while the other took notes and asked additional follow-up and clarification questions.
Interviews with Fellows were recorded for confirmation at a later point, if necessary; all
quotes that appear in this report have been verified.

Table 2. Participants in the Year 5 LA Residency.
Fellow Name Country Project Title Type of Project

Sumon Delwar (VL) Bangladesh My Cousin Documentary
Sriram Raja & India A New Sweetness Narrative Feature
Deyali Mukherjee (VL) (Notun Gur)
Rohena Gera (V) India Browner than You Narrative Feature
Ranu Ghosh (V) India Dare to Dream Documentary
Prantik Basu (VL) India Dengue Narrative Feature
Kushal Batunge (L) India They Call Her Mafia Documentary
Archana Borhade & India Purjey (Parts) Narrative Feature
Mangesh Joshi (VL)
Shyam Bora & India Second Change Narrative Feature
Subhadra Mahajan (V)
Niranjan Raj Bhetwal & Nepal Across the Rainbow Narrative Feature
Ram Khrishna Pokharel Bridge
(V)
Rajesh Prasad Khatri (V) Nepal Black and White Photo Narrative Feature
Abinash Bikram Shah & Nepal Elephants in the Fog Narrative Feature
Anup Poudel (VL)
Rajan Kathet & Nepal No Winter Holidays Documentary
Sunir Pandey (VL)
Haya Fatima Iqbal (V) Pakistan Beyond Victory Documentary
Lanka Bandaranayke (V) Sri Lanka The Hail Narrative Feature
Soudade Kaadan (V) Lebanon & Syria Nezouh Narrative Feature
Lamia Chraibi & Morocco Meskoun Episodic
Hicham Lasri (VL)
Suzannah Mirghani (VL) Sudan & Qatar Cotton Queen Narrative Feature
Mohamed Kordofani & Sudan Goodbye Julia Narrative Feature
Amjad Abu Alala (VL)
Dilek Aydin (V) Turkey I’m Here, I’m Fine Narrative Feature
Sezen Kayhan & Turkey Women with Purple Documentary
Beste Yamalıoğlu (V) Violets
Notes. V indicates Fellows who participated virtually in Fall 2021;
L indicates Fellows who traveled to Los Angeles in Spring 2022.
Knology interviewed three Mentors who participated in the virtual component of the LA
Residency. However, since Mentor conversations were not recorded, we could not capture
verbatim quotes. Quotations attributed to Mentors are reconstructed based on notes, rather
than direct quotes.
The two researchers who conducted the bulk of the interviews agreed to use the project
goals as the themes that would guide the analysis and added “logistical considerations” as a
theme to align the process with prior reporting protocols. The researcher who conducted
most of the Fellow interviews was responsible for analyzing those interviews, and the
researcher who conducted the three Mentor interviews led the analysis of their responses.
Finally, the researchers reviewed each other’s findings to find a consensus about the
relevant themes.

Subsequently Knology spoke with all 16 Residency Fellows after their in-person residency.
Twelve interviews occurred during April and May of 2022; eight Fellows were interviewed
individually while another eight were interviewed in pairs. Three Knology researchers
conducted data collection via Zoom and Google meets and used Otter.ai to transcribe each
interview. The analysis followed the same process as previously.
Outreach & Workshops

The Knology team developed surveys for use in virtual workshops. These surveys were brief,
consisting of five questions or fewer, and were based directly on learning objectives
provided by Global Media Makers. Given low response rates on surveys conducted during
previous workshops, these were administered directly through Zoom before each workshop
concluded. All questions were closed-ended.
Table 3. Participation in surveys at virtual workshops.
Location Date N
Colombo, Sri Lanka May 2021 11
Dharamsala, India June 2021 18
Kolkata, India August 2021 16
Kerala, India January 2022 6
Microgrants
Knology researchers conducted 30-minute interviews with eight of the ten recipients of
GMM microgrants (Table 4) between February and March 2022. Interviews were transcribed
using Otter.ai by a single member of the Knology team, and another researcher analyzed the
transcripts. The researcher who analyzed the interviews used the project goals as themes.
Table 4. Recipients of Year 5 microgrants.
Microgrant Recipient Country Residency Year Project Type

Zeina Badran & Mira Shaib Lebanon Year 3 Virtual showcase
Triparna Banerjee & Miriam India Year 4 Collaborative film
Chandy Menacherry development
Zeynep Koray & Lara Abou Turkey & Year 4 Collaborative film
Saifan Lebanon development
Yanis Koussim Algeria Year 3 Virtual workshop
Rim Mejdi Morocco Year 3 Virtual screenings
Arifur Rahman Bangladesh Year 4 Virtual workshop
Rezwan Shariar Sumit Bangladesh Year 4 Outreach
Ali Vatansever Turkey Year 2 Virtual workshop

Online & Abroad
This chapter summarizes the evaluation of all program activities conducted online. This
includes the virtual portions of the LA and SD residencies, the microgrants program, online
workshops for particular international audiences, and the Fi Forum.
For additional details, see also:
• Fall 2021 Residency, Microgrants, & Outreach (Barchas-Lichtenstein, Gupta et al., 2022);
• Screenplay Development, Fellow Interviews, & Outreach (Nock et al., 2021);
• Y5 Screenplay Development Residency (Barchas-Lichtenstein, Nock et al., 2020); and
• Y5 Evaluation Launch Report (Barchas-Lichtenstein, Brucker et al., 2020).
Fellowship & Mentorship: The Two Virtual

Residencies
Multiple Fellows noted that the virtual Screenplay Development Residency was a highlight
during a period of pandemic-related lockdowns, bringing them connection and something to
look forward to. Fellows particularly applauded the efforts of the Fi team to be responsive to
both the ongoing pandemic and their specific needs. Fellows were impressed that staff
helped them make connections to big names. One Fellow pointed out repeated reminders
about workshops and offers to accommodate different schedules by recording those
workshops; this level of flexibility was particularly valuable given the large time differences.
While Fellows said everyone made the best effort possible, they still found that certain
relationship-building aspects did not translate well to the virtual platform. Several Fellows
also noted that their motivation to participate in virtual events ebbed as time went on.
Almost all the virtual LA Residency Fellows commented that their experiences had exceeded
expectations about the program. Some were candid about their modest expectations for the
Residency before they participated in it, especially because of the virtual format. Yet in
retrospect, many stated that the program had enhanced their filmmaking skills. One notably
unexpected but appreciated aspect of the program was the opportunity to receive feedback
from other Fellows, as opposed to exclusively from Mentors. As a group, the Fellows
described having an overall positive experience in the program. They used language such as
“very positive,” “fruitful,” “great,” and “very insightful” to talk about their experiences. They
attributed their positive experiences almost wholly to GMM’s unique model for supporting
filmmakers. Some Fellows explicitly singled out GMM’s genuine commitment to helping their
overseas counterparts. Others described how the existence of an environment that was
expressly dedicated to developing moviemaking skills had been an enormous opportunity,
and they felt privileged to be a part of it.
Many Virtual LA Fellows commented on how Fi had very effectively prepped, organized,
coordinated, and moderated the Virtual LAR sessions, and they complimented the Zoom
etiquette that had been established. One Fellow remarked that the organizers had

succeeded in creating a sense of inclusion despite the virtual format. On the other hand, the
Fellows expressed missing in-person contact. They also said that the virtual format made it
more challenging to develop closer relationships with their cohort or communicate
effectively in large group sessions. Some Fellows also observed that the 2-hour sessions
were quite intense, with a lot to accomplish during that limited amount of time. As a result, a
few of them said these sessions were less focused than they would have wished.
Storytelling & Creative Skills

Our pre-workshop survey indicated that virtual SD Residency participants rated improving
their ability to develop scenes and story structure at the highest level of importance,
followed by character development and visual language development. Overall, Fellows
subsequently reported considerable growth from the virtual SDR Residency and ongoing
workshops, especially in their storytelling skills. In particular, they gained insight into the US
film industry’s standard narrative structures as well as a better sense of how to tap into
more internationally accessible themes. This feedback process not only boosted confidence
but also the motivation to continue with screenplay development in spite of the difficult
circumstances of the pandemic’s early stages.
Fellows in the virtual LA Residency informed Knology of a wider set of skill gains. A few
Fellows described in detail new ways they learned to visually depict the story. These Fellows
appreciated learning how to combine various media formats (e.g., archived material,
animation, etc.) They also highlighted how feedback helped them think through how to
convey underlying emotions, tone, and style on camera, especially in ways that enabled
them to communicate with audiences outside of their cultural context. Many of the skills
gained by Fellows were in areas like character development and story structure, which
helped them express key elements by showing rather than telling. Fellows explored how to
establish the emotional and cultural authenticity of characters, and learned how to identify
which characters required foregrounding to advance their stories.
Fellows reported that very significant portions of their learning came from peers, not just
from Mentors. Peer-to-peer learning helped individuals better understood how Mentors
analyzed and assessed screenplays. Some Fellows remarked that the communal nature of
the program created a supportive and safe environment to share and receive feedback on
their work. The Fellows also reported that exposure to the perspectives of both peers and
Mentors from different cultural backgrounds was valuable. Several Fellows said that the
feedback had helped make their film more universal, so that it would resonate with viewers
who were unfamiliar with the film’s cultural context.
Business & Marketing Skills

Interest in business skills was ranked consistently high by the Fellows before the Screenplay
Development Residency. Fellows came in with varying levels of familiarity with these topics,
and all of them said they were excited to learn more. They were interested in learning how
to make a profit, apply for awards and festivals, and work with streaming services. Streaming
services were particularly appealing in the wake of COVID, and several of them reported
conversations with Mentors about these topics. In particular, one Fellow said they learned

how to create a budget and received specific advice about the way that local production
funding can might make it more difficult to receive international funding in the future.
The virtual portion of the LA Residency focused much more heavily on storytelling than on
marketing skills, and Fellows looked forward to learning more during the in-person
Residency. All Fellows attended an introductory lesson about the US market and how
distribution works. Documentary filmmakers received an extra session on grants and
fundraising, which interviewees said equipped them with a better sense of how to search for
funding. Most Fellows said the sessions were very helpful. For example, they learned specific
phrasing and wording to help them specify the genre of their films to film festivals and
distributors like streaming services. Others appreciated being introduced to how distribution
worked for non-English films in the US. Several Fellows who were more familiar with the
European model of filmmaking described learning about the US model, as well as the US
independent market and documentary scene.
Networks & Relationships

Fellows all ranked their interest in networking and relationships very highly before the
Screenplay Development Residency. Forming community with other filmmakers was a
highlight of the program for all Fellows. In our interviews, many Fellows referred to their
peers as “friends.” They all said they were grateful for the opportunity to meet people from
other countries, even if the only outcome was the occasional text, or a resource to get
another opinion on the occasional project. At least one pair of Fellows exchanged multiple
drafts of screenplays to share feedback; one Fellow agreed to produce a film made in
another country; and one set of Fellows shared connections for actors from different
countries to act in one another’s film.
Fellows found access to highly experienced Mentors extremely valuable. In particular, they
saw Mentors’ impact on their screenplays: some received direct edits, and others said
Mentors asked questions about plot, process, and motivations. These questions helped
Fellows see their projects more holistically, as well as their next steps. We also heard that
Mentors struck an excellent balance between sharing their opinion and supporting the
screenwriter’s vision. Almost all SDR Fellows were still in contact with at least one Mentor
when we interviewed them in May 2021, though it seemed those relationships varied. They
typically kept up only with those who seemed most interested in their project. Several
Fellows also said that they planned to reach out to Mentors when the time was appropriate.
They were also appreciative of the relationship with Fi more generally. The expansion of Fi’s
digital programming meant that Fellows could watch screenings and attend a range of
workshops from anywhere in the world, and several said they were able to take advantage
of these opportunities.
The reports of Fellows who attended the virtual LA Residency are very similar. Engagement
with other Fellows was a valuable aspect of the program. The Fellows also said that their
participation in the Residency expanded their professional and personal networks through
both peers and Mentors.
Peer feedback provided Fellows with insights and perspectives that were central to their
experience. The Fellows considered their cohort a support circle and described feeling a

sense of togetherness and closeness with each other. Several said they continue to learn
from each other. Fellows also said that they were eager to continue collaborations with their
peers, including sharing their current projects or exploring new joint ventures. Most Fellows
said they would probably interact with a smaller group of peers, acknowledging that
everyone was extremely busy.
The Fellows said that Mentors were extremely helpful, and that they were well matched with
their assigned Mentors. The Fellows appreciated the opportunity to engage with
experienced and established professionals, and said that the Mentors had given them
valuable new perspectives on their projects. The Fellows also highlighted the Mentors’ role in
bolstering their confidence in their filmmaking skills. Many Fellows commented on the
Mentors’ ability to provide the right amount of mentoring without being prescriptive. Others
felt unsure about their Mentor’s fit with their project and observed that not all the Mentors
seemed equally invested.
The question of what happens to Mentor-Fellow relationships after the workshops appears
from interviews to be something that Fellows have had to cautiously navigate as individuals.
Some Fellows planned to have future interactions only when they had something concrete
to ask, such as a request for feedback when they had a new draft to share; others were
eager to stay connected more generally. Other Fellows were eager to stay in touch but
unsure about Mentors’ interest in extending the relationship and apprehensive about
bothering them. All Mentors claimed to be open to staying in touch, but they varied in how
they preferred to do so. At least one Mentor wanted Fi to continue mediating the
relationship; another Mentor said they had given out their contact information and were
happy for Fellows to follow up individually, outside of the official Residency.
Bringing It Home
Fellows agreed that lessons from the GMM Residency would benefit filmmakers in their
home countries. Fellows from multiple countries said that anything that would help create
community among filmmakers was beneficial, particularly in countries with few resources or
professional associations. We also heard that providing workshops and opportunities to talk
to filmmakers around the world is important for morale. At least one Fellow observed that
workshops could open possibilities for collaborations that might bring financial and other
types of support. Some Fellows hoped to collaborate with GMM in the future to develop and
host workshops for filmmakers in their home countries.
Many Fellows teach in some formal capacity at film schools or other institutions in their
home countries. Most Fellows were excited to share the model of collaborative peer learning
with students, junior colleagues, and other filmmakers in their countries. Fellows were also
excited to share process and logistical lessons from GMM. There were Fellows who were
enthusiastic about sharing what they had learned about marketing and pitching. This
included the creation of preparatory materials like dossiers, and the US model of festivals
and funding. The Fellows said sharing this information would help others expand their reach
beyond their local market. A handful expressed an interest in sharing what they had learned
about film production, including how to develop budgets, seek out grants, and engage with
investors more strategically. Another group of Fellows hoped to raise awareness about the
expansive range of opportunities for filmmakers by emphasizing the multiple genres of films

(such as features or documentaries) and educating their colleagues about the global
community of independent filmmakers.
Finally, some Fellows were concerned that political circumstances and censorship would
make it difficult for less acclaimed filmmakers from their home countries to participate in a
program like GMM and hoped that additional attention could be given to overcoming these
barriers.
Microgrants
All the Fellows who received microgrants said the Residency had a major and meaningful
impact on both their professional and personal lives, and that they continue to benefit from
GMM’s “continuous support.” One former Fellow stated that what they learned from the
experience “really helps me now in everything.”
Former Fellows also maintained close relationships with Fi staff as well. Beyond providing
microgrants, GMM staff helped to set Fellows’ projects up for success. Fellows said that GMM
staff have continued to support them however they needed, even after the Residency.
Specific ways that GMM staff supported micrograntees in their projects included:
• Connections with filmmakers and other professionals;

• General feedback, advice, and thorough explanations;
• Resources, such as speakers, for events;
• Strategic planning;
• Translation support; and
• Coordination, facilitation, and administrative support.
Skills
Three former Fellows talked about the confidence they built through the Residency, and that
it helped them realize that success in the film industry is possible for a talented filmmaker.
One former Fellow noted that the Residency exposed them to different jobs in the film
industry that they didn’t know existed.

All microgrant recipients emphasized the great value and importance of the connections
that they have made through the Residency. A few highlighted the recognition that they’ve
received due to their affiliation with GMM. Two former Fellows said that because of the
Residency they were invited to participate in film festivals, and one now has an agent in Los
Angeles.
We heard a lot from Fellows about how they support one another by reading screenplays,
exchanging notes, and sharing announcements. About half of the grantees that we
interviewed worked on their microgrant project with another Fellow whom they met through
GMM. During the interviews, grantees did not mention continued relationships with US
filmmakers nearly as frequently as they talked about relationships with other Fellows and
GMM staff.

Bringing It Home
In terms of specific projects, Fellows used the microgrants to hold workshops and trainings,
stage film screenings in remote areas, develop domestic networks for filmmakers, and
create platforms that provide resources to filmmakers.
More than half of the participants actively discussed their plans to expand on the project
that their microgrant supported. They mentioned plans to continue offering the programs
they had developed and to bring their work to more audiences and areas. They also said
that they planned to seek additional funding to continue or complete projects. Three former
Fellows noted that the microgrant had allowed them to successfully apply for new funding.
Suggestions
GMM Fellows offered a number of suggestions for the microgrants program going forward:
• Former Fellows appreciated the virtual activities and events that GMM hosts (e.g., the
recent Netflix event) and would enjoy having even more opportunities.
• Grantees suggested adding more specific microgrants categories (e.g., a post-
production grant), as well as a higher level of funding.
• They also suggested providing continued and specified mentorship opportunities (e.g.,
mentorship on pitching).
Workshops & Outreach
As a result of travel restrictions, GMM turned planned in-person events in Fellows’ home
countries into online ones. These online events allowed Fellows to share their films and
provided additional skill development, despite the pandemic. The July 2020 Fi Forum
presented an excellent opportunity for Fellows from all years to reconnect with Fi and to
learn more about the work of other filmmakers around the world. Fellows also collaborated
with GMM to organize outreach and filmmaking training activities in their home countries
between May 2021 and January 2022; we conducted surveys at four of these events.
Fi Forum
The Film Independent Forum took place between July 31st and August 7th, 2020, and
included more than forty sessions in a range of formats. These sessions included pre-
recorded conversations available on demand, live keynotes and panels where the audience
had the opportunity to ask questions, and several interactive sessions where participants
were encouraged to socialize and network. Nine GMM Fellows from the program’s first four
years were moderators or panelists in seven different sessions. These sessions included
case studies, panels about international festivals and co-production, a financing clinic, and a
cross-cultural conversation featuring the close professional relationship between one GMM
Fellow and a Mentor.
Members of the evaluation team attended several Forum activities and spoke with the GMM
team about the considerations that went into planning. The results point to a promising
opportunity: ongoing virtual programming may lower barriers to Fellows’ continued

involvement with one another and with Fi. The GMM team is excited about the possibility of
increased virtual programming moving forward, even after travel has fully resumed. As
evaluators, we see great potential for Fellows to remain involved with Fi in the longer term
as travel costs become less of a barrier to continued involvement.
Beirut, Lebanon: Documentary Filmmaking

On March 29, 2021, the GMM team held an online masterclass about documentary
filmmaking for audiences in Beirut.
Colombo, Sri Lanka: Creative Producing & Pitching

In May 2021, GMM held a six-day virtual workshop in Colombo. After an overview of how to
structure a pitch, participating filmmakers had the opportunity to pitch their films and
receive feedback on their pitches. They also joined a session about creative producing and
discussed several case studies with producers and directors of those films. Survey results
indicate that most participants felt more prepared to pitch after participating in the
workshop. They all learned at least a few new things about creative producing and
distribution models, with the majority saying they learned a lot about both topics. Nearly
everyone was certain they would recommend it to a colleague.
Dharamshala, India: Short Films

In June 2021, GMM held a six-day virtual workshop in Dharamshala to explore the pillars of
cinematic storytelling in short films through master classes, hands-on exercises, and
discussions. Survey results show that all 18 participants learned a lot about cinematic
storytelling, found the feedback very helpful, and would recommend future GMM workshops
to friends and colleagues.
Kolkata, India: Documentary Filmmaking

In August 2021, GMM held a three-day virtual workshop in Kolkata. The workshop objectives
were to provide participants with an opportunity to pitch their documentary film proposals,
receive feedback and explore how to strengthen their proposals. Over two-thirds of the
participants in the survey indicated that they had learned a lot about how to improve their
proposals and would recommend future GMM workshops to friends and colleagues.
Thiruvananthapuram, India: Screenings & Case Studies

In January 2022, GMM held a three-day virtual workshop in Thiruvananthapuram, the capital
of Kerala. The workshop used case studies to examine the cinematic language and narrative
structure of three different types of films. Participants also explored film development
strategies, and how they might be applied in the Indian context; this was complimented by a
discussion of filmmaking challenges in India and abroad. A majority of participants indicated
in the survey that they learned a lot of new things and would recommend future GMM
workshops to their friends and peers.

In-Person Residencies
The in-person Residencies offer the most intensive and immersive form of connection
between GMM Fellows and established US entertainment professionals, and are therefore
the highlight of the program for Fellows and Mentors alike. After many repeated delays due
to the evolving pandemic, the Los Angeles and Screen Development Residencies were
simultaneously hosted by Fi in Los Angeles in March and April of 2022.
Knology researchers spoke with four of the six pairs of SDR Fellows between April and May
2022, and 16 LA Fellows. Given the significant similarities in programming, we only
differentiate between the two Residencies when we identified meaningful differences.
Overall, Fellows found the Residencies to be an amazing experience that exceeded their
expectations in spite, and in some cases because, of the program extensions caused by the
COVID-19 pandemic. Fellows were aware that they had “the longest Residency ever with Film
Independent” and saw the length as a strength, because they received far more feedback—
and had far more time to revise—than otherwise would have been feasible. It is also clear
from responses across the board that both in-person interactions during the Residency and
Los Angeles’s creative atmosphere played an irreplaceable role in the program’s impact on
Fellows. For at least one Fellow, receiving a US visa as part of government-sponsored cultural
exchange program was a powerful form of validation, with significant long-term benefits that
were difficult to quantify or even articulate.
Year 5 Fellows were also extremely happy with the hospitality that was provided during the
residency. Between the comfortable and private living accommodations, the transportation,
the logistics, and all of the thorough planning done to make this event happen, Fi really
made them feel at home and welcome. To quote one Fellow, Fi staff “were quite well-prepared
to handle a lot of jetlagged and nervous people from around the world.”
Storytelling & Creative Skills

Several SDR Fellows mentioned the writing and producing retreats as a highlight of their
time because it gave them the opportunity to problem-solve with a group of peers. Overall,
LA and SDR Fellows alike said that the conversations they had about their projects helped
them greatly to identify places for improvement and develop their skills and knowledge
within those gaps. LA Fellows found the masterclasses extremely valuable. Some were
awestruck by hearing from such big names in Hollywood. A few Fellows specifically
highlighted the live talk with Guillermo del Toro.
Scriptwriters in both Residencies talked about the invaluable, specific feedback they received
from Mentors about their scripts, and the new strategies they learned for developing their
stories. Many have made significant revisions to their scripts after constructive discussions
that left them feeling validated, more confident in their work, and more motivated. In
particular, Fellows recognized the value of the residencies for their training in the American
approach to story structure and screenplay writing that is unavailable at home. However,
there was more diversity in opinion as to whether the American approach would facilitate
connection with a global audience or would limit their appeal to the US.

Fellows in the directorship track were thrilled with the opportunity to shoot a scene in a
Hollywood studio. Many said it was their favorite part of the whole Residency. Working with
professionals, including a film crew and actors, was a huge learning experience. Most of the
directors reported that they greatly developed their skills from this experience, and that they
will change the way they work with and communicate with actors in the future—especially
for those who expressed that they previously felt nervous about working with actors.
Business & Marketing Skills

Pitching and packaging were a key topic that bridged storytelling and marketing skills: “Who
do we want to see it? And how are we going to get it seen by these people?” said one Fellow.
Nearly every Fellow discussed these questions with us as core to what they learned.
Fellows also discussed learning many new techniques and skills for business, distribution,
funding, and marketing in the American film industry. Many noted that the American model
for funding is very different than the models used in other regions in the world. This new
information also prompted a few Fellows to change the way they approach developing new
projects by thinking about the marketing component earlier on in the process. Many
recounted that, after hearing the American industry’s point of view, they felt more confident
to pitch for foreign funds, and discussed how to pitch their projects in new ways. As always,
some Fellows were disappointed by the difficulty of finding American funding. One noted
that “The US market, or the Hollywood market more exactly, they don’t care about our
cinema” because some of the countries that Fellows came from were too small.
Many filmmakers said they talked at length about the tensions between accepting
production funding and ceding creative control. In contrast to prior opportunities they had
for coproduction, some filmmakers noted that they now saw ways to take outside funding
without giving up their rights. As a result of the Residency, Fellows also said they developed
their skills around talking about topics such as financing, copyright, etc. They learned how to
“use the right words for the right people.”
Fellows highlighted specifically how much they learned about these topics in the
masterclasses. They loved hearing people talk about their direct experiences with the US film
industry, appreciated hearing from big names, and valued how direct and honest speakers
were about how the industry works. Key learning about distribution came not only from
masterclasses and group sessions but also from targeted one-on-one conversations.
Filmmakers credited GMM staff with providing opportunities to meet with investors, lawyers,
producers, and representatives from Netflix. Fellows were especially pleased to hear
perspectives from both indie and big-budget sides of the industry, since this helped them
“really think deeply about where we want to go.”
Legal and distribution sessions were generally highly prized. For example, most SDR Fellows
had experience with European coproduction and/or distribution, so understanding the
differences between international and specifically North American distribution was valuable.
It “broke the ice between us and the market in the US” said one pair; “it’s good to know how the
real industry works,” said another.
Some sessions in this area were not applicable to everyone, though. In some cases, that was
because they were too basic. For example, several filmmakers said that a session about what

to do if a film is nominated for a major award was too broad to be helpful. In other cases,
sessions weren’t applicable because legal or regulatory frameworks were just too different
from one country to the next. Several Fellows said that while it was important to understand
the US process, they didn’t see how it could be applied to their work-in-progress.

Almost all Fellows identified networking and relationship-building, meeting peers and more
senior professionals, as the most valuable part of the Residency. They all created meaningful
connections and new friendships and raved about the peers and professionals that they
met. They reported feeling like they now have a trustworthy and reliable community of
support around filmmaking that they can always go to for feedback, information, and
emotional support. Some also described that having this network makes them feel more
validated and confident as filmmakers.
All Fellows talked extensively about the close network and the extent of community feeling
they developed, despite the size and diversity of their cohort. They spoke highly of the
selection of people who attended the Residency, both in terms of personal and filmmaking
qualities. This combination of capability, amiability, and diversity made peer learning
particularly valuable and inspiring. Fellows also noted the lack of competitive culture during
this experience, inspiring what already feel like lasting bonds of trust and friendship. All
Fellows plan to stay in touch; most are already in communication, both individually and as a
group. They maintain active communication both as friends and as colleagues who want to
continue to get feedback and support from each other. Most Fellows expressed the desire to
work on projects together; some are not sure what that would look like yet, but others have
built active collaborations with each other, such as directing another Fellow’s projects,
bringing another Fellow on as their editor, coproducing another Fellow’s film, and so on.
Fellows discussed having a very positive experience working with Mentors, describing them
as extremely kind people that they learned much from. Fellows said that Fi did a great job
pairing Fellows with Mentors that they really connected with. As a result, Fellows said that
they received extremely high-quality feedback from their Mentors; working with them was
helpful in identifying specific opportunities to improve their work. They felt that Mentors
worked really hard to give them the best feedback possible. Working with Mentors gave
them a lot of energy and momentum to move their work forward. Many of the Fellows have
plans to stay in touch with their Mentors in the future and felt that Mentors have made
themselves open and available to continuing support. Fellows discussed staying in touch to
get feedback on film developments, script edits, marketing and distribution plans, and just to
stay connected as friends. Fellows greatly enjoyed being exposed to and hearing from huge
names in Hollywood. They felt excited and honored to work with such impressive people
and learned so much from them. Two specific Mentors who came up consistently as
exceptional were Ruth Atkinson and Amman Abassi, not only for the quality of their
feedback but for the consistent generosity of spirit with which it was offered.
Fellows expressed immense gratitude for Film Independent staff that went above and
beyond in planning and implementing the Residency; being “some of the most kind,
generous people [they’ve] ever met”; and the continued support they feel they will receive in
the future. Fellows particularly appreciated the “once a Fellow, always a Fellow” philosophy,

feeling confident that Fi will continue to be there for them with any questions or support
that they need. This might include answering specific questions, or putting them in touch
with someone with particular expertise within the LA film industry.
Bringing It Home
Some Fellows talked about how excited they were to meet fellow filmmakers from their
home countries at the Residency and are looking forward to working together in the future.
Fellows identified two specific skills they want to share with colleagues at home.
• How to better describe culturally specific phenomena to a broader audience.

• How to pitch foreign funders to share their stories more broadly.
As one pair of SDR Fellows noted, the options they were newly aware of would be helpful in
reclaiming control from government and big producers. However, about half of the LA
Fellows stated that they had “no film industry” in their home countries. A few Fellows would
nevertheless like to draw on the skills, knowledge, and connections that they have built
through GMM to create more of an industry in their home countries.
Suggestions
GMM Fellows and Mentors offered some specific feedback about how to further improve the
Residency experience. We have focused on the ones that most directly relate to advancing
GMM’s programmatic goals and ensuring desirable program outcomes.
• One Fellow hoped for more publicity about the Residencies, especially so that they
could share these announcements with their wider community. The Fellow said that the
lack of coverage was a missed opportunity.
• Fellows working on documentaries asked for more documentary-specific workshops
and sessions. They said that many sessions were exclusively focused on fiction films,
even though the content was adaptable for documentaries as well.
• Directors said shooting on a Hollywood set during the Residencies was extremely
valuable and would have loved to have more time for this activity if possible.
• SDR Fellows wished for more opportunities to participate in activities across the Writing
and Producing Tracks, since many independent filmmakers wear multiple hats. For
example, everyone wanted opportunities to pitch, which only some Fellows received.
• Fellows asked for more language support. They had to have their original scripts
translated into English to receive feedback, and they sometimes worried these
translations missed important nuances. If they were continuing to work on their
screenplays during the Residency, they had to adapt changes in two languages to share
with Mentors. Additionally, articulating and absorbing highly nuanced personal and
artistic points of view is central to the Residency experience, and some Fellows who
struggled with English said they felt less confident sharing in group settings.
• Two Fellows voiced a need for additional emotional and mental health support
resources. The residency involves often intense processes requiring a high level of self-
reflection and self-criticism that can leave Fellows feeling vulnerable or even
overwhelmed.

Discussion & Conclusion
Despite enormous pandemic-related logistical challenges, GMM Year 5 succeeded in
delivering all its programming. In fact, the longer cohort year and new formats created new
opportunities for connection and learning. Our evaluation indicates that the program met its
goals. In addition, we identify opportunities to further improve outcomes.
Program Goals
GMM’s first goal is to enhance skills-sharing, provide industry access, and promote on-going
and productive professional connections between Fellows and Mentors. The combination of
virtual and in-person Residencies provided even more opportunities than in previous cohort
years for developing relationships between Fellows, as well as between Fellows and
Mentors. The result has been the enhanced transfer of knowledge and skills, and the
establishment of new intra-regional and cross-regional networks involving the US and all
program regions.
The second goal of GMM is to enable participants to better harness the power of visual
storytelling to explore the critical issues confronting their communities. Activities built into
Residencies as well as the microgrants and workshops enabled Fellows and other
participants to more effectively use film to tell stories that matter to them. From screenplay
development to directing, Fellows reported significant progress on their projects, driven by
individual exploration, peer feedback, and mentorship.
Third, GMM aims to connect participants with a range of US creative and business leaders
through mentorship. GMM has succeeded in bringing in well-connected and highly
experienced figures on both the creative and business sides of the US film industry. Fellows
have reported feeling both inspired and informed after spending time with figures like
Guillermo del Toro or executives from Netflix.
GMM’s fourth objective is to help visual storytellers acquire innovative narrative skills,
enabling them to create compelling content. Narrative storytelling played an important part
of the Residencies, with significant attention paid to key screenplay elements like character
motivation, story structure, and cultural translation. Although the focus was on how to
approach these problems from the perspective of US conventions, many Fellows indicated
that they believe that these approaches are applicable far more widely.
Another GMM program goal is to establish professional networks, linking participants with
each other and with professional leaders in the US entertainment industry. This cohort of
Fellows succeeded in establishing exceptionally close bonds with each other. Over half
intend to collaborate with each other in some capacity, and most look forward to
maintaining some level of ties and mutual emotional support. A number of Mentors and
Fellows have said that they intend to maintain these relationships going forward.
GMM also aims to develop business skills and connections necessary to secure film financing
and increase market distribution. One of the key areas of overlap between creative and
business skills is pitching, and most Fellows reported receiving extremely helpful training in

this regard. Fellows also received information sessions on funding sources available in the
US, as well as search strategies. Fellows reported that familiarity with the vocabulary of the
US film industry was at least as important to their confidence in navigating this landscape as
anything else.
Finally, GMM’s goal is to support Fellows to replicate similar models in their home countries.
GMM has held a number of film screenings of Fellows’ work, as well as workshops in Fellows’
home countries, in some cases funded through the microgrants program. These events
provide an opportunity for past Fellows to transfer their skills and perspective to large
numbers of practicing and aspiring filmmakers in their home countries. These engagements
have succeeded in raising the profile of Fellows’ creative work and inspiring future
applicants.
Recommendations
This section does not report directly on feedback from Fellows and Mentors; instead, we
synthesize their suggestions with our observations about common “pain points” and needs
and our knowledge of program goals.
Small Changes with Big Impact

• Media coverage and publicity support could potentially add to the recognition and
prestige of both GMM and its Fellows, enhancing the latter’s opportunities for
networking, financing, and distribution.
• Offer all Fellows opportunities to pitch. Independent filmmakers often wear so many
different hats that learning to pitch is valuable regardless of track.
• Help Fellows make connections with skilled script translators. While the wide range of
Fellows’ first languages may make interpretation impractical, access to skilled script
translators would have a huge impact on everything from receiving feedback to award
submissions.
Structuring Activities
• The combination of virtual and in-person activities provides complementary benefits.
The data indicates that although virtual events cannot substitute for in-person
interaction, they provide opportunities to establish a greater degree of familiarity
before meeting together offline, enhancing the quality of communication and
relationships.
• Set expectations in advance so that people can mentally and logistically prepare for
how busy and intense the Residency will be. This will help Fellows make the most of the
opportunities created by the Residency.
• Provide a few opportunities for free or flexible time during the Residency to give
Fellows a chance to process and absorb what they are learning, as well as to network
and socialize with each other.

Strengthening Fellow-Mentor Relationships
• Establish clear expectations and protocols for Mentors and Fellows regarding follow-up
after the Residency. We heard confusion from both Fellows and Mentors about post-
Residency follow-up. We recommend GMM explicitly tell Mentors that they can share
their contact details and follow up with Fellows informally, but they will only be
compensated for formal sessions. Fellows should be encouraged to ask GMM staff
about communicating with Mentors after Residency.
• Provide more transparency about how Mentors and projects are matched. We heard a
lot of inquiries about these processes from Fellows. It would be helpful to share some
details at the start of the Residency describing how those matches were made.
• Create additional time for one-on-one conversations between each Fellow and their
assigned Mentor, as well as for networking between Fellows.
Creating More Inclusive Virtual Spaces

Although it is unclear to what extent virtual programming will remain a part of the Residency
going forward, these general principles may be useful to the broad range of virtual GMM
events.
• To increase accessibility, empower participants to make their own decisions about how
to manage their online participation. For example, consider allowing participants to
choose whether to be visible or not, to eat during workshops, etc.
• Consider creating more informal spaces for participants to get to know one another
outside of task-oriented activities. For example, consider setting aside optional video
calls for shared meals or social time.
• Support more types and formats of participation. For example, alternate between
small-group or paired meetings and larger full-group conversations. Consider using
Google Docs or the chat function to allow participants who prefer writing rather than
speaking to contribute and engage.
• In this light it may be worth exploring alternative online platforms to Zoom. There are
many other platforms that support different type of collaborative and conversational
arrangements. For example, gather.town and ohyay.co support a range of small- and
large-group activities, and new platforms are cropping up frequently.
References
Barchas-Lichtenstein, J., Brucker, J.L., & Ardalan, N. (2020). Y5 Evaluation Launch Report. Knology Publication
#DOS.172.613.01. Knology.
Barchas-Lichtenstein, J., Brucker, J.L., Voiklis, J., Ardalan, N., & Nock, K. (2019). Appendix: Y4 Media Landscape
Review and Lab Fellows Interviews. Knology Publication #DOS.172.596.01-A. Knology.
Barchas-Lichtenstein, J., Gupta, R., Cribbs, J., Thomas, U.G., Attaway, B., Brucker, J.L., & LaMarca, N. (2022).
Global Media Makers Year 5: Fall 2021 Residency, Microgrants, & Outreach. Knology Publication
#DOS.172.613.04. Knology.
Barchas-Lichtenstein, J., Nock, K., Brucker, J.L., & Ardalan, N. (2020). Y5 Screenplay Development Residency.
Knology Publication #DOS.172.613.02. Knology.
Nock, K., Barchas-Lichtenstein, J., & Brucker, J.L. (2021). Global Media Makers Year 5: Screenplay Development,
Fellows Interviews, & Outreach. Knology Publication #DOS.172.613.03. Knology.

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Global Media Makers Year 5

Jena Barchas-Lichtenstein, Joanna Laursen Brucker, Nicole LaMarca, Rupanwita Gupta,

Date of Publication July 26, 2022

Prepared for Louay Khraish

Knology produces practical social science for a better world.

tel: (347) 766-3399 tel: (442) 222-8814

Knology Publication # DOS.172.613.05

Cover Photo Photo by KAL VISUALS on Unsplash

Global Media Makers Year 5 Summative Report i

ii Knology Publication #DOS.172.613.05

Protocols & Participants 4

Online & Abroad 7

Storytelling & Creative Skills 8

Workshops & Outreach 12

Discussion & Conclusion 18

Global Media Makers Year 5 Summative Report iii

Table 2. Participants in the Year 5 LA Residency. 5

Table 3. Participation in surveys at virtual workshops. 6

Table 4. Recipients of Year 5 microgrants. 6

iv Knology Publication #DOS.172.613.05

Global Media Makers Year 5 Summative Report 1

2 Knology Publication #DOS.172.613.05

May 2020 Virtual Screenplay Development Residency

July-August 2020 Virtual Film Independent Forum

March 2021 Virtual Masterclass on Documentary Filmmaking, Lebanon (Beirut)

June 2021 Virtual Workshop on Short Films, India (Dharamshala)

August 2021 Virtual Workshop on Documentary Filmmaking, India (Kolkata)

September 2021 Virtual Los Angeles Residency

January 2022 Virtual Screenings and Case Studies, India (Kerala)

March-April 2022 In-person Screenplay Development & Los Angeles Residencies

Throughout Virtual screenings and brief virtual check-ins

Global Media Makers Year 5 Summative Report 3

Screenplay Development Residency

Table 1. Participants in the Screenplay Development Residency.

Fellow Name Country Project Title

4 Knology Publication #DOS.172.613.05

Fellow Name Country Project Title Type of Project

Global Media Makers Year 5 Summative Report 5

Outreach & Workshops

Table 3. Participation in surveys at virtual workshops.

Table 4. Recipients of Year 5 microgrants.

Microgrant Recipient Country Residency Year Project Type

6 Knology Publication #DOS.172.613.05

For additional details, see also:

Fellowship & Mentorship: The Two Virtual

Global Media Makers Year 5 Summative Report 7

Storytelling & Creative Skills

Business & Marketing Skills

8 Knology Publication #DOS.172.613.05

Networks & Relationships

Global Media Makers Year 5 Summative Report 9

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• Connections with filmmakers and other professionals;

Networks & Relationships

Global Media Makers Year 5 Summative Report 11

Workshops & Outreach

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Beirut, Lebanon: Documentary Filmmaking

Colombo, Sri Lanka: Creative Producing & Pitching

Dharamshala, India: Short Films

Kolkata, India: Documentary Filmmaking

Thiruvananthapuram, India: Screenings & Case Studies

Global Media Makers Year 5 Summative Report 13

Storytelling & Creative Skills