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Weekly briefing
The Memri Brief
3:17 · two hosts · sourced
$0.08 media generation cost
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Nora: Good morning. It's Monday, October fifth, and this is your Memri brief: the raise, the market, and what to do this week.
Nora: It's also day one of your ninety-day plan. So we'll keep it practical.
Nora: Sam, start with the raise. One and a half million, pre-seed, eighteen months. What do investors ask first?
Sam: What happened to the others. HereAfter AI was reported shut down this year. StoryFile went through Chapter Eleven. And Meela, after a reported three and a half million dollar seed, now leads its site with a rides service.
Nora: So the demo isn't the question.
Sam: No. Retention and unit costs are. Every photo that moves is paid AI video. That's why the plan caps them.
Nora: And there are no users yet.
Sam: Which the deck says plainly. The numbers come from the beta: fifty families, and whether she tells the story of three photos within forty-eight hours.
Nora: The market. Has anything moved?
Sam: The need hasn't. More than sixteen million Americans over sixty-five live alone, and a third of adults fifty to eighty felt lonely in twenty twenty-four. Same as in twenty eighteen.
Nora: And the people who'd pay?
Sam: Pew, this August: fifty-four percent of Americans in their forties have a parent over sixty-five and children to support. That's your buyer. Busy, and often far away.
Nora: Competitors?
Sam: MyHeritage animated ten million faces in about two weeks, and chose not to let them speak. The real threat is Ancestry: three million paying subscribers, and the photos already. If they add conversation, you compete on trust.
Nora: Money that isn't equity.
Sam: Two to know. AARP's AgeTech Collaborative: an eight-week virtual accelerator, no fees, no equity. You get in with a three-to-five-minute pitch at one of its events.
Nora: And the government one?
Sam: The National Institute on Aging's Start-Up Challenge opens December first and closes January fifteenth. Up to twenty-one finalists get twenty-four thousand dollars. Seven winners get seventy thousand more.
Nora: So, this week.
Sam: Send the first beta invites. Then watch where they stall.
Nora: Book counsel for the trust review: disclosure, voice consent, export and delete. Before anyone outside the beta sees it.
Sam: Apply for an AgeTech pitch slot. And put December third in the calendar. That's the NIA webinar.
Nora: One more thing. When HereAfter reportedly closed, families could only get their recordings back by email.
Sam: So the export button goes in before the ads do.
Nora: That's your brief. Sources and links are in the email. I'm Nora.
Sam: And I'm Sam. Good luck on day one.
AskA weekly news podcast for my team. Our industry and topics:(your words)
Weekly briefing
The Keepsake Brief
3:21 · two hosts · sourced
$0.08 media generation cost
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Nora: Good morning, Mara. It's Monday, October fifth, and this is your Keepsake brief: festivals, money, and what to do this week.
Nora: Three things today. The Oscar clock just reset. What grants will and won't cover. And what Kickstarter actually pays for.
Nora: Sam, the clock.
Sam: Last Wednesday, September thirtieth, the Academy's window for this year's festival wins closed. The list runs October to September. On that pattern, an Annecy win in June twenty twenty-eight would count toward the Oscars in twenty twenty-nine.
Nora: Which is Keepsake's year.
Sam: If it's finished. And one detail matters. At Annecy, only the Cristal and the Jury Award qualify. A family film placed in Young Audience wouldn't. So you enter Official.
Nora: Anything sooner than twenty twenty-eight?
Sam: Annecy opens submissions for twenty twenty-seven this month. Not your year, but it's the calendar you'll live on. Last time, short films closed in mid-February.
Nora: Money. The working budget is three hundred and forty-five thousand dollars. What do grants actually cover?
Sam: A slice. BFI Network gives five to twenty-five thousand pounds, only in England, to about thirty out of a thousand applicants. Sundance gave five grants of thirty-five thousand dollars, to its own alumni.
Nora: So how did the stop-motion nominees pay for theirs?
Sam: Co-production. Wander to Wonder had money from four countries. Beautiful Men, from three. One partner in Europe or Canada opens public funds a U.S.-only film can't reach.
Nora: And Annecy's market?
Sam: Mifa's pitch track for shorts in development closed on January twenty-second this year. A January entry fits your financing window.
Nora: Last one. Kickstarter.
Sam: Anomalisa raised about four hundred and six thousand dollars on Kickstarter, as a planned forty-minute stop-motion short. Pear Cider and Cigarettes raised sixty-four thousand to finish. Both paid for part of a film. Not all of it.
Nora: And then Anomalisa became an eight-million-dollar feature.
Sam: Which is not the plan.
Nora: Not this year. So, this week.
Sam: One. Ask your line producer to re-bid the animation line in animator-weeks. At union rates, we think eighty-five thousand is low.
Nora: Two. Write a one-page note to one possible co-producer abroad.
Sam: Three. Start the AI record, shot by shot: what was built, what was generated, who directed it. The Academy may ask. And in June, part of the Annecy audience booed a short that used it.
Nora: And four, read Annecy's new rules when they post. Sources and links are in the email. I'm Nora.
Sam: And I'm Sam. Good luck with it, Mara.
AskA two-host podcast every Monday on my topics:(your words)
Audio drama
“The Long Table”
Scenes 8–10 as an audio drama · 3:30
$0.15 media generation cost
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Eleanor: It's wet. And it's wearing a sticky note.
Eleanor: I put this here. Not the boy. A. Reyes, nights.
Eleanor: Are you A. Reyes, nights?
Adela: Yes, ma'am. Nine years.
Eleanor: Go away, A. Reyes.
Eleanor: Dear Mr. Whitlock, like you, I believe every great idea begins with a single spark.
Eleanor: Nineteen years dead and still getting fan mail, Arthur. It isn't even true. Most great ideas begin with somebody else's.
Eleanor: Dear Founder. Somebody did her homework.
Eleanor: The Heron was designed by Theo Reyes. I built it. I'm keeping the money, because our roof leaks. But the design is his, and somebody should write that down where it gets read.
Eleanor: She kept the money. Good.
Eleanor: Point your phone at this letter. Certainly not.
Eleanor: Good God. Handwriting like a spider having a fit.
Theo: Dear Mrs. Whitlock. Not Mister. Everybody else wrote Mister, I checked. I'm Theo Reyes, I'm twelve and three-quarters, I live in the cottage behind your garages, and I lost. That's not why I'm writing.
Eleanor: Mercifully.
Theo: I have observed your window for two thousand one hundred ninety-one nights. Not in a creepy way. In a scientific way.
Eleanor: It's always creepy when they say scientific.
Theo: You set two plates. My mom works nights. I set one for her.
Theo: Here is a fact. In Notebook Nine your husband wrote E's idea forty-one times. I counted twice. I think E is you. I think the plaque is wrong. I tried to fix it, and I lost.
Theo: The notebook's under this. I borrowed it. The sign says touch everything. Page two hundred twelve. It's his voice. I got it off the TV. Sorry.
Theo: Sincerely, Theo Reyes. P.S. I know I'm not supposed to be past the kitchen.
Eleanor: The help's boy has watched me eat for six years. And now he's stolen your notebook.
Arthur: E's idea.
Arthur: E's idea. Hers, not mine.
Arthur: E's idea. Hers, not mine. E's. E's idea.
Arthur: E's idea. Hers, not mine. Don't tell her I said so. She'll be insufferable.
Eleanor: Ha. Ha, ha ha.
Eleanor: You coward. Forty-one times. In pencil.
Eleanor: I would have been.
Eleanor: Mr. Reyes. Your letter was four pages too long, and there is no J in gyroscope.
Eleanor: Mine. Not his. Thank you.
Eleanor: Saturday, nine o'clock, the workshop. Bring the bird. I believe we have the part. E. Whitlock. P.S. Learn cursive.
AskA scene from my screenplay as an audio drama. Which scene:(your words)
Two-host episode
The Monday Brief — episode
3:06 · two hosts · sourced
$0.06 media generation cost
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Nora: Good morning. It's Monday, September twenty-eighth, and this is your brief on film financing, festivals and the business of getting movies made.
Nora: Three stories this week. A federal film tax credit that could change where movies shoot. Toronto's first real market. And where the deals go next.
Nora: Sam, start with Washington. Last Thursday a bill landed that people in this business have wanted for a long time.
Sam: Right. On September twenty-fourth, a bipartisan group in the House and Senate introduced the Motion Picture, Television and Entertainment Revitalization Act. <short pause> It's a twenty percent federal tax credit on what productions pay American workers.
Nora: Who qualifies?
Sam: Features and series that cost more than a million dollars, with at least seventy-five percent of the shoot days in the U.S. And it can go up to thirty percent with bonuses. <short pause> One of those bonuses is for independent productions. Another is for shooting in rural opportunity zones.
Nora: So this isn't only a studio story.
Sam: No. If it passes, it applies to productions that start after December thirty-first. The credits are transferable, so a small producer could sell what they can't use. <short pause> It has the MPA, SAG-AFTRA and the DGA behind it. It still has to get through Congress.
Nora: Story two. Toronto just wrapped, and this year it ran something it never had before.
Sam: A formal market. TIFF ran it from September tenth to the sixteenth, and the interesting part is that it moved upstream. <short pause> Not just buying finished films after a premiere. Financing, packaging, pre-sales, projects that haven't shot yet.
Nora: Give me an example.
Sam: Copperhead came in with Miles Teller and Jason Momoa attached, before cameras rolled. And on the finished-film side, Roadside Attractions and Vertical picked up Lauren Miller Rogen's Babies, eyeing a theatrical release in twenty twenty-seven.
Nora: And what does that mean for someone with a project and no cast yet?
Sam: Honestly? The earlier you sell, the more the price depends on cast, genre, territory and comparable titles. <short pause> So your package, and your comps, carry the whole conversation.
Nora: Last one, quickly. Where do those Toronto conversations go next?
Sam: Los Angeles. The American Film Market runs November tenth to fifteenth at the Fairmont Century Plaza. That's where a lot of what started in Toronto either closes, or doesn't.
Nora: Six weeks to get the deck right.
Sam: Six weeks.
Nora: That's your Monday brief. Sources and links are in the email. I'm Nora.
Sam: And I'm Sam. See you next week.
AskA two-host podcast episode on this week's news in my field:(your words)
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