The annual program, initially created by former Netflix executive Wayne Horton, is intended to identify and support artists “who are going to be making big, exciting commercial movies of all shapes and sizes over the years to come,” said Ian Bricke, VP of independent film at Netflix. “Being able to have someone give you the resources and access is huge - you can really show what you’re capable of.” “Filmmakers, when you’re starting out, we’re clawing our way to make our name and to even get a short done,” said Eakin, who crowdfunded two of her previous short films. She now has various projects in development including a series based on “Single” for FX and a Gen Z tale set “in the world of disability,” with Netflix. “Forgive Us Our Trespasses,” which blends quiet drama with harrowing physical sequences carried by a lead turn by young Australian actor Knox, helped Eakin land subsequent directing jobs for Disney+ and Apple. Chu on “ Crazy Rich Asians” she’d also witnessed the impact that film had on audiences who felt otherwise unrepresented onscreen. While Netflix declined to comment on budget size, all three filmmakers had previous experience helming their own independent short films and described being given ample resources, guidance and creative control on their EFI projects.Īfter working in the industry for more than a decade, Eakin had seen the studio process up close. ![]() ![]() To most early-career filmmakers, jumping into the director’s chair with a full arsenal of studio resources and support from development through casting, production, postproduction and marketing is a rare and coveted opportunity. He offered feedback on balancing tone and tension in what he considers the most difficult genre - action-adventure-comedy - which he says Brantley pulled off “quite nicely”: “I think he could direct any big-budget film he wanted to.” ”To give emerging filmmakers the ability and budget to actually make a film with a real crew, with a real sound mix, etc., is a great concept,” said Sonnenfeld.
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