David Hartstone on Hustling for the Film Career
- allisonvolk8
- Aug 11
- 5 min read
Film Name: All Us Animals
Length: 17:22
Shooting Location: Los Angeles, California
Logline: At the dawn of a new decade, New Year's Eve 1959, the unexpected arrival of a childhood friend brings simmering marital tensions to a boiling point.
There are pros and cons to every type of film funding. We caught up with Writer/Director David Hartstone to chat about his short film, All Us Animals, to talk about what it looks like to hustle big time to make the dream of a film career come true.
How did you fund the project?
[David Hartstone] I wish I had some Holy Grail of answers about how to score a huge grant or a secret billionaire investor, but it was just hard work. We’ve experimented with crowdfunding and had some success, but we hate the feeling of waiting around with our hands out. So instead, we work our day jobs, live small, and stash away until the right project comes along — then we go all in.
Did you have funding in place before writing, or get funding together after you wrote the script?
[DH] Even before we know what our next film is, we’re always saving, always anticipating that the moment’s coming when we’ll need the money. Honestly, it’s a great motivator. Picking up an extra shift or pushing a little harder feels worth it because every dollar translates into one more take, one more light, one more lens that could elevate the film.
I try to write with my producer hat on, but the real numbers don’t hit until after the script is done and we start holding production meetings. That’s when the mad dash to make it happen really begins.
What are some of the pros about funding this way? The cons?
[DH] Self-funding is a double-edged sword. The upside is full creative control. You’re beholden to no one. You own the art, you steer the ship, and the autonomy is deeply fulfilling. There’s real pride and power in knowing that no one can take that away from you. But the flip side is brutal. Every problem, every cost, every setback falls on your shoulders. I’ve had plenty of sleepless nights in a cold sweat realizing how broke I’ll be once the film is wrapped. But that's the price, and kinda the magic, of bringing your vision to life. It’s a high-risk, high-reward kind of alchemy. It becomes an addiction.
What is your long-term vision for the project within your film career?
[DH] When we started this project, our goal was to premiere at an Academy-Qualifying festival, and I’m proud to say we achieved that with an incredible world premiere at the Oscar and BAFTA-qualifying LA Shorts International Film Festival. Like most short films, the dream is to use it as a stepping stone toward a feature. So in the two months leading up to the premiere, I practically chained myself to my laptop and wrote the feature version of the story. Now it’s in the hands of my trusted collaborators for feedback. After that, we see what the Universe has in store for us. But we’re ready.
Did you learn anything when it comes to funding and budgeting that you will do differently on your next project?
[DH] This was my fourth short film and by far my longest. I wanted to challenge myself to shoot an entire act of a movie at feature quality, but on a short film budget. And we did! The problem, however, was that it was too long for most festivals. We ended up having to cut significant portions out of the film before we started getting traction. So if there’s one thing I learned, it’s this: If you’re making a short - MAKE IT SHORT. Save the money. Or else save a little more and go all in for the feature.
Were there any areas where you were able to call in favors/save money? What were those areas?
[DH] When it comes down to it, almost every aspect of a self-produced indie relies on favors. You’re trying to attract the best talent possible for the lowest cost — not out of stinginess — but because the money simply doesn’t exist! That means your real job becomes relationship-building. You have to show your collaborators how this project gives them a chance to shine. We pay everyone as fairly as we can, we respect their time, and we make sure the world knows exactly who helped bring this thing to life. And when they call you to return the favor on their project? You better show up with bells on!
Did you get any budget or expense surprises that you weren’t expecting?
[DH] We had a million surprises along the way, and it was only through sheer, miraculous teamwork that we finished the movie on budget… or at all! For instance, the pristine 1950’s show car we had reserved for weeks got into an accident the day before it was scheduled to arrive on set. Without missing a beat, Lexa and our unbelievable UPM, Danielle McRae Spisso, found a replacement before the end of the day.
And just when we thought that was the worst of it, we lost our entire location three days into a four-day shoot. We had to do an emergency evacuation until three in the morning and somehow find a new place to finish the film. Shout out to the cavalry who showed up in the middle of the night to help us pack out and to our 1st A.C, Madison Stonefield, who secured us a new location THAT NIGHT. Absolute legend.
Any fun anecdotes you'd like to share?
[DH] I’m not sure this qualifies as “fun,” but it definitely happened. I mentioned the late-night location evacuation earlier — but this was no happenstance — this was nearly a full on catastrophe!
Our property manager had been erratic the entire shoot. One moment they were threatening to kick us out, the next they were telling us we were making the most beautiful film they'd ever seen. Half my job as a director became diplomacy, trying to keep them happy just long enough to finish the film.
But the issues kept piling up, they’d open windows between takes, forbid us from using the A/C during a 120-degree heatwave, and let their dog run loose through the middle of scenes. It was a nightmare. On the third night, our biggest shoot day, we had rain machines, lightning rigs, and the emotional climax of the movie to shoot. And we were racing against the clock. Just as we got our final shot, the property manager stormed in and threatened the life of our UPM.
All hell broke loose. It was nearly midnight. The cops were called. We were exhausted, gutted, and had one more day to shoot, but it was clear this location was no longer safe or viable. Despite this being the biggest melee of my filmmaking career… No one quit. No one stormed out. We pulled together, evacuated in the middle of the night, and by some miracle, our 1st AC secured a new location for us at 3AM.
The next day, the heat broke, the new house had a better exterior, and we wrapped the shoot on a high note; celebrating together into night. It was a disaster. It was a triumph. It was indie filmmaking.
Thanks for sharing, David! Fingers crossed there's a feature version coming soon!
About David Hartstone
David Hartstone is a self-taught filmmaker and the co-founder / creative director of Seventh House Productions. After graduating from the renowned Stella Adler Studio in New York City, he moved to Los Angeles to pursue his passion for film and television, dedicated to creating high-concept, emotionally resonant pieces that often center around complex female characters.
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