Why Greelistu? 

To enable filmmakers and audiences to unite in the love of good stories
To be the most empowering online film studio and global funding engine for the next generation movie industry - connecting filmmakers and audiences - with the clear objective to have all films and series fully paid for going into production. 

This is expressed in our motto; "For All the Stories Untold"

Digitalisation is a game changer

The story behind Greelistu

We have been producing films for over thirty years. In our experience, independent producers developing and financing their projects are painfully dependent upon a large amount of decision makers. Many with conflicting interests and demands that have damaging effects on the projects and the producer’s possibility to build a sustainable business. In our production company we were in it for the love of good stories, trying to make ends meet, all the time looking for ways to strengthen our business and become more independent.

To make a long story short, it was when the digitisation became a reality that we saw the real opportunities and started to create a new and viable business model. A model that would allow independent producers to build a sustainable business. We knew from the start that the most important building blocks and strategic resources are the content, the filmmakers and the audience.

Building our new model, we decided to change the traditional value chain, turn it around 180 and start with presenting content to the audience at an early stage. That would allow us to exclude a lot of middlemen and hand over the responsibility of financing and marketing to the audiences and the filmmakers. It would open up for a greater diversity of stories and storytellers, make for continuity in production and contribute to healthy financing and adequate budgeting for the good of all stakeholders.

We are striving for a model that is more in harmony with the creative process, the filmmakers and the audience’ interests. Audiences have embraced digital distribution and changed the way they prefer to enjoy digital content, films and series. That's a strong indicator. So, why not go directly to the audiences for a validation of film projects? Direct digital access and clear channels of communication are a game changer, empowering both filmmakers and audiences.

It was for this purpose we built our platform and named it Greelistu.
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The frustrating business landscape leading up to Greelistu

Audiences have no influence on film selection
Reaching audiences is an important goal when selecting projects for production and distribution. But still the audiences are frequently the last to know which films and series are in the making. Productions are commonly executed behind closed doors and the finished films and series reach the audiences first after the fact. The audience, who are able to get engaged and have an influence on what kind of films are made, are actively kept out.  

Film financing is built on “guestimates”
In the current marketplace, decisions for funding are based on estimates of each project’s commercial potential depending on story, cast, talent and budget. The results are notoriously unreliable, which make the financial risks very high. These estimates determine financing from official bodies, private investors and distributors. To a large degree it is money put up against future income. So, films and series start off with a huge debt, very unsure results from the onset and the route to towards break-even is a long one.

Institutional and political demands
The various funding institutions are ruled by politically motivated regulations, using support to filmmaking as means to reach goals of value to politicians, rather than filmmakers. The support comes with requirements for distribution and demands on the content that often force the filmmakers to bend over backwards to be eligible, and many loose both creative control and their rights in the process.

Audiences willing to pay ignored
Traditional film distribution models follow a set pattern of days gone by, in spite of the global nature of internet and digital streaming facilities. Distribution and exhibition are still split into locked geographical areas, with long holdback periods between the various screening windows. The film industry has been exceptionally slow in adapting to the digital landscape, alienating the large audience willing to pay for an early screening, at a time and on a screen of their own choice.

The struggle of David and Goliath 
The ways of the huge Hollywood Studios have set a standard for financing, production and distribution on a global level. Notwithstanding that the Hollywood model is not really applicable anywhere else, all are kept busy trying to make it on the same terms.This is a harsh environment for the smaller independent production companies. It forces them to excessive risk taking, keeps them last in line for a share of profits and effectively prohibits them from a creating a sustainable business. 

So what? Life is a bitch 
The average timeline to get a project into production is eight years. Ten, twelve and fifteen years are not uncommon. Five years is a flash of lightning. The only period of cashflow in filmmaking is during shooting and postproduction. The initial financial and creative risks of development is borne by the filmmakers themselves. Distribution revenues seldom cover more than the cinema fees and distributors marketing costs. The most obvious effect is that financiers and distributors try to cut their losses and go for safe choices, the successes of yesterday. That's to be expected. But this is a detrimental environment for the independent filmmakers trying to make a living. 

Sure, life is a bitch. This is not about exasperation or complaining over hard work, long hours, creative and logistic difficulties or the challenges of development and production, those come with the territory. 

But altogether, this is ample reason for filmmakers to take matter into their own hands and find new ways of going about their business.

Our Team

Anna G. Magnúsdóttir
One of the two creators and founders of Green Lighting Studio, Anna is an independent producer since 1987 with extensive experience within production, financing, and distribution running her own companies in both Sweden and in Iceland. She established the Production Company LittleBig Productions in Sweden in 1993 and is a co-founder of the Financing & Rights Management Company Movieboosters AB. Anna has also worked as a commissioning editor for the Icelandic Film Fund and worked in different capacities for other organizations within the film industry. She participated in EAVE 1993 and ACE in 1997
Anders Granström
One of the two creators and founders of Green Lighting Studio, Anders has worked within the film industry since 1986 and has held leading positions in various film industry associations and different companies such as Moviemakers and SF, Swedish Film Industry. His work as a producer includes feature films, TV-series, and shorts. Anders is a part-owner of LittleBig Productions AB, as well as founder and CEO of the Financing & Rights Management Company Movieboosters AB.

Anna G. Magnúsdóttir & Anders Granström

Founders & Producers

Joel Acevedo

IT & Digital Media Specialist

Marcus Svensson

Head of Marketing

Susanne Skata

Content Producer

Per Tengblad

Senior Advisor 

Hansi Mandoki

Senior Advisor Theatrical & Distribution

Hans Gustavii

Senior Advisor System Programming

Peter Torkelsson

Senior Advisor International Sales