Built to last.
For independent producers
who think beyond projects.
OUR POSITION
The gap between creative ambition and commercial reality is where we work.
Building the foundations that make independent production not just possible, but permanent.
WHAT WE DO
Funding
Independent film and television is financed in layers. We structure those layers: broadcast pre-sales, co-production agreements, public funds, and gap financing, configured around each project's commercial profile, jurisdictional eligibility, and timeline. We do not provide capital. We identify and secure the people who will — and we do it from a position of sustained market relationships, not cold outreach.
Distribution
We represent scripted and non-scripted projects to broadcasters, streamers, and theatrical distributors. Positioning is developed from the material outward: what the project is, who it is for, and what a buyer genuinely gets from it. Market access is built on relationships maintained between deals, not activated at the point of sale.
Slate Strategy
Most producers allocate resource project by project. The strategic question — whether the slate as a whole is pointed in the right direction — rarely gets asked. Beacon answers it. A proprietary evaluation framework that treats the slate as a system: where value is concentrated, where it is being diluted, and what a coherent development strategy looks like from here. The output is a clear picture of position and a set of concrete recommendations.
Business Diagnistic
A fixed-scope engagement for producers who need clarity before anything else.
We assess where the business actually stands — financially, creatively, structurally. We identify the gap between what exists and what any realistic path forward requires. The output is one document, written in plain language, designed to be used.
PROPIETARY FRAMEWORK
Beacon
Most development resource is allocated on instinct. Projects advance because someone believes in them, stall because momentum fades, and get dropped without a clear picture of what was lost or why. Beacon exists to replace that pattern with evidence.
It is not a creative assessment. Beacon does not evaluate whether an idea is good. It evaluates whether a project is positioned to move — and what, specifically, needs to change before it can.
Three stages. One integrated picture.
01
Decision
A rigorous read of development investment against return. How much resource has gone in, how efficiently it has been deployed, and what early market signals actually indicate. A project can score well creatively and still represent a poor allocation of capital. Decision makes that visible before more resource follows it.
02
Roadmap
Format, platform, and production model mapped to current buyer appetite. Not assumed demand — verified demand. Roadmap identifies where each project has its best commercial chance and what structural changes, if any, would materially improve that position.
03
Partnership
The right collaborators at the right stage, on terms that hold. Co-producers, financiers, and distribution partners identified against the project's specific profile — with deal structures designed to protect the producer's position as the project moves through its lifecycle, not after leverage has already shifted.
ABOUT US
Coleman Moser is a London-based consulting firm working exclusively with independent film and television producers in the UK and Europe.
We were founded on a single conviction: that the people who originate the best work should be the ones who build lasting value from it. Too often, they are not. The systems around independent production — financing, distribution, rights, commissioning — are designed around short-term transactions. We exist to change that equation, one mandate at a time.
Our approach is direct. We take positions, make recommendations, and stand behind them. Commercial rigour and creative integrity are not in tension here: for producers building companies that are meant to last, they are the same thing.
Coleman Moser was founded by Omar Zavala (EY, ING Groep N.V.), who has spent fifteen years working at the intersection of independent production, financing, and distribution across the UK and Europe.
OUR CLIENTS
The producers we work with are building something real:
Companies with creative identity, slates with commercial ambition, and a genuine belief that the work they originate should remain theirs.
They operate across the UK and Europe — established independents with active slates, and earlier-stage companies with enough momentum to be serious, not enough infrastructure to scale without risk. Most are managing development, financing, and distribution simultaneously, with teams too small for the complexity of what they're attempting.
The structural problem is consistent. Independent producers carry sustained creative and financial risk inside systems designed around short-term transactions. Rights erode. Commissioning models shift. Development capital is scarce. The people who originate the work are rarely the ones who capture its long-term value.
We work with producers who have decided that is not acceptable.
