Pim van Gorp is a producer for Fabel Films, whose recent works SHELTER and CRESCENDO appear on T-Port courtesy of our partners at Screen Talent Netherlands. 

In this insightful interview, we sit down with Pim, a seasoned producer with over 15 years of experience in the industry. From his beginnings in commercial production to his passion for supporting emerging filmmakers, Pim shares his journey, challenges, and the essential lessons he’s learned along the way. 

He discusses the intricacies of production, the importance of a solid film plan, and the evolving landscape of short films, offering valuable advice for aspiring filmmakers. Read on to discover Pim’s unique perspective on the world of filmmaking and the future of short films.

Hi Pim, would you mind introducing yourself? 

I’ve been a filmmaker for 15 years. We started out as commercial filmmakers, but always with the goal of continuing to create independent work. 

Today, we run a successful commercial production company and also produce short films for emerging filmmakers. We do all of this from the south of the Netherlands. On average, we produce about two films a year.

What did becoming a producer look like for you?

I kind of fell into filmmaking. I started with an internship at a production company and completely fell in love with the production side of things. I started as a bit of everything – sound, editing, runner, art department, research, all kinds of production roles. What I learned is that I love it when a plan comes together and things just work. Helping people make that happen is what gives me energy.

What’s the ethos of your company and what are your goals?

We started out in commercial work, creating content for a broad audience. That experience now feeds into our short films: sharp stories with a clear structure and a meaningful message underneath. I personally love dark comedy and think it’s a perfect genre for short films. 

How do you start the production process?

We develop the film plan and budget together, and I stay closely involved as the script evolves, reading and reviewing drafts until we land on something everyone truly believes in. Once we’re all aligned, we start submitting the project to various funding bodies.

What were the biggest challenges you encounter during production?

Securing funding is always the biggest challenge. There are so many stories out there that deserve to be told, and standing out from the crowd is incredibly tough.

What’s an important lesson you carry with you as a producer?

You don’t make anything alone. Surround yourself with great people and let them do what they do best. Also: stay flexible, but never lose sight of the goal.

What should filmmakers do more to get their films made?

Start with a film plan – don’t dive straight into writing a script. That’s a common trap. And: dare to choose. Be clear about what your story is, and why it matters. That clarity helps everything else fall into place. And don’t try to put too much in there. 

What’s a piece of advice you would go back in time to give yourself? 

Always set aside a portion of the budget for distribution.

How has the process of distribution been for you so far? What have you learned?

The next big hurdle, once the film is finished, is definitely distribution. It’s not as simple as making a film and expecting it to be seen. Getting a film in front of an audience is just as challenging as making it in the first place.

What do you wish you’d known before you began the distribution process?

Ideally, you should already be thinking about your distribution strategy while you’re still making the film.

What are your expectations from T-Port? Has working with T-Port taught you anything about the industry? 

Working with T-Port has given us valuable insight into the international short film landscape. It made us realize how important visibility and targeted exposure are—especially for emerging filmmakers who don’t yet have an established network.

What we hope from T-Port is to help our films find the right audience and open doors to new collaborations, sales, and festival opportunities. We see T-Port as a connector: between makers and markets, between talent and platforms. That kind of bridge is essential in a crowded and competitive field like ours.

How do you see the future of short film?

Short film isn’t going anywhere – it’s just moving. It’s thriving online and within niche communities. If filmmakers stay adaptable, work smart, and stay open to new forms and partnerships, stories will keep finding their way.

What’s next for you on the filmmaking front?

We are currently working on securing funding for two new films, and we have four films that are less than a year old and currently in distribution.

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