Creative-Sector Investment, AI-Driven Film Production, and New Development Fund

Port of Spain, Trinidad — During a Thursday-morning broadcast on Freedom1065, host Devi welcomed longtime contributor Rudy for an in-depth discussion on financing the country’s creative economy. The conversation covered investor expectations, business models for film and animation, the role of intellectual-property licensing, and a proposed development fund that could be listed on the Trinidad and Tobago stock exchange.

Rudy explained that private-sector players outside traditional banking must view creative projects as investments rather than charitable sponsorships. “They should not be asking for grants or handouts only. They should be asking for investment,” he said, emphasizing the need for a clear exit strategy and return on investment (ROI).

He outlined the typical risk-adjusted return landscape, noting that “fixed deposits or government bonds offer 3-5 %,” whereas “higher-risk creative enterprises can aim for 8-12 %.” To achieve these returns, he urged creators to develop a comprehensive business model that includes multiple revenue streams—cinema releases, streaming platforms, merchandising, and ancillary products such as branded cricket equipment.

Using a hypothetical feature-film animation centered on cricket, Rudy illustrated how intellectual-property rights can generate ongoing income: “You can brand a cricket bat, create a limited animation series, develop merchandise… and the investor starts thinking, ‘I’ll recoup while I’m sleeping.’”

When pressed about investor returns, Rudy described a typical high-risk scenario: an investor might provide $100,000 for a 4-5 % return, acknowledging the higher risk compared with low-risk, guaranteed investments. He highlighted that larger corporations are often quicker to write checks and may reclaim the expense through tax claims—a practice he termed the “Trinad model.”

The discussion shifted to a broader financing structure. Rudy proposed a development fund that would aggregate capital from a “couple hundred private-sector players,” with state assets providing guarantees rather than cash. The fund would be collateralised, managed by professional investment managers (similar to UTC’s global portfolio approach), and listed on the stock exchange, allowing ordinary citizens to buy shares—a model previously used for the National Investment Fund (NIF).

Such a fund would operate as an equity ecosystem: investors would receive payback when projects generate revenue, while unsuccessful ventures would be absorbed as part of the mutual-fund structure. Rudy stressed the importance of “hand-holding support” for creatives, ensuring they have access to business-ecosystem advice and that “money is not left on the table.”

Beyond the creative sector, Rudy and Devi touched on secondary economic benefits. Large-scale projects stimulate ancillary industries—taxi services, hospitality, food and beverage outlets, and even port fees—creating a multiplier effect throughout the community. He cited historical examples where foreign direct investment in energy and industrial projects produced wide-reaching economic gains across the Caribbean.

Later in the program, the host introduced a second guest, Stacey, who offered perspectives on copyright and AI-generated content. Stacey clarified that the Trinidadian copyright organisation TNT primarily manages music rights; using AI-created soundtracks would not incur fees, whereas incorporating existing artists’ music would require licensing payments. She also highlighted the growing pool of self-taught animators in Trinidad who are earning foreign exchange by servicing overseas firms.

Towards the close, Rudy reiterated the need for coordinated public-private partnerships, stating, “If we unlock one area, the multiplier effect takes place,” and emphasized that collaborative investment can revitalize sectors such as agro-processing, light manufacturing, maritime services, and the once-thriving steel industry.

The interview wrapped up with a reminder about upcoming programme topics—tourism and further economic-transformation consultations—and an invitation for listeners to contact PSOTT via WhatsApp or the organisation’s website.

The discussion underscored the urgency of moving beyond handouts toward sustainable, investment-driven growth for Trinidad and Tobago’s creative and broader economies.