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Truly Free Film

Prepare To Have Your Mind Blown: PowerToThePixel Announces Project Line Up

A couple years back I was asked to give the Keynote Address at PowerToThePixel’s Annual Cross-Media Forum. It is not an exaggeration to say that the people I met and the knowledge they shared blew my mind. I saw the potential for immersive culture. I witnessed the growth of a community of visionaries. I had my hope restored for the culture, art, and society.

If there was one film related event each year that I most want to attend, it is PowerToThePixel. Get ready because it is around the corner, and as today’s press release (below) indicates, this year’s edition is going to be 1000% pure awesome.

POWER TO THE PIXEL ANNOUNCES LINE-UP FOR ANNUAL CROSS-MEDIA FORUM & PROJECT SELECTION FOR THE PIXEL MARKET

London, 13 September 2011

The fifth edition of The Cross-Media Forum 11-14 October, from leading global cross-media company Power to the Pixel, features a world-class line-up of speakers and industry experts.

His first time speaking in the UK, Jeff Gomez CEO Starlight Runner (Pirates of the Caribbean, Halo, Avatar) will present the keynote for the conference on 11 October. Additional talks come from Digital Emmy award-winning filmmaker Katerina Cizek; Christopher Sandberg, Founder of Emmy-awarded TV and new media production company The company P; Creative Director Digital at Aardman, Dan Efergan; Michel Reilhac, Executive Director of ARTE France Cinéma as well as Tero Kaukomaa, producer of the much-anticipated Finnish project Iron Sky, amongst others. The Cross-Media Forum is held in association with the BFI London Film Festival.

The conference covers the latest trends in audience behaviour and new business models in the cross-media and transmedia space. It is followed by The Pixel Market, a one-of-a-kind marketplace dedicated to financing international cross-media properties.

Chosen from nearly 100 applicants, 25 producer-led teams take part in one-to-one business meetings with potential partners and financiers from across the media industries. Project stories extend across media platforms including film, broadcast, gaming, online, interactive, publishing, live event, mobile/tablet. Selected projects include Cloud Chamber produced by regular Lars von Trier collaborator, Vibeke Windelov; Fort McMoney, a new project from David Dufresne, writer of multi-award-winning web documentary Prison Valley; Swandown, a collaboration from award-winning artist/filmmaker Andrew Kötting and author Iain Sinclair; Unspeak being produced by award-winning cross-media company Submarine, directed by film director, producer and long-time collaborator of Richard Linklater, Tommy Pallotta.

Nine of the teams go forward to The Pixel Pitch Competition on 12 October, backed by French/German broadcaster ARTE to compete for the £6,000 top prize. Projects are presented to a jury of international commissioning executives, decision-makers and financiers in front of an audience of Power to the Pixel delegates. The Pixel Pitch presents a unique opportunity to hear how cross-media projects are financed, and by whom.

The winner of the ARTE Pixel Pitch Prize will be announced at an evening awards ceremony on 13 October.

The Cross-Media Forum receives over 800 international delegates each year and is seen as an essential part of the calendar for anyone interested in exploring creative business and digital change.

“The Cross-Media Forum has built a global reputation to be the place where creators, financiers and entrepreneurs can discuss innovative ideas and business practices in a unique collaborative environment,” said founder Liz Rosenthal.

“World-class experts will share their latest findings on new ways to tell stories, engage audiences and grow successful cross-media story properties.

“The Pixel Market is the only dedicated cross-media market and showcase in the world where you can meet commissioners and financiers from the film, broadcast, games, mobile, interactive, publishing and online worlds who are committed to investing in cross-media properties. We’re very excited about the high quality of projects and talent
showcased in this year’s selection and look forward to facilitating new synergies and partnerships across industry silos.”

The Pixel Market is supported by the Media Programme of the European Union. Additional support from BFI, Skillset Film Skills Fund, ARTE, Telefilm Canada, TorinoFilmLab

Costas Daskalakis, Head of MEDIA programme unit at EACEA said: “Cross-media projects have attracted a lot of attention over the last few years. MEDIA is happy to support events such as The Pixel Market so that they also attract funding. The MEDIA programme has developed an overall strategy to support cross-media projects including training, financial support for development, markets and distribution.”

Dan Simmons, Head of Film (Acting) Skillset said: “The impact of digital and new technology continues to be a funding priority for Skillset under the UK’s film skills strategy ‘A Bigger Future 2’.

We have funded Power to the Pixel since its inception five years ago. Events such as The Pixel Lab and The Pixel Market are powerful opportunities for cross-media professionals – spanning different sectors of the creative industries – to network with leading digital pioneers; developing new business and transmedia opportunities in an international environment.”

Carolle Brabant, Executive Director Telefilm Canada said: “We’re excited to support cutting-edge events like Power to the Pixel. Today, Canadian producers, broadcasters and distributors need to be more innovative to ensure that their content is properly showcased, viewed and distributed around the world. At the same time, opportunities abound with many new cross-media platforms enabling consumers to engage with the work of Canadian creators in new ways.”

Michel Reilhac, Executive Director of ARTE France Cinéma said: “Although the field of transmedia is fairly new and still inventing itself as we speak, the Power to the Pixel event allows all people involved in the art of storytelling to evaluate where we are, who does what. It is the focus event that allows us all to check what our current issues are, what’s new that’s been accomplished and how our new challenges in the field of participative storytelling evolve. It is the one invaluable occasion in the year where people involved and interested come together and share projects, knowledge and experience.”

PIXEL MARKET PROJECTS including
PIXEL PITCH FINALISTS & PIXEL PITCH JURY
PIXEL PITCH FINALISTS
1. Process: Cause & Affect (CAN) Non-fiction: Online | film | installation | mobile
Producer: C J Hervey | Executive Producer: James Milward
An interactive documentary and transmedia project that profiles groundbreaking artists who create beautiful works of art using computer code.

2. Cloud Chamber (DEN) Fiction: Online | mobile | TV
Producer: Vibeke Windelov | Director: Christian Fonnesbech | Writer: Darin Mailand-Mercado
A science drama inspired by space. Players collaborate to uncover the story of a young scientist who has risked her sanity and betrayed her father in order to save humanity from itself.

3. Jezabel (FR) Fiction: TV | online | mobile | radio | print | live event
Producer: Eric Pellegrin | Director: Julien Bittner | Writer: Julien Capron
A series about a 19-year old student who posts a song on YouTube – the song soon becomes a big hit. After a producer offers her to launch her career, Jezabel will be torn between two worlds: show business in Paris and the decadent student parties in her city, Lille. How will she handle her fame?
A story about growing up, falling in love, finding your way.

4. Lost and Sound [working title] (UK) Non-fiction: TV | online | app
Producer: Kat Mansoor | Writer/Director: Lindsey Dryden
An exhilarating and moving creative experience about the great human love affair with music, through the prism of deafness. It weaves a character-driven narrative – following three people’s re- discovery of music after deafness – with an extraordinary adventure through the science of sound, revealing how music reaches us through the ears and brain when neither work ordinarily.
5. Love & Engineering [working title] (FIN) Non-fiction: Film | TV | online | mobile
Producer: Kaarle Aho | Writer/Director: Tonislav Hristov
Digital geeks looking for analogue love. One claims to have hacked love, can he help lonely engineers find real happiness?

6. My Little Songs (FR) Non-fiction: TV | online | apps | books | games
Producer: Deborah Elalouf | Director: Edith Louis
Tim, aged 7, has discovered a mysterious magic piano. No sooner does he play, than a variety of characters pop up from the piano to create animated and interactive musical cartoons. Nursery rhymes initiated by Tim will be the starting point of adventures for Tim as well as the viewer/player.
An opportunity for young children to discover foreign languages through a fun trip!
7. Tomorrow We Disappear (USA) Non-fiction: Film | Condition ONE | interactive | online | installation
Producer/Interactive Director: Jimmy Goldblum
Since 1978 Delhi’s magicians, puppeteers and acrobats have called the tinsel slum, the Kathputli Colony, home. Last year the government issued relocation permits to the colony residents; the slum is to be bulldozed, cleared for development. Experience the last remnants of a culture borne out of folk traditions and moulded by poverty.
8. We R Democracy (BEL) Non-fiction: Online | apps | games
Producers : Matthieu Lietaert, Jamie Balliu, Nicolas Sauret
Co-Directors/Co-Creators: Matthieu Lietaert & Fritz Moser
Have you ever wanted to shape tomorrow’s globalisation? Here is your chance: Become an online lobbyist in Europe! Get to know the hidden part of democracy, meet key protagonists and build your own lobby network. Play a game-like experience that’s also influencing the real world around you!

9. The First Zombie (CAN|UK) Fiction: online | book | film
Producer: Jeff Norton
A lonely zombie, fresh from the grave, struggles to get back the family life he once took for granted. Sometimes even the living dead deserve a second chance.

ADDITIONAL MARKET PROJECTS
10. “100” (UK) Non-fiction: Feature film | online | apps | TV | live events
Producer: Jessica Levick | Director: Sam Blair
A hypnotic study of the art of sprinting, this startling documentary – made in partnership with adidas – reveals the hopes and struggles of London’s grassroots athletes on the eve of the 2012 Olympics.

11. The Ark Experiment (AUT) Non-fiction: Feature film | online
Producer: Michael Seeber | Director: Sepp R. Brudermann
The end is near, but don’t worry we will guide you through it!

12. The Awra Amba Story – Utopia in Ethiopia (FIN/UK) Non-fiction: Online | mobile | broadcast | live events
Producer/Director: Paulina Tervo | Co-Director: Serdar Ferit
A multi-platform, multimedia project about a utopian village in Ethiopia including an interactive 360° web documentary, a feature-length film and an interactive exhibition.

13. The Cat Time Stories (CRO) Fiction: TV series | interactive | app | online
Producer: Helena Bulaja | Writer: Nada Horvat
The Cat Time Stories relates the everyday adventures and experiences of cats and their friends, through blending the worlds of 33 stories about the adventures and experiences of slightly humanized, but thoroughly feline characters. They hunt for treasure, displease their human “masters”, go shopping, worry about their appearance, avoid dogs, get stuck in the top branches of a tree and do everything which takes up the busy agenda of a cat’s day. One of them even discovers he can fly…

14. Conspicuous (USA) Fiction: FB apps incorporating stills | text | news
Producer: Mike Knowlton | Writer/Director: Hal Siegel
A suburban mum discovers her husband is having an affair. In the aftermath, she becomes a private detective. It’s Weeds meets artist Sophie Calle.

15. Facelessbook (ITA) Non-fiction: Feature film | book | TV | installation | online | print | podcast
Producer: Alessandro Borelli | Director: Sergio Basso
A cross-media platform conceived as a role-playing game: a serious game to understand what it means being on the run, to identify with a refugee, in the world of today.

16. Fort McMoney (CAN) Non-fiction: Online | gaming | TV | print | mobile
Producer: Philippe Lamarre | Director: David Dufresne
A web documentary with gaming. A unique social experience.
Welcome to Fort McMoney, the biggest power project in the world.

17. LoveTrips (AUT/POL) Non-fiction: Feature film | TV | online | mobile/tablet | print
Producer: Filip Antoni Malinowski | Director: Carlo Pisani
LoveTrips tells the stories of people that have to travel to keep their love alive.

18. Mirages (BEL) Non-fiction: TV | online | mobile | iPad | live events
Producer/Director: Patric Jean | Transmedia Producer: Barbara Levendangeur
Science and scepticism require that we look for natural and empirical explanations for all phenomena. Mirages is designed as a transmedia documentary experience which investigates how we often convince ourselves to believe and overlook the facts (of any kind).

19. Pas de Deux (SWE) Fiction: Film | book | live event | online/social networks | radio
Producer/Co-Writer: Anna Nevander | Co-Writer: Signe Kjellman
A devoted opera singer lives a consuming passion with an inconstant photographer and looks for divine love in her friendship with a young priest, who ends up trying to rape her.

20. The Revolution Will Not Be Tweeted (FR) Non-fiction: Live event | online platforms | feature film
Producer: Emilie Blezat | Director: David Dusa
TRWNBT investigates how far the internet can go to found a new civil society, how the power of social media influences social change. An educational project, a think/do tank, a dialogue platform and a visual representation of the way the internet empowers citizens and articulates a rapidly changing world.

21. Ruby Skye P.I.: The Haunted Library (CAN) Fiction: online/social networks | TV/VoD | mobile/tablet | books | live events
Producer/Writer/Showrunner: Jill Golick | Producer: Susan Nation | Director: Kelly Harms
A cross-media, live-action, comedy-mystery series designed especially to engage young audiences growing up in the digital generation. Stubborn, smart, determined and a little too quick to jump to conclusions, 15-year old Ruby makes a lot of unfortunate choices in her pursuit of truth, justice and, well… personal curiosity.

22. Seasons Project (FR) Non-fiction: TV | online | games | smartphone app
Artistic Producer/Co-Creator: Chloé Jarry Co-Creator: Antoine Bamas
Seasons Project launches a large citizen investigation into the evolution of the seasons in Europe.

23. Shankaboot – Unlocking The Power of Social Media (LEB) Fiction: Online | social networks | mobile apps
Producer: Katia Saleh | Director: Amin Dora | Lead Writer: Bassem Breish
Fresh from dodging disaster on the streets of Beirut, Suleiman causes havoc across the Middle East when he convinces four friends in different Arab countries to launch a bogus political campaign on Facebook. but, when their virtual revolution spills over into the real world, the armchair freedom-fighters are forced to face the consequences.

24. Swandown (UK) Non-fiction: Feature film | installation | live events | TV | online
Producer: Lisa Marie Russo | Director: Andrew Kötting Writer: Iain Sinclair
Swandown is a documentary, travelogue and odyssey of Olympian ambition. A poetic film diary about encounter and culture. It is also an endurance test and pedal-marathon.

25. Unspeak (NETH) Fiction & non-fiction: online HTML5 cloud & integrated social media | interactive
Producer: Femke Wolting | Directors: Tommy Pallotta & Geert van de Wetering
Unspeak is a style of political language that smuggles persuasion into description by renaming politically sensitive subjects. A radical and at times poetic collage of found footage, media sound bites and voice over, the series unveils the mechanisms behind Unspeak and encourages the viewer to listen closely, as well as editing and distributing their own Unspeak clips.

Confirmed international jurors (with more to be announced):

JULIE ADAIR Director of Online (Europe, Middle East, Africa), Walt Disney Company (UK)
NUNO BERNARDO Producer & CEO, beActive (PORT)
GUILLAUME BLANCHOT Head of New Media & Video Games, CNC (FR)
ROSA BOSCH Producer & MD, B & W Films (SPA/UK)
MORGAN BOUCHET Director Transmedia & Social Media, Orange (FR)
PETER CARLTON Head of European Division Warp Films (UK)
NICK COHEN Managing Partner & UK Head, MediaCom Beyond Advertising (UK)
LOC DAO Head of Digital Content & Strategy, NFB (CAN)
REBECCA DENTON Senior Producer, Original Series & Development Turner Broadcasting (EMEA) (UK)
LIZZIE FRANCKE Senior Production and Development Executive, BFI Film Fund (UK)
JEFF GOMEZ CEO Starlight Runner (USA)
BEN GRASS Managing Director Pure Grass Films (UK)
DIGBY LEWIS Director of Content & Digital Development, ShineVu (UK)
RAY MAGUIRE Former President (UK, Nordic & Ireland) Sony Computer Entertainment (UK)
IAN McCLELLAND Senior Vice President of New Media RTL Group (LUX)
MICHAEL MORRIS Co-Director Artangel (UK)
MICHEL REILHAC Executive Director ARTE France Cinéma (FR)
CHRISTOPHER SANDBERG Founder & CCO, The company P (SWE)
VIDA TOOMBS Head of Content Europe, VBS.TV | Vice (UK)

About Power to the Pixel:

Power to the Pixel supports the film and media industries in their transition to a digital age. The company specialises in new ways for content creators and businesses to create, finance and distribute stories and engage with audiences across multiple platforms.

Headed by Founder & CEO Liz Rosenthal and COO & Producer Tishna Molla, the company’s London team has a wealth of experience and expertise across film and cross-media development, production and finance, and is linked to a unique network of the leading thinkers, practitioners and innovators who are developing new business and creative opportunities around the world.

Specialising in new ways for content creators and businesses to create and finance stories and engage with audiences across multiple platforms, Power to the Pixel’s core activities are:
• Providing consultancy to international media organisations, content creators and companies
• Designing innovative in-house company training programmes and bespoke initiatives
• Producing international forums, events and labs centred around cross-media, IP and business
• Facilitating the exchange of ideas and the building of international partnerships between media professionals and between industries

The company’s understanding of the challenges and opportunities of digital change means Power to the Pixel is an essential bridge between the visionary, the pioneering and the practical.

Power to the Pixel’s clients and partners include: ARTE; BAFTA; BBC, BBH; Berlin Film Festival; BFI; Cannes Film Festival (Marché du Film); EAVE; EU MEDIA Programme; Edinburgh Film Festival; IFP; Nordisk Film & TV Fond; UK Film Council

www.powertothepixel.com

Categories
Truly Free Film

Adam Chapnick on “IndieGoGo Films Showcased at World-Class Festivals in 2011”

Google became a verb several years ago. In the Indie / Truly Free Film space we are close to verb-izing another company. But just like all tissues are not Kleenex, there are many crowdfunding platforms out there, and it is worth not forgetting that. Find the platform that works best for your film, as there are plusses and minuses on everything.

Today Adam Chanpick speaks of the films (and some of the benefits) of crowdfunding platform IndieGoGo.

14 IndieGoGo Films Showcased at World-Class Festivals in 2011

IndieGoGo filmmakers have been rocking the world stage in 2011. In the first six months, no fewer than fifteen films that successfully campaigned on IndieGoGo appeared in the world’s leading film fests, including Sundance, SXSW, Cannes, Tribeca Film Fest, HotDocs, and LA Film Fest. These films have gone on to win top awards (Tribeca Audience Award) and get picked up by top distributors (The Weinstein Company).

In my responsibilities at IndieGoGo and Distribber, I’m regularly asked for advice and help with all facets of film finance and distribution. After answering so many of these one-off questions with the words, “lots of IndieGoGo campaigners have already figured that out,” it’s clear the filmmaker community would benefit from an update from IndieGoGo filmmakers who have had success.

As background, since 2008, the independent film community has been a central part of the IndieGoGo family; thousands of films have raised money for production, distribution, festival travel, promotion, marketing and for many other film funding needs.

IndieGoGo is partnered with leading organizations like Fractured Atlas and the San Francisco Film Society to offer filmmakers fiscal sponsorship services (Fractured Atlas campaigns recently passed $1,000,000. Sheffield Doc/Fest, one of the world’s leading documentary events, also has been an active and innovative partner.

Below is are links to all the amazing films, grouped by the festival in which they appeared. I encourage you to check out each campaign to learn more about pitch videos and copy, updates and perk selections, and how to engage an audience.

LA Film Fest

1. An Ordinary Family

2. Wish Me Away (1)
Wish Me Away (2)

3. Salaam Dunk

Cannes

4. Cerise

HotDocs

5. You’ve Been Trumped

Tribeca

6. Give Up Tomorrow (Won the audience award!)

7. The Bully Project Film (Was picked up by Weinstein Co.)

8. Love Hate Love – Tribeca Travel

SXSW

9. My Sucky Teen Romance (1)
My Sucky Teen Romance (2)

10. 8 (Award winner)

11. Sound It Out (1)
Sound It Out (2)
Sound It Out (3)

12. HAPPY NEW YEAR

Sundance

13. The High Level Bridge

14. The Rocket Boy

All of these campaigns succeeded on many levels, but there are three key areas that they nailed: They each had a great pitch, a proactive team, and each found the audience that cares about their passion and interacted with them consistently and creatively.

Over the next four days you’ll hear from four of the filmmakers behind these success stories, who’ll share key takeaways, tips, and tricks about their journey from funding to festival. I hope their learning helps your film become the next success story.

Adam Chapnick
IndieGoGo

Categories
Truly Free Film

Allow Me To Take YOU To Venice To Experience DARK HORSE

It’s pretty crazy how fast everything moves these days. We are able to leap countries and time to find what we missed continents away.

Today DARK HORSE has it’s press and industry screening in Toronto. Tomorrow is the North American Premiere. But I know how to make you feel like you are with us. Let me take you to Venice…

My flight out of Venice was evidently the only one that left for the United States on Tuesday. Our film DARK HORSE premiered there to a very nice standing ovation the night before. I arrive here to find interviews and press conference clips already up online. Check it out (and of course I rant a little bit). You even get to see the photo call and a NEW clip at the end!

Want more press conference? More Todd? There’s a bit of a spoiler in this one, although it is more philosophical spoiler than actual content.

You really should have been with us on the red carpet. I couldn’t resist photographing a smooch with my wife there, and well, “they” caught it:

Even our entrance at the screening is posted.

If it is specifics you want, here’s Selma Blair talking about working with Todd:

Jordan Gelber offers up his view of the collaboration with Mr. Solondz (6.5 min) and then Selma adds a bit more of her perspective (6 min.):

I am sure there is more to find. But I have to say there’s a particular pleasure getting to relive your pleasures moments after you’ve had them.

Categories
These Are Those Things

We All Have To Sell Out Sometime…

Maybe my day will come. To make our art, we need someone to give us money, generally speaking. Hell, to pay for our health insurance or our kids’ education, we need some to pay for us to make some kind of art.

Even Jean Luc Godard made commercials. Here’s one he did for Schick Aftershave:

Categories
Truly Free Film

The End Of The Auteur Era Of Film?

People like to get credit for their work, but have they been getting the right credit for it? Are we able to recognize when something is a collaboration as opposed to a work of an individual who has hired a team to execute it?

I pride myself on having produced films that could only have been the product of the unique vision of the director. That said, I have had a front row seat on how culture in general has been drifting and leaping into something more collaborative and think it just may represent the end of an era.

One of my early jobs in the film business was working as a Script Analyst for many of the NYC-based film production companies. I was always impressed by how many seemingly unique ideas were shared by many writers. There was a month way back when when I read five scripts all featuring dwarf bowling (okay, so some of the companies I read for were schlock producers, but you get the general idea). It became clear that we all harvest our information from similar sources and process it in not-so-unique manners. If all we are doing is acting as a filter, does it make sense to claim authorship still?

I was impressed with James Gunn, the director of SUPER, when he specified that “A Film By” credit would be false due to the collective efforts of all those involved. SUPER is very much “A James Gunn Movie” though, as that credit is more of a brand — if you know James Gunn, you know what you want to expect from “A James Gunn Movie”. Utilizing a brand is a much different thing than claiming authorship. Brands do help filter content for audiences. False authorship confuses things for communities everywhere.

I was similarly impressed — moved actually — when years ago I watched OUR SONG, Jim McKay’s great film following three girls growing up in Brooklyn (and Kerry Washington’s first role). In the opening credits, the “Film By” credit comes up, and then everyone who contributed to the film is credited. Nonetheless, having now recognized how unique McKay’s work is (particularly here in America), it would not have been wrong to call it “A Jim McKay Film”.

I frequently practice a form of blog writing that Bruce Sterling coined as a “Atemporality for the creative artist” (video here). The method goes a bit like this:

  • I have an idea or feeling about something, and spontaneously tweet it.
  • I witness what response the comment gets on Twitter and ponder it.
  • The comment is auto-posted to Facebook where those that it intrigues have more room to discuss it coherently.
  • I contribute on FB new thoughts on the subject that have been informed by the Twitterverse.
  • I consider all the conversations and write a post for my blog.
  • The blog goes up automatically onto the various social media sites and I see what response it gets.
  • I consider the comments (if any) that the post has and refine my ideas still further, possibly for a future tweet, update, or post.
  • With such a collaborative culture at work, it would be wrong to claim most ideas as my own, or even of a single author. I was heartened to see this recognition in Megan Garber’s Neiman Lab response to Gabler’s NYT Sunday Mag article last month “The Elusive Big Idea“. It still surprises me how much our culture and media industry wants to promote egotism. I do not believe that credit grabs motivate creative thinking and such see no logical reason to hang onto false credits. In fact, it is the false credits that most reveal both the egotism and lack of creative thinking. With only one exception, can I think of any time that a credit discussion I engaged in was warranted (even if even then what was done was counter to industry-standard). But I digress…

    Garber writes:

    “Increasingly, though, the ideas that spark progress are collective, diffusive endeavors rather than the result (to the extent they ever were) of individual inspiration. Ideas increasingly resist branding. The idea of the idea is evolving. We don’t treat Google like a Big Idea — though, of course, that’s most definitely what it is; we treat it like Google. Ditto Facebook, ditto Twitter, ditto Reddit and Wikipedia. Those new infrastructures merge idea and practice, ars and tecnica, so seamlessly that it’s easy to forget how big (and how Big) the ideas that inform them actually are. Increasingly, the ultimate upshot of the Big Idea — the changed world, the bettered world — is bypassing the idea stage altogether. As we build new tools and, with them, a new environment, blueprints are byproducts rather than guideposts. We’re playing progress, increasingly, by ear. And, in the process, we’re becoming less self-conscious about change itself — and about our role in effecting it.”

    I truly admire how this column and others like it have become community soap boxes to discuss the state of our industry and culture, to call attention to issues and options, and hopefully find some solutions. The plight of the independent filmmaker has progressed to the evolution of a truly free film community, and we are building it better together. The spirit of the collective endeavor is raging stronger every day and the results of this change of action and focus are shining brightly.

    As much as I was inspired to work in what I saw as the art form and medium that best defined contemporary existence, that inspiration came from those works of the great film auteurs. As difficult as it is to maintain this practice, I am inspired to keep pushing forward to help find some solutions by the commitment, labor, knowledge, and generosity displayed by the COMMUNITY on a general basis. Let’s keep it up and lift it up to all that this culture and industry can truly be.

    Beautiful stories will be written by gifted individuals. Our greatest movies will be helmed by unique and committed visionaries. But neither is all that our world needs or even wants these days. In this time of superabundance and open access, it is the shared endeavor of communities that give to the culture they want, share what they love, and contribute to the efforts of many, that will carry us through to a better future. We are on our way and can not shy away from the hard work ahead of us, even if we do not receive credit for it.

    Categories
    Truly Free Film

    John T Trigonis on “The Tao of Crowdfunding: Twitter Tips for Crowdfunders”

    I think you know how enthusiastic I am about all the tools and services out there to get our work done and share it with the community. We have moved from the Era of How to one of How To Do It Well. It is time to truly develop best practices.

    Luckily this blog has become a bit of a platform for the community to share what we’ve learned. We are recognizing that we can build something better together. Today, filmmaker John T. Trigonis shares what he’s learned marrying Twitter to his IndieGoGo crowdfunding campaign.

    Perhaps the most time-consuming part of any crowdfunding campaign is getting the word out about your project. Fortunately, we’re lucky to live during a time that’s made promotion as easy as sending an email or updating your Facebook status.

    Twitter, in particular, has become a powerful force in the universe of marketing your campaign because of its real time nature. The challenge, however, is to keep from succumbing to the dark side of promotion––Spamotion.

    Here are a few tips that I’ve learned through my own experiences crowdfunding my short film Cerise and by keeping a keen eye on other IndieGoGo campaigns.

    Twitter Tip #1: Be a Prologue Before a Petition
    IndieGoGo co-founder Slava Rubin says it best: “The world is shifting from a world of transactions to a world of relationships.” That said, it’s probably not the best idea to jump into promoting your campaign on Twitter if you don’t already have a strong following.

    I joined Twitter on May 4th, 2009. I began crowdfunding for Cerise on February 2nd, 2010, nine months after I had birthed a modest following. The first people I followed were friends, of course. Then I started searching hashtags (#film and #filmmaking, for example) and following handles like @grking and @kingisafink––people who shared similar interests. Before long, I was engaging in meaningful 140-character conversations about obscure directors like Jodorowsky and sharing my insights on filmmaking with those who followed my tweets.

    It would later be these same followers who would make up my core of initial funders for Cerise. But had I not given myself ample time to genuinely get to know them, to forge actual relationships instead of networks, I would have come across as a spam artist once my campaign had begun.

    Twitter Tip #2: Creativity is King
    It’s important to be creative when phrasing your tweets. It takes a little more time, but your followers will appreciate it since they’ll see that you’re not a @CampaignBot but an actual person who painstakingly crafts each and every promotional tweet as a affirmation of the passion he or she feels for it.


    This is a pretty standard, run-of-the-mill tweet.


    This tweet, however, shows a bit more pizazz and character!

    But even a fun, quirky tweet like @Tearsinrain78 and @grahaminman’s will lose its charm if you see it three times in a row. Linking your personal Twitter account with your project’s can be detrimental to your crowdfunding efforts. Chances are the majority of your followers are also following your project, so if your accounts are linked, your tweets will quickly become redundant. Put in that extra effort and make every tweet from every account something special and worth reading.

    Twitter Tip #3: Always Include Your (Shortened) Link
    When tweeting about your campaign, always include a link to its home page so that the first thing a potential funder sees after they click the link is your pitch video.

    And because every letter and space is precious on Twitter, you should always use a link shortener like Bit.ly or Ow.ly. I use Bit.ly the most because aside from its tracking capabilities, the site also allows users to customize their links, so your link could read bit.ly/TaoCF, which will bring you to my first Tao of Crowdfunding post “Three Ps for a Successful Film Campaign.” This way, it’s easy to remember while on the go and when using a mobile Twitter client.

    Another favorite of mine is Hootsuite’s Hootlet, which allows users to shrink and share a link from a page they’re currently viewing. The Google Chrome-based web browser RockMelt has similar features for maximizing your social media output, though for now it’s a close third for me since it’s still in its most primitive beta stages.

    Twitter Tip #4: #Hashtag #Everything #Relevant to your #Project
    In every tweet you send, be sure to hashtag words and phrases related to your project and campaign. This makes it easy for random people to find your project on Twitter or through a Google search.

    One thing you’ll want to do is find out what words or phrases bring specific communities together on Twitter. They’re sort of like little galaxies in a vast cosmos. For instance, if you’re making a movie, I’ve found that #film, #indiefilm and #filmmaking are popular hashtags for connecting to these communities.


    Right away I know that this is a romantically comedic film based in Oregon.

    If you’re working on a #vampire #film that’s got elements of #filmnoir and #comedy, then you’re quadrupling your outreach into the seemingly endless depths of the Twitterverse.

    Twitter Tip #5: Remember––Don’t Solicit, Elicit
    I introduced this nifty slogan in my previous blog post “A Practical Guide to Crowdfunder Etiquette” and it’s here as well because it’s doubly true when using Twitter.

    Asking people to visit your IndieGoGo page will only get you so far in your campaign, but if your aim is to raise upwards of $15,000, you’ll need to expand your network and start eliciting responses from potential funders and supporters.

    So what’s the difference between soliciting and eliciting? Well, here’s an example of a tweet that solicits, or asks, for help:

    Now there’s nothing wrong with a tweet like this, of course; it’s very similar to the “Make it happen for (fill in your campaign here)” tweet we saw at earlier. But look at this example of a tweet that elicits, or evokes a response:

    Obviously, this tweet for finishing funds for the film Jenny is meant to intrigue and make you want to click the link to see just what this campaign is all about.

    Twitter Tip #6: People Need Their Space
    Some people (myself included) still prefer to append their own messages before an “RT” and as much of your original message as possible. However, if by the time you click “Send” your character count is at zero, you risk possibly losing a personalized retweet that could elicit funds from other people’s followers.

    The retweet button can seem a bit cold a way of spreading the word about your campaign, especially if the person doing the retweeting feels strongly about your project. A well-crafted tweet is no accident, but remember to keep it short and simple and leave at least 15 characters available for that super passionate backer to RT with ease.

    Twitter Tip #7: @Everybody
    Whenever you thank a contributor, be sure to mention (@) that person on Twitter. If you’re not sure if they have a Twitter account or don’t know that person’s handle, do a quick Google search of that person’s name and “on Twitter” and you’ll find him or her fairly easy.


    The crowdfunders behind Jenny are thanking by name and by Twitter handle.

    Even if they don’t use Twitter much or if their little pastel egg of a profile picture hasn’t hatched into the person you know and follow, show your appreciation anyway so it’s on the record, transparent and in plain site of everyone.

    Bonus Tip: Avoid “The Flood” at All Costs!
    Charlie Chaplin said it best in his famous speech at the end of The Great Dictator: “You are not machines, you are men” (and women!) That said, do not flood your feed with tweets exclusively about your campaign.


    This example speaks a thousand words.

    While crowdfunding is a full-time job and you should maintain a steady presence on Twitter while you’re campaigning, you should still be interacting with your followers in ways unrelated to your #Project. Remember, people give to people, not @bots. Once you nurture and maintain those relationships as a person more than a campaigner, you build a network that will walk beside a person they’ll forever be proud to know and support.

    At the end of the day, it’s really all about personalization. That’s the most important thing to walk away from after reading this Tao of Crowdfunding blog post aside from a handful of helpful Twitter tips that will make your campaign a bit more approachable and more likely to reach its IndieGoGoal.

    Categories
    Truly Free Film

    CINEDIGM DIGITAL CINEMA LAUNCHES INDIE DIRECT™

    Everyday brings a better world for the independent filmmaker. Why should today not be like all others?

    I was glad to receive today’s press release announcing Cinedigm’s new endeavor. I was even gladder though to learn of it, which is why I gave them this quote expressing it!

    CINEDIGM DIGITAL CINEMA LAUNCHES INDIE DIRECT™, A FULL SERVICE THEATRICAL DISTRIBUTION AND MARKETING SOLUTION FOR INDEPENDENT FILMS

    Utilizing the Digital Cinema Backbone, Indie Direct™ Navigates Indies Through Theatrical Release Process

    Woodland Hills, CA, September 7, 2011 – Cinedigm Digital Cinema Corp. (NASDAQ: CIDM), the global leader in digital cinema, today announced the formation of Indie Direct™, a full service distribution and marketing solution for independent film producers and distributors.
    Utilizing the digital cinema backbone, Indie Direct™ provides independent producers access to Cinedigm’s long-time industry standard services for managing theatrical digital distribution, including booking software, content delivery, sales, distribution strategy, marketing planning and execution and box office recoupment.

    “From day one of digital cinema, Cinedigm has been at the forefront of deployment and installations,” said Chris McGurk, Chairman and CEO of Cinedigm Digital Cinema. “With Indie Direct™, we have tapped into our many years of experience and expertise to pioneer a turnkey method for indie producers to benefit from the flexible, precise and efficient distribution model digital cinema enables. Now, indie producers can reap the benefits of a full service studio in a one-stop shop.”

    “Cinedigm is offering independent film makers autonomy to control their own destiny with Indie Direct™,” said Ted Hope, acclaimed independent producer of such films as 21 Grams, American Splendor and In the Bedroom. “Anything we can do to strengthen the indie community is vital to the health of the entertainment industry overall and I applaud their efforts.”

    The first two production entities to sign up for Indie Direct™ are ARC Entertainment and Seven Arts Pictures. ARC is using the highest level of Indie Direct™ for eight titles it is releasing by the end of the year, including a horror film double feature with Zombie Diaries and Hellraiser, Smell of Success, Revelations, Killing Bono, Bunraku, Greening of Whitney Brown, Sundance Film Festival pick-up Knuckle, and Snowmen. Seven Arts Pictures will be using Indie Direct™ for the US release of The Pool Boys on September 30, 2011.

    ”A theatrical run tremendously enhances the value of the ancillary downstream revenue opportunities for our projects,” said Trevor Drinkwater, CEO of ARC Entertainment. “Cinedigm’s Indie Direct™ makes that theatrical play both efficient and affordable.”

    ”We are pleased that Indie Direct™ promotes the independent film community by putting a theatrical release within reach, both financially and from an execution perspective, ” said Jill Newhouse Calcaterra, Chief Marketing Officer, Cinedigm. “Previously producers had to go to multiple vendors for these services that are now available under our one roof.”

    Completely customizable based on scope of needs and project release, the suite of services provided by Indie Direct™ includes:
    · Booking software
    · Distribution strategy
    · Sales
    · Content management and delivery
    · In theatre marketing
    · Box Office tracking, settlement and collections
    · Marketing strategy planning
    · Marketing execution
    · Publicity campaign strategy and execution

    About Cinedigm

    Cinedigm is a leader in providing the services, experience, technology and content critical to transforming movie theatres into digital and networked entertainment centers. The Company partners with Hollywood movie studios, independent movie distributors, and exhibitors to bring movies in digital cinema format to audiences across the country. Cinedigm’s digital cinema deployment organization, software, satellite and hard drive digital movie delivery network; pre-show in-theatre advertising services; and marketing and distribution platform for alternative content such as CineLive® 3-D and 2-D sports and concerts, thematic programming and independent movies is a cornerstone of the digital cinema transformation. Cinedigm™ and Cinedigm Digital Cinema Corp™ are trademarks of Cinedigm Digital Cinema Corp. www.cinedigm.com