Building a business is an incredibly challenging task. You must recognize a problem. You must find a solution. You must structure a business model that is viable, strong, and withstanding. You must raise money on an idea alone. You must assemble a team. You must prove a market. You must acquire a customer base. You must create. You must operate efficiently and effectively. You must scale. Most importantly – you must provide a return.
You read about them first here. And second here too, but it is great to see BondIt getting wider industry coverage. I was happy to give them a quote.
“I believe they are taking a community-minded entrepreneurial approach to improving our industry,” said veteran independent producer Ted Hope
I caught all the toads I could as a kid. I kept them in cages. One morning, they were all gone, and in their place was a note from Walter Wart The Freak Frog. This lovely short animation reminded me of those days…
TANK from Nate Milton on Vimeo.
Thanks yet again for Disposable Film Festival for tipping me to this.
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Courtesy of CastAndCrew.com
By Paul Osborne
There’s been a recent battle-cry within the independent film community – lead by folks like Ted Hope and Jon Reiss – urging us filmmakers to publish the revenue generated by our movies, specifically in regard to new forms of distribution. Unlike the weekly box office reports of studio films, the actual figures for indies, particularly those using newer release methods such as Video-On-Demand, are hard to come by. Without them, and subsequently without any way of determining the success or failure of specific releases, it makes perfecting and improving new avenues of distribution quite difficult. How do you know what’s working, and what’s not, if you don’t see the results?
IDA and Film Independent are working on your behalf to solve a big problem hurting filmmakers everywhere. They deserve a big THANK YOU from us all.
Read this:
As every facet of the film industry has experienced, the digital era has drastically shifted the economics of how films are produced, marketed, and distributed. Camera technology has reached a level that provides filmmakers at any stage of their career the ability to produce content with the potential of landing a fruitful distribution deal as the world has witnessed with films such as Beast of The Southern Wild, Like Crazy, Another Earth, and Martha Marcy May Marlene – all produced at 1M or under and distributed theatrically through studios. 
