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

The Costs Of Crowdfunding

Filmmakers speak of crowdfunding as if it is free money. It isn’t. In some instances it isn’t even close to being so.

In Indie Film, where filmmakers are routinely asked to take blood from a stone, you’d think the costs would leap from everyone’s tongue.

So what platform, puts the most money into your pocket? Well, the answer ain’t so easy.

As this is now the era of the six figure crowdfund raise, the answer is a combination of low fees and high user base. How many campaigns truly open up beyond the friends and family base?

The hard facts are a little easier to come by. Costs, in ascending order:

Kapipal • Currently no fee + PayPal processing fee (~2-4%), (must use PayPal, Italian)
IndieGoGo • 4% fee if you make your goal, 9% otherwise, +3% credit card processing fee
Kickstarter • 5% fee, +3-5% credit card fee (only funded if you make your goal)
Eppela • 5% fee + PayPal processing fee (~2-4%), (must use PayPal, only funded if you make your goal, Italian)
RocketHub • 4% fee if you make your goal, 8% otherwise, +3-5% credit card fee
SoKap • 5% fee, 10% fee on product sold via their marketplace, +3% credit card fee
United States Artists • 15% fee + 4% credit card fee

Categories
Truly Free Film

Lynette Howell on “Producing Is Supporting New Talent Through More Than Just Production”

If you are a regular reader of this blog, or follower of mine on Twitter, I think you know that for me a Producer only deserves that credit when they truly commit to support the project from beginning to end. You also probably know how challenging I find the calling of producing these days, when we are required to do more and more, and are rewarded, at least financially, less and less.

It is always inspiring for me, when a Producer steps forward, embraces the full demand of the role, and does with a great attitude and recognition of the benefits that come from the commitment. Lynette Howell has not been producing that long, but she has learned a great deal, as we all can from her generosity of a guest post today.

ON THE ICE –
Supporting new talent through more than just production:

The kind of exploration into distribution that I find myself doing on my film ON THE ICE is new for me… uncharted territory and truthfully out of my comfort zone, but one that I find myself glad I am being somewhat forced into not only embracing, but championing.

As an independent Producer, I started my company with the mandate of supporting new talent. At first, this was a necessity. I didn’t have any relationships with established Directors when I entered the business. Therefore the only way to begin a career producing meant that I had to find projects that other more established producers didn’t want to take on – either because they were too challenging to make, or too small for a Producer to earn a living on. This necessity quickly turned into my true passion for discovering new voices and this passion then turned into an understanding of how crucial this kind of support is to the continued growth and evolution of the independent industry.

Since my first movie almost 7 years ago (Ryan Flecks HALF NELSON) I have produced many movies of all sizes and genres, ranging from Derek Cianfrance’s BLUE VALENTINE to David Ellis’s SHARK NIGHT 3D. But it is not the size, scope or scale that draws me towards putting my energy into a project — it is about finding stories that speak to me, and they continue to often come from new filmmakers.

As an Advisor to the Sundance Creative Producing Initiative, I continue to be a huge supporter in any way that I can of up and coming filmmakers. In 2009 I met Andrew Okpeaha MacLean, the Writer and Director of the short film SIKUMI that was the winner of the Jury Prize for Short Filmmaking at Sundance the prior year. He was at the Directors Lab with a script for his feature film ON THE ICE along with his producing partner Cara Marcous who was also a Lab fellow.

The script for ON THE ICE had so many built in challenges to it —
1. LOCATION — Set in Barrow, Alaska — which is the Northern-most point in the United States, deep in the Arctic Circle. The only way in or out during the winter months is by plane.
2. WEATHER — Temperatures can drop to 40 below with wind chill. All gear has to be winterized prior to shooting. And for some scenes crew cannot have any skin exposed because of the high risk of frostbite.
3. CASTING NON ACTORS — The script featured an all Inuit cast and Andrew felt it was crucial to work with local non-actors.
4. BUDGET — Making a movie in these extreme conditions does have a cost and so raising money for this would be extremely challenging.
5. SHOOTING SCHEDULE — The ONLY month we could shoot in Barrow was April because of weather and light issues (Barrow has 24 hours of darkness in the winter, and 24 hours of sunlight in the summer). Therefore we had a very short window to put this movie together!

But it was such a fresh script, setting and structure for a movie that I simply had to get involved despite all the obstacles

Through 5 different equity investors, a post-production deal, numerous grants, a tax credit and tons of support in kind, Cara and I managed to raise the money necessary to make the movie.

Production was such a challenge because of the above-mentioned issues (and some I didn’t forsee, such as using a bucket for a toilet everyday on the frozen tundra). But we managed to make a very special film that feels unlike anything I have seen before. The movie premiered at Sundance in competition earlier this year and went on to win two awards at the Berlinale Film Festival (the Crystal Bear and Best First Feature Film). The awards validation proved that there was an audience for this film, but we all knew that it was going to take a creative way to reach them.

All the incredible effort from so many people pushing this unbelievably challenging movie from a short film all the way to a critically acclaimed feature film found itself with an uncertain distribution future.

Given the technological advances and through social media, there is an opportunity for my support, your support and the support of many others towards new filmmakers to now transition into distribution in a meaningful way.

I have made movies that went to festivals before and weren’t able to find a distributor willing to pay a MG, or give the movie a wide, or even aggressive platform release. I have been left selling a film for a very small amount of money and then having it released in five to ten cities and ultimately no one really hearing about it or seeing it due to lack of marketing dollars or the same level of passion and commitment from the distributor that came from the filmmaking team who struggled to make the movie. Filmmakers traditionally feel more comfortable with the idea of a “real” distributor releasing a movie, even without a viable plan to release their film because there is a stigma associated with not having this branding. I believe this stigma is potentially short sighted and want to support the idea of alternative methods of distribution, especially for movies like ON THE ICE which don’t fall into the obviously commercial slam dunk scenarios for most distributors, no matter the size – but that clearly have an audience.

Through the new Sundance Initiative and Kickstarter, we are exploring a different approach to distribution for ON THE ICE. We are trying to raise $80k which will allow us to take the movie to a much broader audience than would be possible had we gone down the traditional path of a somewhat cosmetic theatrical release or a non-theatrical route. I want this movie to be SEEN by as many people as possible. The work that our team has been doing is staggering – more care and attention to detail in how to approach this audience and really use the money raised to reach a much broader number of people is incredible. It takes a lot of effort and determination. But I want to prove it can work, so that we can continue to ensure that the new voices of tomorrow’s filmmakers have a home for their movies.

If you are reading this, there’s a good chance you are involved in independent film or independent art of some kind. So, you may not be in a position to pledge much money, but I hope that you will consider passing our Kickstarter link on to the friends and colleagues in your life who might be interested in what we’re trying to do. The act of forwarding this on is incredibly powerful for us and it could mean we can release our film.

To support ON THE ICE go to our kickstarter page:
http://www.kickstarter.com/projects/andrewmaclean/on-the-ice-the-movie

Lynette Howell
Silverwood Films

Categories
Truly Free Film

How Would You Use All 27 New Platforms Available For Direct (aka DIY/DIWO) Distribution?

UPDATED 8/31 730A (Now 30 Platforms & Services!)
Thanks for the recommendations in the comments and elsewhere!

UPDATED 9/1 630A (Now 31 Platforms & Services!)
UPDATED 9/1 830A, UPDATED 9/8 8A (32!), UPDATED 9/15 6A, 9/23

UPDATED 5/15/2012 (Now 33 Platforms & Services!)

We are awash in wonderful opportunities. Distribution has long been said to be one of the top concerns of Truly Free / Indie filmmakers. Ditto on the marketing side. We’ve been neglectful to address the equally important social side, but that’s changing. Financing is always a challenge, but even there we have new help and hope. The great news is that never before have we had so many opportunities in all these areas.

Now comes the time to develop some best practices. How do we use all of these wonderful opportunities? How do we prepare for them? How do we access them? Here’s a list of the 27 platforms & tools I know of; I am sure you know some more to add to the list. Let’s get this new model started!

How about everyone pick a platform (ideally one they used) and write up some recommendations on how to use it well, and we run them as posts on this blog?

So…

How do you think we should utilize all of these great tools and platforms? We are not going to figure it out one by one on our own. The truth will only be revealed through collective endeavor (and a little good fortune). I would love to hear some advice from all the budding and experienced PMDs out there… not to mention filmmakers who have utilized or plan on utilizing any of these.

I am having a bit of a hard time coming up with the proper discriptions for the tools and services. This is very much a Work In Progress. If you have a better definition, please let me know. Several services show up in different categories. There are definitely suppliers that I have forgotten or neglected to mention (my apologies, but this is a public service and not my job job).

1. Artist Direct Distribution / Platforms: FilmDIY (promo video), MubiGarage, Ooyala, Viddler,

2. Artist Direct Distribution / Platforms – non-specialized: These are places filmmakers can “sell” their work, but are not filmcentric. Craigslist, Etsy,

3. Artist Direct Distribution / TVOD Players: Distrify, Dynamo Player (Review), EggUp (review), FansOfFIlm.tv (still in Beta) , FlickLaunch, Groupee, OpenFilm,

4. Artist Direct Distribution / Service Facilitators: Sundance’s Artist Services,

5. Audience Aggregation, Analytics, & Commerce: FanBridge, TopspinMedia

6. Audience Participation: LiveFanChat, Kickstarter, IndieGoGo, Social Guide, SoKap, Watchitoo

7. CrowdFunding/Audience Participation:
     IndieGoGo • 4% fee if you make your goal, 9% otherwise, +3% credit card processing fee
     Kickstarter • 5% fee, +3-5% credit card fee (only funded if you make your goal)
     RocketHub • 4% fee if you make your goal, 8% otherwise, +3-5% credit card fee
     SoKap • 5% fee, 10% fee on product sold via their marketplace, +3% credit card fee
     United States Artists • 15% fee + 4% credit card fee
     Eppela • 5% fee + PayPal processing fee (~2-4%), (must use PayPal, only funded if you make your goal, Italian)
     Kapipal • Currently no fee + PayPal processing fee (~2-4%), (must use PayPal, Italian)
     And 10 others listed here

8. Digital Delivery Facilitators: Veedios (article)

9.Digital Distribution Access Providers: Brainstorm, Distribber (analysis), GoDigital, Gravitas, Inception Digital Services, IndieBlitz ,Might Entertainment, New Video, Premiere Digital,

10. Digital Download & Streaming Aggregators: Amazon, AsiaPacificFilms.com, CinemaNow (aka BestBuy), FilmDIY, iTunes, Vudu, XFinityTV (aka Comcast),YouTube

11. Digital Limited Run US Theatrical Exhibition: Cinedigm, FathomEvents, Screenvision

12. Digital Streaming Aggregators FREE (AVOD): Crackle, Snag (Owners of IndieWIre, host of my blog), Vimeo, YouTube

13. E-commerce: E-Junkie (shopping cart)

14. Educational Market: An Overview, Educational Market Streaming

15. Exhibition/Four Wall Services (i.e. self booking): QuadCinemaFourWall

16. Exhibition/New Model: Emerging’s Digital Repertory Program, Specticast

17. Free Peer to Peer: VoDo, BitTorrent

18. Fulfillment: Amazon Services, Amplifier, theConneXtion, CreateSpace, FilmBaby, IndieBlitz,Kufala Recordings, Paid, Transit Media, I got a lot more when I did a search but I don’t know one from the other.

19. Influencer / Social Media Analytics: Klout, PeerIndex, Topsy, Traackr, Twitalyzer,

20. Markets / Online On Demand For Territorial Licensing (B2B): Cinando, Festival Scope,

21. Mobile Phone & Tablet Film App Builders: Mopix (see demo here) Stonehenge

22. Mobile Video Sharing: Thwapr,

23. Platforms: Facebook, Playstation, Roku, RoxioNow, XBox

24. Search (for SEO): Ask, Bing, Google, Yahoo

25. Social Discovery Platforms ( Online TVOD): PreScreen

26. Social Networks: Facebook, Google+, LinkedIn, Twitter, Weibo

27. Stream To View Transactional VOD (Pay): Constellation, Prescreen (review)

28. Streaming Subscription (SVOD): Amazon, AsiaPacificFilms.com, Fandor, Hulu, LoveFilm, Mubi, Netflix

29. Trailer Distribution / Online Internet Video Archive

30. Video Conferencing / Multi-party (for Fan Engagement & Remote Appearances): Watchitoo

31. VOD Aggregation: itzon.tv,

32. VOD Channels: Multichannel Video Programmers (note: not all offer VOD), FilmBuff

33. Facebook Video Players/Channels:Cinecliq, Milyoni

Categories
Truly Free Film

Joke and Biagio on “How to Build an Emotional Connection with Your Audience”

Posts about how to use crowdfunding effectively have become a bit of mainstay in the indie film blogosphere. But that doesn’t make them any less crucial. Crowdfunding has become the most-talked about new tool in a filmmaker’s arsenal for getting your movie financed. It’s an intimidating commitment, particularly if you want to do it well. Luckily we all have a community to turn to, a community that has been very generous with their shared knowledge. Joke and Biagio, a husband & wife filmmaking team, collected their favorite & most helpful crowdfunding posts recently — and having included a post from this site SPRANG to my attention. They not only found posts that were useful, but also were then able to recognize what was missing. Today they guest post and fill in one of those gaps: the emotional connection between your crowdfunding campaign and your audience. Thanks guys!

The internet’s a crowded place. Everyone’s promoting something. A product, a cause, a film…

Make your movie stand out from the crowd by connecting with people on an emotional level.

How the Heck Do I Do That?

Below are some best-guess tips from our experience making and promoting Dying to do Letterman, our feature documentary which will qualify for Academy Award® consideration at DocuWeeks™ 2011.

So far, the audience response has been emotional — and beyond our wildest dreams.
In looking back, here’s what we’ve learned.

1. Start With a Project that Makes You Emotional.

Oodles of filmmakers miss the mark on this point.

If the mere thought of the film you’re planning doesn’t make you laugh out loud, bring tears to your eyes, keep you up late at night and bounce you out of bed early in the morning, make another movie that does.

You’ll never move an audience if the project doesn’t move you.

2. Connect To Others With Your Film’s “Story”

We’re not talking about “plot” or “script” here.

What’s the story of your film?

Why are you making it?

What extraordinary circumstances in your own life gave you no choice BUT to make this movie?

From the dawn of time great stories have bonded people, creating a shared human experience. Today those stories are told around campfires, water coolers, and dinner tables.

No one’s going to retell your elevator pitch to their friends, but they will relate an amazing story about a filmmaker they met.

When it came to our story, we were “lucky” (as filmmakers, anyway) to have an emotional behind-the-scenes story.

Before sharing this example, we acknowledge you might not have such built-in emotional circumstances. That’s okay. Find your story that connects with people on a gut level–a story they want to retell to others–whether funny, horrific, inspiring, or unbelievable.

Ours went something like this:

“One of our best friends is a stand-up comedian and he’s always wanted to perform on Letterman. We just found out he has cancer and might only have five years to live. When we called to see if we could help in any way, he told us he’s dedicating what’s left of life to chasing his dream, and asked us to film it. It was a hard decision, but we’re throwing in our life savings and seeing the movie through to the end.”

That story moved us. It moved the people we told. They told others.

Find your story.

3. “Social” without the “media” part…

Social media will be a huge part of promoting your film, but nothing can recreate the emotional connection made between two real people.

In person.

No computer in the middle.

Find any excuse to personally introduce yourself to your potential audience.

In our case, during the filming of the documentary, we went out of our way to shake every person’s hand, learn their name, and thank them for their involvement…even if they were just casual passers-by.

At every film festival screening we walk through the line before the film starts, introduce ourselves as the filmmakers, and sincerely thank people for coming to our movie.

We now know many of them by name, and they actively keep in touch on Facebook and Twitter, as well as our blog and the official site — the perfect time for “social media” to step in and help out.

4. Share Your Emotions On Video

Allow your potential audience access to your life by posting regular video updates on your filmmaking journey. (This is something we started far too late.)

Be real. No one wants to support a “too cool for school” filmmaker. People support those they can relate to. Show you’re as vulnerable as the people you’re reaching out to every day (as long as you’re genuine.)

It’s probably no coincidence that the day this video went up we raised about $10,000 for our Kickstarter campaign. We almost didn’t put it up because it was a little embarrassing.

Clearly, that would’ve been a costly mistake.

5. Swag vs Mementos

me·men·to/məˈmenˌtō/

Noun: An object kept as a reminder or souvenir of a person, place or event.

swag /swag/

Noun: Not a memento.

How many film festivals have you been to where you’ve been hit with buttons, mugs, pens, tee-shirts–you name it?

Some swag is clever. Some isn’t. Most you’d never give a second thought.

Rather than spend big money on swag, spend mucho time coming up with a creative, inexpensive item your potential audience might actually hold on to — even cherish — in the years to come.

It’s not easy.

In our case, after weeks of brainstorming, Steve Mazan (subject of Dying to do Letterman) said, “You know, I was dying to do Letterman, I wonder what everyone else is dying to do?”

He then came up with our “I’m Dying To…” buttons.

They’re blank in the middle, and Steve personally writes people’s dreams on them with a sharpie. We street team days before the movie plays (and by we, we mean the two of us, Steve, and whoever else we can con into it) and give people their “dream buttons” along with a flyer listing our screening times.

People wear the buttons, strike up conversations with complete strangers about their buttons, all the while connecting their own dreams back to our movie.

We credit those buttons with our numerous sell out crowds, standing ovations, and a more amazing launch to our Kickstarter campaignWe’re Not Psychologists

We’re just indie filmmakers who want others to be as passionate about our movie as we are every day.

Over the years we’ve been lucky to work on many different types of film and TV projects, but we’ve never had such enthusiastic audience response and participation until now.

The difference?

People are connecting to our film emotionally.

Work hard to achieve that, and your film may be one of the lucky ones that breaks out.

We’re hoping Dying to do Letterman proves to be one of those films.

We get emotional just thinking about it.


About Joke and Biagio:

Wife and husband team Joke and Biagio are best known in the unscripted world for executive producing “Scream Queens” on VH1, “Commercial Kings with Rhett and Link” on IFC (currently airing Friday Nights at 10pm/9 central) and the upcoming documentary series “Caged” on MTV. Other credits include “Beauty and the Geek” and “Oh Baby, Now What?” The duo earned their documentary wings under acclaimed filmmaker R.J. Cutler (“The War Room,” “The September Issue”) and honed their reality TV skills working with luminaries like Mark Burnett. Their company, Joke Productions, Inc., is growing fast. They blog and tweet about making film and TV at www.jokeandbiagio.com and @JokeAndBiagio.

About Steve Mazan:

In the decade since starting in the great San Francisco comedy scene, Steve Mazan has played clubs, colleges and corporate events across America. In addition, to reaching his dream of performing on David Letterman’s show, he’s been a repeat guest on Craig Ferguson, Byron Allen and the Bob & Tom Show.

But of all the shows Steve has done, he remains most proud of the many trips he’s made to the Mid-East to perform for our troops. As a former Navy Submariner, Steve knows how much those men and women sacrifice for our country, and how much they need our support, and someone to laugh at.

Categories
Truly Free Film

Video: Yancey Strickler of Kickstarter

If Indie Film had a person of the year, it would be Kickstarter this year. It’s given more movies the needed boost than anyone else this year (as today’s earlier post can attest.
Thanks to Dan McGuire for the tip on this!

Categories
Truly Free Film

Alex & Andrew Smith on “Crowdfunding = Barnraising: We All Have To Do Some Heavy Lifting”

It’s kind of hard to find the appropriate analogy for what we do, particularly these days. Often I am tempted to think it is running full speed against a brick wall without any protective headgear on, hoping that a door may open the moment before impact. But those are on my down days. Usually I can see us all working together, building bridges, fusing connections, doing the labor that will lift the culture in many ways. It shouldn’t be so hard to describe that, but I still struggle.

Which is one of the reasons I was so pleased to reconnect with Alex and Andrew Smith, twin brothers, whose go to it attitude and willingness to reach high with their ambition has never been lagging. They look for the truth of it, and don’t shy from the honesty of the hard work. Which is why the analogy they unearthed for crowdfunding for their guest blog today is so fitting.

Back in the 70’s, when we were little mop-haired twins, our parents would host ‘work parties” at our ranch in rural western Montana. They’d call up all their friends– my father’s English Lit colleagues at the university, his graduate students, all their hippie, carpenter, writer, rancher, logger and bohemian buddies– and invite them up, first to do some ranch work, and then to have a party.

And we would all, together, gather stones spit up from the meadow and stack them on rockpiles; pile up old fence posts, rotten lumber, old rusty tractor parts and scrap metal; we would clear irrigation ditches and thin the larch stands.

And every spring we would take on some seriously ambitious, semi-crazy project—trying to turn the basement of an old burnt down farmhouse into a swimming pool, or fusing two old hand-hewn turn-of–the-century log cabins together, to form the “big house” – the house in which we grew up.

In short, a lot of good people would come together for a short period of time, and they’d get something epic done quickly. Then there’d be a softball game, and a feast— chili and salad and beer— and a bonfire with guitars, stories and singing. We still have the Super-8 movies to prove it.

Those mid-1970’s community gatherings, in their “Whole Earth Catalogue” funky, post-psychedelic form, were a reiteration of a much earlier homesteader model— the old fashioned ‘barn-raising’. (Cue the clip of Harrison Ford in suspenders in “Witness.”) The family who needed the barn would do all the heavy preparations. The mapping and measuring. The gathering of tools, the cutting of lumber, the cooking– and they’d get everyone to come over– and they would all, together, raise that barn. And in the next season, this family would pitch in to raise some else’s barn.

And, so, too, now, creative project-makers find themselves returning to that reliable, roll-up-your-sleeves, grass-roots, reciprocal “gather”— and its corresponding “glean”—salvaging the fine apples that the industrial machines left behind– to get our crops in (the literal ‘roots of grass’), and our barns built, be they actual buildings, or specifically, in this context, the sturdy, scrappy, home-made architecture of indie films. We’re not talking DIY, but rather, DIO—‘Do It Ourselves’. This joint effort spirit is what gives crowd-financing platforms their energy, power, and, indeed– joy.

Our own father is gone now– he’s been gone a long time. Not all of his projects turned out exactly the way he thought they would: few things do. But on those golden ‘Days of Heaven’-like gathers, magic happened. Serious work happened. It was a truly communal effort: work hard; play hard. Later there’d be dancing— and even some howling at the moon. Almost forty years later, the result of those efforts still bear fruit.

And that’s what we are trying to do with the Kickstarter {Barnraiser} campaign for our film, Winter in the Blood: gathering, gleaning, raising load-bearing beams. Digital uploads and Mail Chimp-generated email lists have replaced Whole Earth catalogue instructions, but the communal work— and the sharing of strategies of ways to best get to our goals— remains the same. “You help us with our project—and we’ll honor your contribution. And help you with yours.”

We’ve been brainstorming and barnstorming for over four years on our film project. We’ve drawn the maps, measured the clearing, cut the timber, smithed the spikes. We’ve stewed the meat, iced the beers, set stumps around the fire, and invited a bunch of good people to join us. The script is written, the cast is cast, the crew is lined up, and we are—90% financed.

Now we just need a little help– to hoist our movie up onto its feet. To anchor it to the ground.

To raise this barn of a film.

Thank you for reading, and thank you Ted for articulating (and being) Hope.

–Alex & Andrew Smith

Alex and Andrew Smith directed the feature film THE SLAUGHTER RULE which premiered at Sundance in 2002 (and starred the incredible David Morse, and the then unknown Ryan Gosling & Amy Adams). They are now crowdfunding for their next feature and the campaign ends July 6th. Please contribute. I did

Due to popular demand to get to know a bit more about the film, the WinterInTheBlood team have provide these additional links to media that they created for Winter in the Blood.

Our presentation about the film- http://www.youtube.com/watch?v=Ht0N2UrOnCo

Alex, Andrew & Ken on writing the film- http://www.youtube.com/watch?v=cehbpHTGDpk

Susan Kirr talks about Producing- http://www.youtube.com/watch?v=vqA0687u17I

A How-To video for Kickstarter- http://www.youtube.com/watch?v=e5beV7FglLo

A word from one of the interns that will be joining us from Long House Media- http://www.youtube.com/watch?v=IpTWaTO-zO4&feature=related

David Morse talks about the project- http://www.youtube.com/watch?v=tBX6jl7gkPE&feature=related

Chaske Spencer talks about the project- http://www.youtube.com/watch?v=KbuzEr5E5i8