Filmmakers, you’ve been lied to. Film school has taught you to pitch the WHAT about your project — WHAT is the story, WHAT is the cast, WHAT are the target group for the film etc — but the WHAT is not the most important element when it comes to crowdfunding. The WHY is! You see it comes down to your likability on camera. ‘But I’m cool and I’m a great filmmaker’ I hear you say. While that’s good for you, that’s not why people want to engage with your crowdfunding campaign.
by Andrew Einspruch
Filmmaker Andrew Einspruch attended Screen Forever 2013, the conference of Screen Producers Australia, this past year and wrote a series of articles for the event, which he’s kindly allowing us to reprint here. These articles originally appeared in Screen Hub, the daily online newspaper for Australian film and television professionals.
Video on demand (VOD), digital distribution, and the changes industry and consumers face every day were all over Screen Forever 2013. Andrew Einspruch digs through a piles of notes to find the jewels.
The world of screen entertainment and content is going VOD. That much is inarguable. Yes, there are issues, and yes, we’re not there yet (whatever your version of “there” happens to be). But it does not take much squinting to see that it won’t be that long before all content is delivered online, and it will be on demand for consumers to enjoy when, how and where they want.
Even so, you’d be forgiven for rolling your eyes, and thinking that, for now at least, it was more of a pain than it was worth. Or that it was too overwhelming. Or that it was impossible to make a decision about which way to go, or even if can do anything because of contracts signed long ago. Wendy Bernfeld, Managing Director of Rights Stuff, started a session called “Catching the Digital/VOD Wave” with the following common thoughts about VOD:
Any of those sound familiar? If you are a producer, the odds are good you’ve muttered at least one of them.
And yet…
Have you heard Thomas Mai’s presentation on Social Media and what it means to the film business? I had the good fortune to witness it this past summer, and thus am very happy that it is now up on the web for you all to benefit from. Thomas used to run Trust Film Sales which handled Lars Von Triers’ films and many others. These days he generally travels and spreads the social media gospel for the filmmaking set. The full presentation runs an hour, but frankly if you are reading this now, you must take the time this weekend to make sure you are up to speed. I am sure you will be glad you did.
Thomas starts things off with a video on the rise of Social Media. Even if you’ve seen this before, it still is stunning. His lecture begins about four minutes in. I am eager to hear your thoughts on this.
Thomas Mai Presentation ETMA, Strasbourg from Thomas Mai on Vimeo.
So what do you think?
We have a bit of a redundancy in the recognition of those that create good work, but that good work does not end with what is up on the screen — which is the part that everyone seems to want to write about. I feel however that we must recognize those that focus not just on the development and production of good work, but those that commit themselves to ALL of cinema, including discovery, participation, appreciation, and presentation — what I consider the other 4 pillars of cinema.
This list, like last year’s, is not meant to be exhaustive. Okay, granted I did not get to the quantity to the 21 Brave Thinkers that I did last year, but the quality is just as deep. Regarding the lesser amount, I don’t blame the people — I blame the technology (of course). I wish I had better tools of discovery that would allow me to find more of the good work and efforts that are out there. I know I am overlooking some BTs again this year. But so be it — one of the great things about blogging is there is no need to be finished or even to be right (although I do hate it when I push publish prematurely — like I did with this — when it is still purely a draft).
I know I can depend on you, my dear brave thinkers, to extend and amend this work into the future. I do find it surprising how damn white & male & middle aged this list is. And that I only found two directors to include this year. Again, it must be the tools and not the source, right? Help me source a fuller list next year; after all, it is as Larry K tweeted to me about regarding who are the most brave these days: “Those whom you don’t know but who continue, despite the indifference of all, to create work that is authentic,challenging and real.” How true that is!
Last year I asked and stated: “What is it to be “brave”? To me, bravery requires risk, going against the status quo, being willing to do or say what few others have done. Bravery is not a one time act but a consistent practice. Most importantly, bravery is not about self interest; bravery involves the individual acting for the community. It is both the step forward and the hand that is extended.”
This year, I recognize even more fully that bravery is a generosity of spirit, as well as a generative sort of mind. It is extending the energy inside ourselves to the rest of the world. I often get asked why I blog (or why so much), and I have no answer for those folks. It can’t be stopped, for I believe if we love the creative spirit as much as the work it yields, if we believe we create for the community and not for the ego, how can we not extend ourselves and turn our labor into the bonds that keep us moving forward. In other words, no one can afford to create art and not be public (IMHO). If you want a diverse and accessible culture of ambitious work, you can not afford to simply hope it will get better — you have to do something (or get out of the business, please).
So without any further adieu, here’s my list of the nineteen folks who have done more on a worldwide basis
to start to build it better together,
Guest post by Thomas Mai www.thomasmai.net
There are many advantages to Crowdfunding, but one of the less known is that you actually get to test if there is an audience for your film BEFORE you make it. We filmmakers are driven by passion (clearly not the money) and often we spend 2-4 years on making a film, just to find out that nobody really cares about it.
By Crowdfunding even smaller amounts you send a clear signal to potential investors/ film funds that you know who your audience is (and often where they live) this makes it so much easier for investors/film funds to believe in you because you have have proven that the audience believes in you.
In the traditional way of making films, audience was this magical thing that entered the life of the film once it was completed. Sure, we thought about the audience while making the film, but there was no direct audience participation. Yes, we could do test screenings and go back to the editing room but the film was ALREADY shot.
When I spoke at IFF at TIFF with Festival Darling‘s Thomas Mai, he said there were 154 websites that posted film trailers. We need that list. Maybe Thomas will share it with us, but in the meantime with Sundance around the corner and Berlin on it’s heels, we can’t afford to wait to post. Let’s build that list! What sites do you know?
Eugene at Indiewire caught the essence of the public conversation I had with Thomas Mai of Festival Darlings to kick off the IFF at TIFF the other day. I particularly like the photo, so check it out here.
