Thanks Yanko Design!
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Month: November 2009
I am prepping a new film with the shortest amount of time I have ever had to prep a movie. It is also one of the more ambitious projects I have been involved in. There is so much to do I can’t afford to squander any time (luckily I have been prepping some blog posts in advance, so this doesn’t take time — it expands time!). The short prep is also unfortunate because now is a time that the producer has to do even more than ever before.
My To Do List may be more of a Wish List these days. Instead of doing everything I think I should be doing, I have to focus first on what absolutely needs to be done to get the film in the can.
Now is the time we should be doing things differently; yet given the opportunity to make the film I want, with the cast I want, even at a fraction of the budget that I want — how can I let that opportunity go by?
Having more options and better tools, doesn’t solve everything by any means.
These times are tough indeed. Everyone knows it is hard out there for an indie filmmaker, particularly for a truly free filmmaker. Most would acknowledge that it is harder now than it has ever been before. Few have revealed (or admitted) how the current situation will change their behavior. I think right now, with reality staring me in the face, I can only speak about what I wish I could do. There is still a big gulf between thought and expression. How does the present alter what we all wish to do on our films?
Personally speaking, I would say we need to evolve the definition of what it means to be ready to shoot a film. Granted, more can always be done on the creative level and that is certainly worthy of discussion, but here — on TrulyFreeFilm — we are discussing the apparatus, the infrastructure, the practices that can lead to a more diverse output, robust appreciation, business model, and sustainable practice of ambitious cinema. So, what would I do if I really had my shit together? I have been trying to answer this and share my thoughts along the way.
Today’s version:
- Recognize it is about audience aggregation: Collect 5000 fans prior to seeking financing. Act to gain 500 fans/month during prep, prod., post processes.
- Determine how you will engage & collect audiences all throughout the process. Consider some portion to be crowd-funded — not so much for the money but for the engagement it will create.
- Create enough additional content to keep your audience involved throughout the process and later to bridge them to your next work.
- Develop an audience outreach schedule clarifying what is done when — both before and after the first public screening.
- Curate work you admire. Spread the word on what you love. Not only will people understand you further, but who knows, maybe someone will return the good deed.
- Be prepared to “produce the distribution”. Meet with potential collaborators from marketing, promotion, distribution, social network, bookers, exhibitors, widget manufacturers, charitable partners, to whatever else you can imagine.
- Brainstorm transmedia/cross-platform content to be associated with the film.
- Study at least five similar films in terms of what their release strategy & audience engagement strategy was and how you can improve upon them.
- Build a website that utilizes e-commerce, audience engagement, & data retrieval. Have it ready no later than 1 month prior to first public screening.
- Determine & manufacture at least five additional products you will sell other than DVDs.
- Determine content for multiple versions of your DVD.
- Design several versions of your poster. Track how your image campaign evolves through the process.
- Do a paper cut of what two versions of your trailer might be. Track how this changes throughout the process.
- Determine a list of the top 100 people to promote your film (critics, bloggers, filmmakers,etc)
- Determine where & how to utilize a more participatory process in the creation, promotion, exhibition, & appreciation process. Does it make sense for your project to embrace this?
- How will this project be more than a movie? Is there a live component? An ARG? An ongoing element?
- How can you reward those who refer others to you? How do you incentivize involvement? What are you going to give back?
- What will you do next and how can you move your audience from this to that? How will younot have to reinvent the wheel next time?
- What are you doing differently than everyone else? How will people understand this? Discover this?
- How are you going to share what you’ve learned on this project with others?
As I’ve said, I know I am not doing all of these yet on my current production, but that leaves me something to strive for the one following. The goal is to keep getting better, after all. But man, I wish I could be doing more!
The desire to do more is so huge, but time and resources limit me, limit us. Sometimes it feels like an accomplishment to at least get the film financed. Still though, I can’t claim to be doing my job (producing) well if I am not doing all of these. I have to do better. I know it is even harder on smaller jobs. Still though, as much as our job descriptions keep expanding as our salary level decreases, this list is what we must accomplish. Or at least it is the list I think we need to accomplish right now.
I am going to shut up now and get to work. There’s too much to be done.
Is salt that much different than sand? Aleksandra Korejwo can answer that for you. In follow up to yesterdays excursion into the sand bowl, we bring you this for those noses with a different taste.
Although the description says that this one is band to sand:
One of the things I like most about this type of animation, is how it demonstrates how many different things are going on at once. You can see a bit of story, there is color and shape and how they both mix, and then there is the element of time and how the other elements communicate with it, changing over the course of the animation.
Kseniya Simonova’s from The Ukraine. And here she is on Ukaraine’s Talent Show. Here in our bowl, we rate her higher than that Boyle woman, but what do we know? We know we like drawing and we’ve never seen it done this way. Both the image and the artist dances throughout. The text tells us that is a story of when Germany invaded the Ukaraine in WW2, but even without knowing that we were fascinated. If it is live, is it still animation?
I have a list. Okay, I admit I have many lists. And there are subsets of those many lists. And occasionally some of those subsets even overlap.
On the list of True Stories I Would Like To Find A Movie To Make Incorporating Some Of That Truth In is a small subset incorporating those true Sports stories. There’s also one that incorporates true Drug tales. And yes, as you might have guessed, there is more than one crossover between the two of those subsets.
Now I also admit it did not occur to me to turn those over to animation. I am glad someone did have that inspiration — even if they did beat to it in terms of portraying one of those key moments of intersection.
The animated documentary is quickly becoming one of my favorite film forms too: Waltz With Bashir, Ryan, I Met The Walrus, Chicago 10, and now this:
Thank you James Blagden and No Mas TV!
And thank you J. Max Ruschak for the tip!
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Bouncing Balls
Okay, we are placing bouncing balls in a bigger bowl. What can we say it? There’s something about an out of control ball that just makes us happy. Balls, balls, balls, balls, balls, and more balls.
Sorry about posting a commercial but sometimes a nose has just got do what it’s gotta do.
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Game:Crayon Physics
Crayon Physics is a bit like the iPhone app Trace, so it looks like a lot of fun. It won the Independent Games Award in 2008, whatever that is.
Crayon Physics Deluxe from Petri Purho on Vimeo.
We’ve put it on our wish list in the Bowl. It is a 2D physics puzzle / sandbox game, in which you get to experience what it would be like if your drawings would be magically transformed into real physical objects. Solve puzzles with your artistic vision and creative use of physics. Check out their website for more details.
