Annnnd we’re back. Lunch was great, I sat with Marc Schiller of Electric Artists and Scott Macaulay of Fimmaker Magazine. A total treat.
Peter Broderick’s on now, talking crowdsourcing, crowdfunding and new aud models.
-Old v. New Distribution: it used to be audience last, after all was finished, now it’s audience first, sometimes even for funding the project.
-many other distinctions listed, see http://peterbroderick.com for details.
-Case: “The Age of Stupid” (see site)
-Case: “Hava Nagila: What Is It?”
-Pitch for funds should have good rewards (even if not monetary).
Filmmakers should be in their own pitch videos.
-It forces the director to think of their audience almost before they think of their project.
-the value of day and date multi-platform release, even if some platforms are free.
-talk about “open source” and other forms of open collaboration — without losing creative control.
-You have to be ready to work 24/7, 8 days a week.
-Site Deisgn: WordPress again recommended as an easy to use, easy to customize and free.
-Also Homestead.com $5 or weebly.com (free or paid)
Next up: RICHARD ABROMOWITZ & MARC SCHILLER (Anvil, Banksy)
(Ack, my goshdarn Blackberry is choking, battery dying, system freezing from heat).
Q: “Banksy” How did it hit so big so suddenly?
A: we didn’t have an actor or director, and Banksy wouldn’t want to be in film competition. We focused on turning our negatives into positives. Also, we showed at a smaller venue than there were people for, like is done in music, so demand is more than supply.
Q: Initial website is simple: why?
A: We didn’t feel we needed it with this.
A: RA: Landmark Theaters support was crucial in putting together nationwide distribution. And even though we had short release timeline, we pulled it off b/c the main aud for this was young, people who ONLY make last-minute plans, and that would make enough waves so that later, more mature auds would follow.
Q: How did this work?
MS: b/c digital marketing & distribution & digital distribution were working together intimately to make things happen.
And we stuck to principles like:
-we have a bigger aud than skateboarders, everyone who sees it will champion it.
-digital viral doesn’t happen without it first happening IRL.
-we worked hard to get mixed auds in to screen it together, and we told them “you’re seeing it with a mixed crowd” so people knew it was appealing to wide aud.
-we used facebook, it’s much better than any website if it’s used well. We used it to feed all energy and content to the crowd. You CAN do 15 posts a day if they’re adding valuable info.
-we didn’t want to do marketing that’s about marketing, we wanted it to be about seeing the movies.
Q: did you direct Banksy to do murals in cities it was opening in?
A: RA: no, but we knew where the film would be opening and knew that he did. (Etc) We were aware that there were auds we wanted who needed to be reassured it wasn’t an assault(ive) film, so we did a milder ad. But then we had to pull them eventually at his inclination.
A: MS: We let people get behind it and let them influence media, not the reverse. And this is how Banksy does all his work.
Q: Another lesson from this?
A: RA: it helps if ppl like the film. And then to get enough people in to see the film. Define the film, refine your approach.
A: MS: people are cross-talented these days, so you can reach out to alternate audiences, try to make it part of a broader national convo. We benefited from not thinking small.
END OF SESSION. GREAT ONE!
Sadly, battery dying, have to stop.
PS; if you are (mis)quoted here I will be happy to make corrections.