SPECIAL REPORT: MAXIMIZING DISTRIBUTION THROUGH CROWDFUNDING

MY REINCARNATION shows how a well-executed crowdfunding campaign can be used to maximize distribution. In addition to enabling the funding of the theatrical rollout, the campaign increased awareness among core audiences, generated substantial press coverage, and facilitated partnerships.

I’ve known and admired the film’s director Jennifer Fox for many years, and consulted with her on the distribution of her remarkable series, FLYING: CONFESSIONS OF A FREE WOMAN. As tenacious as she is talented, Jennifer has learned, during more than 30 years of independent filmmaking, that it’s “change or die.” After exhausting every familiar fundraising route from grants to pre-sales for MY REINCARNATION, she tried crowdfunding as a last resort.

Filmed over twenty years, MY REINCARNATION is a documentary about her teacher, the Tibetan-trained Buddhist master Chögyal Namkhai Norbu and “his Italian born son who refuses to accept the destiny he inherited from birth.” Although the film was technically completed and being shown at international festivals, Jennifer still needed $100,000 to pay the bills she’d amassed finishing the film after a producer defaulted on that amount.



MY REINCARNATION became a crowdfunding milestone. Through a 90-day campaign, Jennifer and her team raised $150,456, three times the official goal of $50,000. 518 backers gave an average donation of $290, more than any film had ever averaged on her crowdfunding platform, Kickstarter. The average was so high for two reasons. The film attracted two associate producers at $10,000 each (one of which was a group of 50 people living in China). The campaign also offered valuable one-of-a-kind rewards, such as a hand-painted Tibetan chest and a unique statue of the deity Vajrapan, which were available to contributors who gave between $2,500 and $7,500. Contributions were received from 32 countries and more than two-thirds of the money came from abroad.

There is much to be learned from this crowdfunding success. Jennifer contributed seven articles to Ted Hope’s Indiewire blog detailing her 42 crowdfunding tips. They should be required reading for anyone planning a serious crowdfunding campaign. Here are two of the essential lessons:

==> Build a strong team that can put in the necessary time and effort. While filmmakers should be centrally involved in a crowdfunding campaign, they need a substantial amount of help to maximize the effort. Jennifer spent 50% of her time on the 90-day campaign. She had three teammates – a staff member who spent 50% of her time on the effort and two part-time women (compensated by a percentage of the money raised). They handled key tasks including adding fresh content to the website, managing outreach to organizations, and expanding the mailing list.

==> Make a detailed budget for the campaign. This should include the site fee (Kickstarter charges 5% if you meet your goal, IndieGoGo charges 4% if you meet your goal and 9% if you don’t); the payment processing fee (3-5%); the cost of creating, acquiring, and shipping rewards; and any staffing fees. There are also likely to be some defaults in contributors’ payments (Jennifer’s were 2%). If you use a fiscal sponsor, which allows donations to be tax-deductible, there will be an additional fee of 5-7% (IndieGoGo waives its fee if you use one of its partner fiscal sponsors). Jennifer estimates that the total costs of her campaign will be between 20 and 25% of the money raised. It would have been higher if she had been compensated for the enormous amount of time she devoted to the campaign.

MY REINCARNATION is now playing in theaters around the U.S. It opened theatrically in New York City in October, five months after the crowdfunding campaign concluded in late May. It has already been shown or booked in 40 theaters, and was in its seventh week in New York when this went to press. It will surely play 60-70 cities through next April and Jennifer is hoping to reach 100. Erin Owens of Long Shot Factory is booking the film theatrically.

The crowdfunding campaign of MY REINCARNATION facilitated its distribution in ten key ways. The campaign enabled Jennifer’s team to:

==> 1- BUILD AWARENESS AMONG CORE AUDIENCES. Jennifer believes the key to Kickstarter success is a strong, reachable core audience. MY REINCARNATION has two sets of core audiences.

One is centered on Namkhai Norbu’s 8,000+ students around the world (they are connected via a listserv and many also meet in local groups). This audience also includes other Buddhists, as well as spiritual, new age, and yoga groups.

The second core audience is centered on Jennifer’s fans and supporters, who she has nurtured over many years and films. This audience also includes documentary lovers and independent filmmakers.

==> 2 - GROW A NETWORK OF SUPPORT. This network consisted of all of the contributors to the Kickstarter campaign plus people who were unable to help financially but contributed their time and effort. These supporters helped by blogging and eblasting. The most active ones were recognized online on the Donors Wall and onscreen in the film’s end credits.

==> 3 - ACCELERATE EFFORTS TO BUILD PARTNERSHIPS. Jennifer explained that the crowdfunding campaign “got us into outreach mode early.” Her team made a major effort to develop partnerships with organizations, including Tibet House and the Tibet Fund.

==> 4 - GENERATE SIGNIFICANT PRESS COVERAGE. During the campaign Jennifer shared her crowdfunding tips in her seven-part series. When the campaign ended with such spectacular results, she and her teammates widely distributed a press release and got significant coverage. Jennifer also wrote an article for The Huffington Post.

==> 5 - EXPAND AND REFINE THEIR MAILING LIST. Over the years Jennifer had developed a personal mailing list of 6000 names. Her team worked hard to expand this list of individuals and organizations, starting with California and New York and then moving on to other states. Jennifer’s list has now grown to almost 10,000 names.

==> 6 - IMPROVE THE FILM’S ONLINE PRESENCE. The team started with a solid website which they expanded with fresh content and videos, including outtakes of the film. They utilized user-contributed content through the website’s “share your story” section. They also made excellent use of the film’s Facebook page, which attracted many people from around the world.

==> 7 - RELEASE THE FILM THEATRICALLY. $15,000 from the crowdfunding revenues seeded the theatrical rollout. Jennifer harnessed the excitement created by the Kickstarter results to find the additional money needed for theatrical from a combination of donors and loans.

==> 8 - BOOST INTEREST AMONG DISTRIBUTORS. Erin from Long Shot Factory explained that many of the exhibitors she approached were already aware of the film. She cited the Kickstarter results to show that there was already an audience for the film. The crowdfunding success also helped get the attention of festival programmers.

==> 9 - STIMULATE SEMI-THEATRICAL AND EDUCATIONAL DISTRIBUTION. Following theatrical, MY REINCARNATION will have a strong semi-theatrical release during which nonprofits and universities will arrange special event screenings. Jennifer is also perfectly positioned to do her own educational sales based on the relationships her team has built with groups and organizations.

==> 10 - FACILITATE TELEVISION, DVD, AND DIGITAL DISTRIBUTION. The increased awareness of the film will foster DVD and digital sales, as well as boost the viewership for its POV televisions premiere. The DVD, which is not yet available, is already viewed as a collectible.

As MY REINCARNATION makes clear, a successful crowdfunding effort can jumpstart a film’s distribution. It accelerates everything that will eventually be done to foster distribution, including making a trailer, reaching out to possible partners, building a network of support, generating press awareness, and refining the mailing lists and web presence. Instead of waiting until the film is nearly done and trying to do all of this in the weeks or months before its release, crowdfunding can give filmmakers a year or two head start.

A crowdfunding campaign can also provide invaluable information and feedback, enabling filmmakers to better define their core audiences, determine the best avenues to reach them, and refine the positioning of their films.

When MY REINCARNATION’S Kickstarter campaign reached a tipping point, things began to snowball. They raised $60,000 during the final five days of the campaign. Jennifer’s team has been able to maintain the momentum from the campaign into the theatrical release and should be able to continue it through the next stages of distribution.

Filmmakers should design their crowdfunding campaigns to power their distribution. While their short-term goal is to raise money, their ultimate goal should be to create a long and vibrant life for their film.

SPECIAL REPORT: HOW FILMS CAN CHANGE THE WORLD

Three new studies assessing the impacts of AN INCONVENIENT TRUTH, THE END OF THE LINE, and WAITING FOR “SUPERMAN” finally prove Sam Goldwyn wrong. The Hollywood mogul famously declared, “If you want to send a message, use Western Union.” These reports highlight the real world results these films sparked and provide a new framework for evaluating the impacts of documentaries and features.



In the past, there was little research or rigorous analysis of powerful films such as FAHRENHEIT 9/11, SICKO, SUPER SIZE ME, and FOOD, INC. Instead they were evaluated primarily on anecdotal information and subjective impressions. The appearance of these three new studies finally provides the research and analysis filmmakers need to better understand how to ignite social change.

AN INCONVENIENT TRUTH, THE END OF THE LINE, and WAITING FOR “SUPERMAN” were each made to avert a looming crisis: global warming, the collapse of the world’s fisheries, and the failure of America’s public education system.

This Special Report includes exclusive coverage of the studies of AN INCONVENIENT TRUTH and WAITING FOR “SUPERMAN,” along with a concise analysis of THE END OF THE LINE report.


THE END OF THE LINE – A Social Impact Evaluation

This exemplary report documents the significant changes THE END OF THE LINE produced, highlights the importance of brand partnerships, and provides useful lessons concerning social media and coordination with partners.



The film was described by The Economist as “the Inconvenient Truth about the impact of overfishing on the world’s oceans.” Produced in the UK by the invaluable Channel 4 BRITDOC Foundation and financed by the Esmee Fairbairn Foundation, this beautifully designed report is the product of an 18-month study, which used qualitative and quantitative analysis, focus groups, and media analysis. It concludes that the film had a major impact on public awareness of overfishing—directly on viewers and indirectly on nonviewers through the huge amount of press it generated. The report estimates that the PR value of this media coverage was £4,186,710, more than four times the budget of the film.

The study also concludes that the film helped create “a tipping point in corporate policy” that spurred a number of corporations to switch to sustainable sources of fish. The upscale grocery chain Waitrose sponsored the film’s release and promoted it in their stores, giving customers postcards about film and the importance of buying sustainable fish. The classy Prêt A Manger chain of sandwich shops totally changed its fish buying policy after its founder saw the film.

When I interviewed the visionary Jess Search (CEO of BRITDOC and co-creator of the report with her colleague Beadie Finzi) about the report, she shared her belief that businesses are “engines of change.” Top-down change (requiring legislation and/or elections) and bottom-up change (requiring widespread grassroots involvement) are very difficult to achieve, but if you can persuade corporate decision-makers that the change you are seeking is in their interest, hundreds of thousands of consumers can be affected.

The study features a brilliant graphic that illustrates the complementary and interlocking partnerships filmmakers need to build with foundations and philanthropists, NGOs and advocates, policymakers, the media and brands. The report shows how much difference a film can make – expanding public awareness of an urgent issue, changing consumer behavior, altering corporate policy, and providing advocates with an effective tool.



BEYOND THE BOX OFFICE – New Documentary Valuations

This pioneering study assesses the true value of AN INCONVENIENT TRUTH in the UK. Jess Search conducted research concerning AN INCONVENIENT TRUTH over a two-year period for her MBA dissertation. After calculating the film’s financial returns, Jess tackled the complex task of examining and quantifying the social good the film created.

Her study begins by noting that “over the past seven years documentaries have proven to be effective drivers of public awareness, setting press agendas, influencing politicians, companies, and campaigners.” Given the limited funding available for documentaries, the paper states that it is essential to “capture and measure the public good films deliver.” Documentary investors, from individual philanthropists to representatives of foundations, charities, corporations, and government “need hard data to show to colleagues, bosses, and boards when it comes to media funding decisions.”

The dissertation explores alternative ways of assessing the social impact of AN INCONVENIENT TRUTH. One approach would be to “measure and then value the effects of the film” from swaying public opinion to changing behavior and reducing carbon emissions. The film generated extensive press coverage, which reached people who saw the film in theaters, on TV, or on DVD as well as many more people who never saw it, but learned about global warming through this coverage. The dissertation estimates the advertising value of this media at £3,732,000. AN INCONVENIENT TRUTH dramatically increased the press coverage of global warming, which continues to this day.

Seeing the film inspired the CEO of the Marks and Spencer chain to radically cut the company’s electricity usage while increasing its use of renewable electric power. Around £200 million is being invested over five years to transform the core business, which is on-track “to become carbon neutral by 2012.” The M&S website highlights the company’s goal of “becoming the world’s most sustainable major retailer.”

While it would be possible “to interview a selection of UK companies to discover if corporate policy had changed as a result of the film, and, if so, gather facts and figures on the carbon impact of these changes,” it would be very time consuming, labor intensive, and expensive.

Instead the dissertation uses an alternative “willingness to pay” technique for determining social value. As the study notes, contingent valuation surveys are used by environmental economists “to ascribe a dollar value to things like clean air and biodiversity in forests which had previously been attributed with no economic value.” In 1990 the US government used a major “willingness to pay” study to calculate damages in the Exxon Valdez case. Since then libraries, museums, and other subsidized institutions have used this approach to demonstrate their worth.

Jess applied this technique to film for the first time. She did a “willingness to pay” study to determine the intrinsic value placed on AN INCONVENIENT TRUTH by UK citizens. People who agreed with the film’s message were asked how much they would have been willing to pay to ensure the film was released in cinemas and on TV. Of those surveyed by YouGov, 54% would have been willing to pay something to ensure that others had the opportunity to see the film: 5% would have contributed £82.75 | 2% - £28 | 10% - £14 | 26% - £7 | 9% - £3.50 | 2% - £0.89. The results were similar for men and women, and also across economic classes “perhaps contradicting ideas that the environment is a more middle class pre-occupation.”

Extrapolating from those surveyed to the adult British population, the dissertation gives AN INCONVENIENT TRUTH an intrinsic valuation of £73,411,565. When this value is combined with the estimated advertising value (£3,732,000) and the film’s estimated UK profits (£1,258,972), the social return on investment in the UK for AN INCONVENIENT TRUTH is a whopping 57:1.

The paper demonstrates that the “willingness to pay” approach can be applied usefully to film. The dissertation makes a compelling case that “willingness to pay” studies may be the most practical method for evaluating the impacts of many social issue documentaries. Using a “willingness to pay” approach could provide a way to compare the impact of different films. Filmmakers seeking funding could also do preliminary research to show there’s significant interest in the topic of their film.


WAITING FOR “SUPERMAN”

This substantial study analyzes the impact of WAITING FOR “SUPERMAN” on viewers’ perceptions and attitudes. It examines how successful the film was in changing their views of the US education system. The study also highlights which content was most effective and which was least effective.

Funded in part by The Ford Foundation, the report was written by the Harmony Institute, a nonprofit research center established in 2007 to assess the influence of entertainment on social and environmental issues. Research began just before the US theatrical release of WAITING FOR “SUPERMAN” in September 2010. It included an analysis of press coverage, focus groups, an online survey, online trending reports, and in-depth interviews. This six-month study focused on the immediate effects of the film on viewers’ beliefs rather than on the film’s long-term impacts. The primary author was Eleanor M. Cleverly.

The paper concludes that “WAITING FOR ‘SUPERMAN” had a notable effect on audience perceptions of education in the US” and that “the film increased general understanding and elevated concerns over a number of problems plaguing public education.” The report described the film as “one of the most expansive communication campaigns concerning education in America to date.”

However the research showed that many viewers complained that the film didn’t make clear what they could do to improve things. Directives such as “get involved in your child’s education” were vague, and “offered no actionable items for individuals.” Audiences also felt that the film “failed to discuss many of the larger social issues that contribute to low-performing students and schools.” As one respondent noted “bad teachers and bad unions are not the only impediment to educational success… poverty, parenting, resources, and curriculum are just as important.” Viewers also felt that “there was a general overemphasis on charter schools.”

Viewers did respond quite well to the characters in the film and found the charter school lottery a compelling metaphor for the state of US public education. Reactions to the film differed sharply between educators and the general public. Overall general audiences and the press “reviewed the film favorably, giving the film an average rating of four stars out of a possible five.” Teachers disagreed sharply, giving the film an average of 2 stars and challenging the film’s “depiction of teachers and unions as simplistic.”

The report also looked at the ripple effect on organizations that were affiliated with the film’s outreach effort. DonorsChoose.org increased its individual users by 75,000 in 2010 and generated $2.1 million in pledges to fund classroom projects across the country. Being affiliated with WAITING FOR “SUPERMAN” also helped the United Way establish itself as a central player in the education world and changed the way it works within local communities. The lesson for other filmmakers is that “garnering early support from reputable affiliates currently working on a social issue can greatly assist both parties.”

The report notes that although the film played in US theaters for 13 weeks grossing $6.4 million and had 149,000 followers on Facebook as of March 18, 2011, it was “unable to foster a national conversation among those not previously invested in the education reform debate.” However, the study also noted that WAITING FOR “SUPERMAN” was “successful at reinforcing a commitment to teaching among those already in the profession.” One teaching student said, “the film illuminated for her how important teachers are to the success of their students.”

Debika Shome, the Harmony Institute’s Deputy Director, explained that the report had enabled the Institute to refine its methodology for measuring the success of media.

While the report is an internal document, the strikingly-designed highlights are available here.


THE FUTURE

These three studies mark the beginning of a new era of impact evaluation. They expand our understanding of how films can create real change. They include concrete examples of the significant effects of these films on corporations, consumers, and nonprofits. The reports also explore ways of tracking, measuring, and valuing impacts. Their methodologies will be used and refined by other researchers.

More foundations will follow Esmee Fairburn and The Ford Foundation in funding impact studies. The Wolfensohn Family Foundation and the Pacific Foundation both provided additional funds for the WAITING FOR “SUPERMAN” study. The Fledgling Fund will continue highlighting the importance of assessing the social impact of media that began with the publication of its working paper, which includes this chart.

More cutting-edge research on documentaries and features will enable independents to prove that films can make a difference. Filmmakers who learn how others have achieved social impact will be empowered to make films that can truly change the world.

CROWDFUNDING TAKES OFF

Crowdfunding has taken off. The most successful film projects are now raising hundreds of thousands of dollars, when not that long ago they were raising tens of thousands. The top three films in the Kickstarter Hall of Fame are BLUE LIKE JAZZ ($345,992), THE PRICE ($161,774), and I AM I ($111,965).

Unlike BLUE LIKE JAZZ and THE PRICE which are both based on material written by authors with large and loyal followings, I AM I is an excellent example of how to build support for an original script. After seeing my presentations on crowdfunding, writer-director Jocelyn Towne and her producers Cora Olson and Jen Dubin from Present Pictures (GOOD DICK) convinced an investor to match up to $100,000 in donations. They built a solid website, calibrated their reward levels, planned the stages of their campaign, and created a great video. Done in one long carefully choreographed take, viewer’s found this humorous video irresistible.

They began their 38-day effort on Kickstarter through their personal networks. Jocelyn spent the month before the campaign drafting individual emails to everyone she knew and saved them for launch day. On Twitter, 40,000 people were following her actor/husband Simon Helberg (featured in the hit TV show, THE BIG BANG THEORY) and 10,000 were following Jason Ritter (another popular I AM I cast member who is the star of NBC’s THE EVENT). The team also made good use of Facebook. Jocelyn worked tirelessly on the campaign, writing personal thank you notes to almost every donor.

Donations started strong ($17,000 in the first few days), slowed down over the Christmas holidays, and accelerated as they approached the finish line ($24,000 in the closing days). Their contributors included friends, family, colleagues, and a few studio executives. 80% of their 902 contributors were total strangers. Amazingly, 3 of these strangers made $10,000 donations, for which Jocelyn and Simon promised to come to their hometowns and do private screenings just for them. Overall, as is typical with Kickstarter projects, the majority of donations were at the $20 (32%) and $100 (26%) levels.

Their campaign was so successful that it gave I AM I the momentum needed to move into production. Even after their campaign ended, people were still asking to contribute. The I AM I team added a Donate button to their website and is offering rewards similar to those they gave on Kickstarter.

In addition to the $111,965 raised, their campaign created a large network of supporters. Producer Cora Olson observed, “our initial goal was to raise as much money as possible, but when we saw how many online impressions we were making, we realized that this awareness could ultimately be more valuable than cash when it’s time to launch the film.”

© 2011 Peter Broderick

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URGENT OPPORTUNITIES

FILM/VIDEO AND VISUAL ARTS GRANTS: There are only a few days left to submit a letter of inquiry to receive a Creative Capital grant. This outstanding organization supports innovative and adventurous artists through funding, counsel, and career development services. Deadline: March 1 (open to US citizens or permanent legal residents).


PUMA CREATIVE IMPACT AWARD: This £50,000 prize will be given annually to the documentary that has made the greatest social impact. This unprecedented award is administered by the visionary Channel 4 BRITDOC Foundation and supported by PUMA. Deadline: April 1 (open to filmmakers from any country).

FOOD MATTERS

The remarkable story of FOOD MATTERS illuminates key principles of hybrid distribution and online entrepreneurship. It also demonstrates that determined first-time filmmakers with no prior distribution experience can succeed in the New World of Distribution.

FOOD MATTERS is a provocative feature-length documentary best summed up by the Hippocrates quote: “Let thy food be thy medicine.” I consulted with James Colquhoun and Laurentine ten Bosch (its Australian, producer-director/ husband-and-wife team) via Skype in the summer of 2008 as they were starting distribution. I finally met them in Sydney in October 2010, where we participated in the inimitable SPAA Fringe conference. By then they had sold 150,000 DVDs. Two months later they did a Christmas promotion online, offering the film for half price. They sold 4,500 DVDs in seven days, their best week ever, two and a half years into their distribution. They have now sold 175,000 DVDs and counting.

James and Laurentine are “accidental entrepreneurs.” Although they had no previous film experience or aspirations, they were inspired to make FOOD MATTERS when James’ dad began battling illness and depression. Traditional drugs weren’t working and they thought a film presenting the benefits of eating better could help him and many others.

They set out to learn how to make and distribute a film. FOOD MATTERS was self-financed with dad’s help. Their total budget of $200,000 U.S. included $70,000 for marketing and distribution.

James and Laurentine designed a strategy customized to their film and its target audiences. They decided to skip festivals and theatrical completely, not believing that either route would significantly help their distribution. Since they were based on Australia’s Sunshine Coast and had few industry contacts, they decided to begin selling the film online before approaching distributors. Instead of spending months seeking a distribution deal, they spent that time launching their movie.

Stage 1 of the FOOD MATTERS plan began on May 30, 2008 when their website started selling DVDs and pay-per-view streams. James and Laurentine partnered with a number of websites and online retailers (including one that sold colon cleanse products). During the first six months, they and their partners sold 60,000 DVDs of FOOD MATTERS.

During Stage 2, the filmmakers began contacting film distributors and made deals with several companies including Canal Plus (which bought French Speaking TV rights) and Passion River (which is handling retail DVD sales in the U.S.).

James and Laurentine have used semi-theatrical and non-theatrical screenings to build awareness of FOOD MATTERS. They encourage anyone with a DVD to host a screening, rather than charging rental fees or high educational prices. If you register on the website, they provide a free screening resource pack (with art, handouts, and a discussion guide). This approach has fostered local screenings around the world, which have generated substantial sales.

The filmmakers believe in the importance of providing lots of free content. They do this through their newsletter, which they send to their mailing list every two weeks, and their Facebook page, which they update every few days. Currently over 38,000 people are following them on Facebook, and more than 65,000 receive their newsletter. In their experience, the more you give away, the more people will buy from you.

At the FOOD MATTERS store, you can stream the film for $4.95, buy it for $24.95, or get it with a “Detox & Rejuvenations” e-book for $39.95. The store also includes 4 premium access areas that contain content on cancer, heart disease, diabetes, and depression and mental health. For $79, a viewer can access over 6 hours of lessons in any one of these areas. A significant amount of revenue has also been generated through the sales of films by other filmmakers on topics ranging from cooking to organic gardening.

Many elements have contributed to the great success of FOOD MATTERS. At the center is a film that viewers have embraced. There is an excellent trailer that works for both core and crossover audiences. The website is well designed and easy to navigate, with rich content that’s continually refreshed.

The filmmakers have taken a fully hybrid approach – combining direct sales, online partnerships, and distribution deals. Offline screenings have supported online sales. Online marketing has supported 3rd party retail sales.

James and Laurentine are seriously committed to maximizing their distribution. They have built relationships with key health and nutrition websites that have large followings. They have been consistently entrepreneurial--seizing opportunities, trying new tactics, and perfecting their strategy.

Their tenacity was demonstrated when Whole Foods agreed to start selling FOOD MATTERS after their teammate Toni Powell “spent 2 months contacting over 293 stores.” The 4-person FOOD MATTERS team has worked long and hard to build a business that provides a continual revenue stream. In December 2010 alone, their website had 160,000 visitors who placed 7329 orders for one or more products.

Undaunted by the challenge of bringing a film into the world, James and Laurentine have created a distribution dynamic that has ensured their continued independence. Revenues from FOOD MATTERS are funding their new documentary, which is about to go into production. The expanding FOOD MATTERS audience will be standing by for its release. In a few short years, James and Laurentine have built a solid foundation for self-sustaining careers.

BUILDING AN ARMY OF ANGELS

Crowdfunding has exploded. More and more filmmakers are raising money through online donations.

In the early days of crowdfunding, only a few independents managed to raise money for individual projects directly from their websites. Then two new web platforms were created (IndieGoGo and Kickstarter) that made crowdfunding accessible far and wide. Read More...

MAXIMIZING IMPACT

Many filmmakers aspire to change the world; Meg McLagan and Daria Sommers actually have. In just two years LIONESS, the film they co-directed, has raised awareness of a critical issue, catalyzed action by activists and officials, and helped launch major legislation. Read More...

WE HAVE NO SECRETS

THE COSMONAUT shows how movies can be made in the New Worlds of financing and distribution. Although the project is still ramping up, the filmmakers have already developed a provocative new paradigm. Read More...

SOCIAL FILMMAKING

5,504 miles from Hollywood in Tampere, Finland, five “students and unemployed people” began reinventing moviemaking out of sheer necessity. Lacking the experience and resources to make STAR WRECK: IN THE PIRKINNING their ambitious sci-fi parody, they built a vibrant global community around the production, demonstrating the power of what they call “social filmmaking.” Read More...

CROWD-FUNDING

In her quest to change the world, Franny Armstrong has already changed how films can be funded. She designed an innovative “crowd-funding” strategy that has raised over $1 million dollars--£590,000 for the production and distribution of her new feature THE AGE OF STUPID and £164,321 for the Not Stupid social action campaign. A documentary/fiction hybrid, THE AGE OF STUPID is set in the “devastated world of 2055,” where a lone archivist (played by Oscar-nominated Pete Postlethwaite) views footage from 2008 and asks “why we didn’t stop climate change when we had the chance.” Read More...

JILL'S NEXT RECORD

Jill Sobule is as irresistible online as she is on stage. Her persona on the web is so distinctive and compelling that she’s been able to finance her new album with $85,000 in online contributions. Jill is a singer/songwriter whose music is a unique blend of the deeply personal, the socially conscious, and the slyly satirical. Her provocative 1995 hit single “I Kissed a Girl” was the first song with overtly gay content ever played on Top 40 radio, and the hit MTV music video is now a classic. Read More...

DISTRIBUTION TRANSFORMED

BusinessWeek posted an illuminating feature, “Indie Filmmakers Hit Their Target,” analyzing how independents are taking control of their own marketing and distribution. The article explores “the transformation of the film industry” and documents how filmmakers are “skipping [conventional] deals and using the Internet to get their stories in front of people who want to hear them.” The website also includes a useful slideshow with commentary. Read More...

TRUE FANS AND TRUE FILMS

Every independent filmmaker should be building and nurturing a core personal audience. The bigger and more loyal the audience, the greater the revenues and creative freedom for the filmmaker. Read More...

LEARNING FROM RADIOHEAD

After liberating themselves from a traditional record deal, Radiohead took control of their distribution. They are now gleefully reinventing it. They launched their new album, IN RAINBOWS, online, selling it exclusively from their website for the first two months. Anyone anywhere in the world could download the album and pay whatever he or she wanted. It is estimated that Radiohead netted almost $3 million from digital downloads off their site. Radiohead received 100% of these revenues (rather than a 10-15% royalty) and had the opportunity to collect buyers' email addresses for future marketing and sales. Read More...

CREATIVE DISTRIBUTION

Filmmakers who control their distribution can be as creative bringing their films into the world as they are making them. Arin Crumley and Susan Buice are the poster couple for distribution as a creative act. Read More...

BUILDING A PERSONAL AUDIENCE

Aspiring to be a superstar? Trying to connect with your fans? Determined to build a core audience? Make it happen online. Create direct relationships with viewers around the world and turn them into loyal supporters of your work. Read More...

HARNESSING USER CONTRIBUTED CONTENT

It’s not a secret weapon. It’s so powerful that sites ranging from Wikipedia to Ebay couldn’t exist without it. I emphasize its importance every time I do a presentation and talk about it with all of my clients. But “user contributed content” is hard to define and harder to understand. Read More...

LONG LIVE DIGIMART!

I want to devote my first mailing to Digimart, the remarkable global summit that brought together digital distribution leaders from around the world. They came from China, South Africa, Australia, Peru, Brazil, as well as across Europe and North America, to share the lessons learned on the cutting edge of film and video distribution. Read More...