First and foremost I would like to extend Koo-dos to Ryan Koo, founder of No Film School for his miraculous fundraising of 125K. I kept up with the project and he did it. But now what does he do with it? This is an issue to a lot of filmmakers who are trying to start up independent ventures. In the article, that links up to other articles about filmmakers spending, overspending, I have already mentioned this in one of my first posts. This is a very relevant issue. To overspend on a camera. Shooting a mouse with an Elephant Gun. Literally. As there is only so much room on TV, and the nature of theatrical distribution, how many pitches can be made for major studio backing? Everyone's film is important to them, and they want to have the best cradle for their baby. But, what is the most attractive thing to an audience is not how HOW EXPENSIVE YOUR FILM LOOKS or HOW IMPORTANT YOUR FILM IS, WILL IT CONNECT WITH YOUR AUDIENCE? THIS IS GOLDEN RULE NUMBER ONE. How well do you know your audience? This is not simply a Kickstarter problem, as there are projects that have raised the money, but stuck in DISTRIBUTION HELL. The worst HELL you can be in. The most frustrating, hot and the most darkest hell out there. So, I will try explain, what I see what is occurring in film distribution from an independent point of view this time. How does a filmmaker make a successful film? What is a successful film in 2011? and These EXTRAORDINARILY tough questions were asked of me in that Visual Effects Basement. After the jump just take a look at what FILMMAKER MAGAZINE is featuring... Very long story short, number crunching will ESSENTIAL to really find any equity in any property. Keeping production absolutely low or extremely high. Low risk No Reward people need not apply. Low risk means that you are cautious and stable to make low to no budget movies for fun, which it is all about! Where do you get income?!! You WORK! SAVE AND INVEST MONEY. FILM HAS BEEN AROUND FOR 100 YEARS AND IT'S JUST GETTING STARTED. IT IS NOT GOING ANYWHERE!!! Trust me this is what I tell myself, it haunts me in my dreams. But treating it this way, has been my drive! Anyways! Investing in Distribution Models to get your film seen and people's cases to see money, which is the Traditional Model that they teach you at film school. Get into a festival, this is how Martin Scorsese did it, this is how Robert Rodriguez did it, this is how Kevin Smith did it, this is how Steven Soderbergh and Terrence Malick did it...Chicago, Telluride, Sundance (x2) and Cannes Film Festivals... I will explain why sometimes this is not even the best idea for filmmakers that have no proven track record, like myself and others aspiring to break through. How does one allocate Monetary Momentum? Right Kickstarter! But how about if you are NOT AN AMERICAN??! OH SHIT! How about if you are an American? Refer to the top of the article! What do you do when you and Kickstarter has raised this money? You are not getting this shown in a major theater. Art house? ahhh The internet! So if you were going to invest 125K of you and your backers money? and put it on the FREE internet... Where do you explain the kickback? On Vimeo? On youtube? I will leave it there, because that's the wall I have just hit.
Thanks and, this will be discussed when I stop staring at this wall and figure it out!
FROM FILMMAKER MAGAZINE:http://www.filmmakermagazine.com/news/2011/11/on-the-red-scarlet-x-kickstarter-and-camera-obsession/
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