Discovering the Phases of Successful Crowdfunding for Indy Filmmakers

So, in my journey to make a feature film I've been noticing all the different types of projects that get crowdfunded and seem to grow. As it comes to indy, no budget-to-low budget projects, the ones that seem to grow are the ones that do so through multiple PHASES. In other words, start small. Don't try to make a feature right away- but instead put something online- anything. Ask for money at a certain point- or get support to help you with SPECIFIC goals. These goals are one puzzle piece in a larger, bigger project. But each piece is what you focus on NOW. If you have a snag, either you change how you relate to the bigger project or you change projects, at least temporarily.

One puzzle piece at a time.

So, Ive been learning this lately trying to apply it to my currently germinating projects. As a result, here's the theory...

1. Write a treatment for a FEATURE.
2. Begin to write the feature script. (Right now I'm working on "The Good Grief" primarily)
3. Write a PROMO TRAILER script for the feature project.
4. Shoot the promo trailer.
5. In process of writing the feature- write a SHORT which is a snippet, a distillation, or a powerful scene in the feature, (but doesn't give away the ending).
6. Use promo trailer to help fundraising for the short.
7. Shoot the short.
8. Finish the feature script.
9. Use short to help fundraising for the feature.
10. Shoot the feature.

You can see that each phase is about rolling any support for your smaller project into a larger project.

As a filmmaker, you must make sure that this initial IDEA is interesting and good enough to build this amount of hype and prolonged interest. Otherwise, someone like me would get bored and want to move on after the first project.

What is your feeling about this? Do you think its a good idea to 'break up' a larger project into numerous smaller ones? Or does this make it seem even more complicated to you?

Developing My First Feature: Part 1

The Current State of the Writing
Since writing my first feature script "Blood Covenant" I have played with almost ten different ideas for a new feature script. This time I am working on a "producible" feature, since filming "Blood Covenant" would take probably over $2.5 million to make after all the stunts, gun play, SFX, VFX and locations took their toll on the budget. This may be something I will be able to tackle after a few smaller-budget features and more diverse funding can be acquired.

So, looking back, let's see... what were some of these feature ideas? Beach Baby, Bad Day, Perla, The Logical Diary, Mirum Lux, The Awakening, Redshift, The Light Princess, Caterwauling for the Prize, Traveling Without Moving, etc. There are probably others I have forgotten about since then. Other grains of ideas that did not even get working titles. Most of these are still being developed and written but many of them are also not producible for me now.

I really enjoy working on adaptations as well, (mostly for fun) like "The Light Princess" a classic fairy tale by George MacDonald and "Out of the Silent Planet," the first of a series of sci-fi novels by author C.S. Lewis. I really wish these projects would get made and have a unique vision for them. So, what's the best way to ensure that I enjoy these but to write my own versions? And if they are not to be made, at least this can be done for my own enjoyment. These would obviously be large, expensive, popular projects, especially in the Christian Sci-Fi/Fantasy market. The same market that ate up the Narnia films and possibly many of the YA book-to-film properties that are popular now.

What Is It About?
Well anyway... back to this "producible" feature project. Right now we are in the very beginning stages. I am a few days away from solidifying the beats of the film. I mostly use Blake Snyder's Beat Sheet for this. But, as soon as we start collaborating it will, no doubt, experience many changes.

This latest idea deals with a college student going through a journey of self-discovery to become an artist. She gets no support from her family, teachers and friends, accepting one faithful friend. Everyone assumes she is on a foolish ego trip to try to become rich and famous. No one is willing to listen to her doubts and perspectives about her life or career, except for this one friend. This sounds dire and depressing- I'm sure, but actually, this is a light comedy. This is basically about my own stupid life. Yep. ;)

But these kinds of stories work in real life. This isn't really about me, you see. If you can see the comedy in life's cruelties you can accomplish much and speak to people in a universal language. Comedies don't often accomplish this cross-cultural impact, but all artists, I believe, have a common experience in how they became artists. There are, I believe, very common, understandable feelings about why and how they became artists. And often, they are profound and humorous. At least I find that they are.

Style and Genre
Attaching myself to the American Micro-budget "Mumblecore" film movement may be a helpful thing. Since much of the inspiration for the film are Noah Baumbach and Joe Swanberg films, this may be achievable. Baumbach is not necessarily a mumblecore filmmaker, but his oft-utilized muse Greta Gerwig is a mumblecore regular. Exhibiting much of the ethos of a mumblecore filmmaker herself, Gerwig remains ensconced in the current American Independent film market.

Noah Baumbach

And as the lead character, "Elizabeth" is inspired by Gerwig's seminal creative and fun yet aimless and youthful persona. Gerwig has become one of my muses as well, apparently. But, uncharacteristically, as a Tampa Bay filmmaker, I am one of the few indie filmmakers here to attach myself to this movement. Typically, the local fare is action, horror, family & mainstream comedy. Rarely have I seen a successful attempt at art house comedy or drama in this local market. I find this surprising since these films are much easier to produce with little to no budget- which is exactly what we have here in the Tampa Bay film market.

Instead we are trying to make action, even sci-fi with little to no success. This is not for lack of trying or lack of talent. But they may be mostly unsuccessful because it costs $ to make good action/sci-fi. Believe me, I want to make these genres as well. And if i have a choice, sci-fi/fantasy would be my genres of choice. But every genre has something to appreciate and enjoy. Each has its own challenges as well. And, if I ever make sci-fi/fantasy, my primary objective is to build it atop a substantial foundation of good drama, character development and story-telling, not VFX, choreography, stunt work and other technical concerns. So, this light drama is my initial play ground for acheiving that goal.

Research
So, some films to watch to prepare for making this film. "Frances Ha", "Happy Christmas", "Tiny Furniture",  "Damsels in Distress", "Drinking Buddies", "The Squid and the Whale", "The Art of Getting By", "Lola Versus", "Nights & Weekends", "The Dish and the Spoon", "Kicking and Screaming", "Hannah Takes the Stairs", "Mistress America", etc. And I have seen the first five of these so far. Admittedly, Woody Allen, Dogme 95 and New Wave films are a bit of an inspiration for much of the mumblecore movement as well. So, some of these can be referred to for inspiration as well. And possibly, some JIm Jarmusch may be in there as well.

Current Budget and Team
Again, Mumblecore is unique in it's strong collaborative and micro-budget ethic. This works for a beginning filmmaker like myself. It brings great things within reach. Remaining consistent with this ethos, I am forming a collaborative team with my wife, Rebecca Croft, Luke Sokolewicz, Linda Roser, Davina Reid & a few other people. I am hoping a few more people will get on board too- Daryn Murphy, Lynne Hansen, John Borland and Andrew Durliat just to name a few.

This movie will be starring Linda Roser and Davina Reid with plenty of room for guest actors to come in and make their mark. It is initially inspired by a short script my wife was working on a few years ago called "Antisocial Butterfly." But we had to fill out the story into feature film length and we want to involve Linda and Luke in the writing process along with me and my wife. This should make it very dynamic and enjoyable to create.

Revisiting the Style and Inspiration
I have been inspired lately by movies like "Frances Ha" and "Happy Christmas". Especially in their art house and elegant minimalism. American high school/college self-discovery films are especially engaging in their characters and plots as well. In tone and visuals- the French New Wave as well as American Indie films have great impact. This should contribute a great pacing, a light airy retreat from our troubles.

I love the natural light with black and white to bring a very classic, elegant, and yet a minimalist feel to it- almost an impressionistic eye to balance the emotional, expressionist and honest intellectual dialogue and themes of the film. Yet, I also wish to make a "Floridian Christmas" film. Visually there is plenty of things to dig up there. At least that is an exceptional location. So, this necessitates color for the Christmas lights and sunsets you get here in Florida- bringing more life into the colorful characters as well. B&W may be revisited in the future, as it is a great inspiration for me.

Greta Gerwig in Frances Ha

The Plot?
But, what happens in the film? That is what we are trying to work out. I have my ideas, but as soon as I am finished editing my short "Golden Foot" we will be able to do more writing. We really want to make a fun, inspiring and engaging film for the local market here- and hopefully it will be cheap to produce. Wish us luck.

Is this the kind of film you'd like to see from us- or do you have any different ideas for films for us to produce?

Jon's Top 14 Movies of 2014 (So Far) -or- "How I Judge Films"

Since watching Guardians of the Galaxy last week I HAD to make this list...

How I Judge Films:

I judge movies by the enjoyment I get out of a film. Therefore, the re-watch factor must be high, because the continued interest of the film's premise must have enduring value to me. So, the things that interest me, in particular are going to be very prominent here. But, admittedly, a lot of differed factors go into that- things which may not interest others.

So, what interests me and keeps me coming back to the water hole to drink?...

1. A deep moral premise that is powerful or that may continue to elude me. 

2. A plot that either, very effectively, drives me forward (engaging me emotionally) or a plot or story structure that completely puzzles me (engaging me intellectually). 

3. Stunning visuals.

4. Fun and stimulation. This may include jokes, gags, kinetic action or quippy dialogue.

5. Detailed world building- mostly as a result of artistic production design. Spatial awareness is important to me & as a result, I absolutely love effective world building (which can also be affected by everything from quality set building, to decoration, makeup, lighting, atmosphere, the framing of the camera, camera movements, artistic design of props and sets... to things like the acting, writing and directing). It is the visual and aural patchwork that succeed in ushering you further INTO the world of the film, as opposed to taking you OUT of the world of the film.

6. Great soundtrack and music selections. 

7. Characters I can relate to (which can be a VERY subjective thing). 

8. Complicated set pieces or kinetic camera shots. 

9. Great writing.

Why is acting or character development not mentioned here? I will tell you in a second...

But first, my CURRENT top 14 of 2014 as of August 2014.

Here they are...

1. The Guardians of the Galaxy

2. The Raid 2

3. Captain America: The Winter Soldier

4. The Grand Budapest Hotel

5. Under the Skin

6. Cheap Thrills

7. Edge of Tomorrow

8. Noah

9. How to Train Your Dragon 2

10. The Amazing Spider Man 2

11. Maleficent

12. Godzilla

13. X-Men: Days of Future Past

14. Dawn of the Planet of the Apes

Good but not Great Films...

The Lego Movie

Enemy

Robocop

A Fantastic Fear of Everything

Acting and Character Development:

One thing you may notice is that I don't seem to include character development here or great acting. This is probably because, to me, these factors are such fundamental principles (like getting acceptable audio quality) that a film won't even place in the standing if it doesn't do this with competence. 

Acting Quality:

As it comes to acting quality- it becomes glaringly obvious that the casting and directing is bad very quickly for me. I may even be able to tell this in the trailer- right away. There is a distinct disconnect that happens when pairing image with the characters in the room. The tone is off (a product more of bad editing) or the acting fails to impress me (as it comes to it's appropriateness as taken from within story context or genre). Much of this is simply the result of bad casting or bad direction (or as stated, bad editing), so it is not the actor that I blame whatsoever- but the director. Still, it doesn't allow me to be impressed by an actor's acting. It distracts terribly from the story and the world that the film is trying to create. 

The Fault of the Actor:

To get a little off subject- there are those RARE cases that I believe the acting is sub-par. But this is strictly based upon a continuing experience of an actor doing one scene with appropriateness and then flubbing the next scene (as it comes to character interpretation or emotional shift). Since, during casting a director or casting director may cast an actor based on his or her performance in a few scenes- it is only the actor's fault when tonal or emotional shifts occur between scenes. This can only be because the actor has failed to capture the character and fully integrate the truth of that character into their body, or because they have failed to interpret the character's development (based on comprehension of the story and its premise or purpose). 

But, of course, this may actually, still be the fault of the director or casting director, except when the actor continues to do this in multiple roles. The only conclusion is that they are a chameleon when it comes to execution- that is, they fail to consistently use their instrument in a contextually predictable way. They become, simply, a bad actor because they continue to be validated for bad work (so, they never change) or they are losing their grip on their instrument (that is, they forgot how to use their own body to serve the needs of the director or the story). 

Ego or health problems may be the cause. But I find this, actually, extremely rare. Possibly because I don't watch a lot of B-films or student films. I try to watch professional work, exclusively. That said, there are these rare actors who keep being given a pass, because there is something likable about them that makes the industry continue to return to them- validating their bad acting. Sometimes this is the fault of a money-hungry or fame-crazed industry that doesn't care to understand the craft or purpose of film- to enlighten and beautify mankind. Instead, it becomes a monster of self-interest that threatens to consume itself.

A bit off-subject. But there you have it.

As It Comes To Character Development:

I disagree with many story theorists out there that claim that characters MUST have arcs because I disagree with some literary theorists about flat vs round characters. In my view even protagonists can be 'flat characters' because the primary thing about flat characters is that they do not change very much- as opposed to how much we know about them. This has become increasingly rare, as a consequence, but it is still very possible to get away with and still have an engaging, powerful story. Sometimes, the actual "point of the story" is that a person "not changing" can have a powerful effect on the world around us. Usually that is a bad effect- but, sometimes, rarely, there is a net positive effect, when that character represents unchanging moral values.

For example, superheroes don't typically change much, so they are mostly flat characters since they traditionally 'stand' for these moral values or 'represent' a moral concept or idea. Ideals that do not change for a reason. If they change they will no longer be "that" superhero. Other times, the villains may be very 'round' as is increasingly becoming the case- that is they may change throughout the story. This humanizes them and makes them more interesting to an audience with greater demands due to more sophisticated tastes.

So, it is more popular for our heroes to change. These days we want our heroes to grow as a person throughout the story. And it is the antagonists that have generally remained the same- because they have been cemented into a role that simply seeks to conquer and manipulate others in the story. And defeating these villains becomes necessary in order to return continual change to the world they exist within. This is because being open to change is generally seen as a positive thing for everyone.

But the essential thing to know about round characters is that they change throughout the story and flat characters don't change much throughout the story. But this doesn't mean a flat character can't be the hero or that villains cant be round characters. But why have these things changed recently?

Like a Rolling Stone:

"A rolling stone gathers no moss." This phrase can be interpreted as a positive or negative thing- but increasingly it has become more positive. A hero is not hard-headed, but learns from the world around him/her. But, mossy stones (that have not moved) are the ones that get thrown at others to "stone" and condemn them. This is generally the purpose of the villain- to judge and condemn others... to bring conflict into the story instead of peaceful acceptance of ourselves and others. 

Evil is notoriously uncreative and unintellectual- striving only to subdue everything under it's own control- that is, to reduce everything to terms and values that the villain can understand and limit. They get to pretend they are God and are given more and more power to bring pain to the hero, until the villain is seen for what he is- no better than a limited, powerless wretch. And their greatest weakness is their refusal to change.

A Slave to Story:

So, in my view, character development is a product of the greater, more important, plot or purpose of the story. Some may argue that character IS the purpose of the story. They are not wrong- but only in the sense that character IS PLOT... 

In this case, everything that the story is about revolves around who the character is and has become. Again, an effective plot is essential. Character may serve plot. Plot may serve character, but this plot must be engaging. If this plot is watered down, ineffective and stagnant- it will simply die on the vine. The story will not achieve its intended purpose. 

So, character may remain stagnant- because if the story engages and has meaning and value- it doesn't matter. It becomes PART of the essential meaning of the film that characters do not change. This becomes the story you are trying to tell.

This is why I mention a driving plot or a puzzling story structure. These character arcs and acting nuances don't matter as much because these other things are subject to my greater priorities in my list. This means, I try not to notice character arcs or acting. Because it should be something you DON'T notice in my view. It is supposed to serve the story and your world building and usher you farther into the suspension of disbelief. 

Conclusion (Don't Forget to Enjoy Yourself):

So, remember. If the acting and characters are thin... maybe it is for a reason. It may be the purpose of the story. Like a big, dumb action flick. You can accept that the acting is less than competent because it doesn't need to be. If the kinetic pacing and tone to the film overpowers the subtle nuance of deep thoughts and personal character growth, you may actually have a great film. You shouldn't even notice these factors if you are properly engaged. You are supposed to learn to enjoy it.

All these things serve the greater purpose of the story and film. And sometimes it is an integral part of the film's structure to have bad acting and non-existent character arcs.

Again, this is just my own opinion as a filmmaker and story-teller. There may be things I have neglected and there may be things here that are simply a product of my own style and preferences. I do not wish to be a "mossy stone" after all.

Do you have any opinions or feelings about story, character arcs and acting? Let me know how you feel about it!

Blood Covenant is Completed!!... The First Draft, that is.

It took me about 9 and a half months. The same time (give or take a few weeks) to fully gestate an infant human being. I am now resting peacefully. Eating well and am recovering from traumatic wounds caused from birthing a new baby script. A gift to the world. You're welcome.

Now we spend the rest of the scripts life constantly telling it what to do, correcting it, treating it unfairly... or do we nurture it, mold it, protect it and help it to grow into a beautiful fully formed script? I will decide that now- as a first time parent of a script.

I absolutely love the story- the characters (though some still seem unfinished or incomplete)- the plot twists, the locations, the action, the beats, the tone. I can't wait to see it as a movie, but I have very large concerns that if I sell the script, people would absolutely relish changing the ending.

I would hope that, whoever reads the script or thinks about working on it, that they will fully experience the meaning of the film, as it was meant to be experienced. If that experience is given a fair chance, I am confident that the primary elements of the script will remain as it was written.

Sometimes, you just have to not care what kind of criticism you get and keep trudging on... FOR the script. Keep doing the script justice by, yes, doing multiple passes of it and editing it, but also, in believing that there was a reason that you set out on this journey, and it wasn't just to make a script. It was to make a damn good script!

If Wendy says it... I know I can be happy with it!

"The Road To Tourney" First Short Script Completed

What is "The Road To Tourney" you say? Well it is the medieval period short film project I wrote and completed while suffering through writers block on the feature script "Blood Covenant". Thats what! I do recommend doing that for anyone with the notorious blockage of writing ability. Write something else and get your mind off of this subject that has you in mental knots!

I, notoriously, have numerous projects I think about and write for at the same time. It could be two projects or it could be ten. I try to limit it to three so that I don't end up rendering myself entirely useless. The trick is to do it if it helps you to be productive, otherwise, focusing on one or two things at a time is really best. Writing requires intense focus but it can get too intense or out of control for me. This short project was a real breath of fresh air for me to stop getting stuck on this brick wall in the dialogue. So I went over the wall.

The point is I wrote my first finished script! So, Im starting to get the hang of this writing gig. Its been a few years and its been very difficult to focus on getting something written and completed. But here we are! One down, a few more to go!

So, I am hoping to produce this short before the feature. But who knows? It is a medieval action drama with knights and ladies and it's about 20 minutes long. If you are not acquainted with medieval vocabulary you may not know what "tourney" means. It is another word for "tournament" which is, of course, where all the knights of the realm show off their abilities, get favors from their chosen ladies and challenge mortal enemies to mortal combat (when it got really hairy). So, all the fun stuff happens there at tournament and it's really ripe for drama and human stories to happen there...

Except, my story doesn't even occur at the tournament! "Where's the fun in that?" you say. Well, my story (not to give too much away), happens on the way to tourney- on the Road to Tourney, so to speak. Where there are no rules except your honor, fealty or chivalric duty to keep you from teaching someone a lesson or two. Pressure builds. Nobles and knights are gettin' all psyched up for the battle. Gettin' ready to kill, or be killed or to show off... and sometimes the real purpose of challenges, duels and getting hot under the gorget happens off of the fields of tournament and in the real difficulties in real life... on "The Road To Tourney." So, this, more or less, is where this story takes place. It would be my first real action film for me (if I can succeed in producing it) but we will see what comes next.

I am, in the mean time, producing my friend, Tom Tinnerello's, first short film, "The Finders" and am also engaged in writing whenever I have time on "Blood Covenant" as well as any other project that helps me with writers block, of which I have a large pool to draw from.

Here's a quick list of my projects I am currently working on writing...
1. Blood Covenant/The Double Edge (feature)
2. Out of the Silent Planet (feature)
3. On the Day Shift (short)
4. Mirum Lux (feature)
5. Beach Baby (feature)
6. Redshift (feature)
7. The Light Princess (feature)
8. Day Boy/Night Girl (feature)
9. Floridiana (feature)
10. The Ring Cycle/The Nibelung (feature)

This is pretty exhaustive, so don't think I think about all of these in one day, but I do often change the ones I think about in one week. Usually, I write for one or two at a time, so it doesn't get out of hand. But, I'm actually very satisfied that I will never be exhausted of good ideas to work on. These good ideas keep coming and I am happy to try my hand at them. The more I do, the quicker I will get. So, that comforts me at the end of the day. I just can't wait to have my first feature script ready.

Thanks for reading and keeping up with all my progress!