Funding Through the Crowd

My morning routine, much like that of many other digital-aged Americans, consists of a cup of coffee coupled with my Twitter updates. I start each day with CNN, Variety and ESPN as well as the latest from major motion picture studios and independent houses alike. In the last year, I have noticed a trend with smaller studios in using these social media platforms to look for and secure funding for their films. The publicity for a project in the early stages paired with a search for investors is a drastic change from the day in age when money was not discussed with the general public.

The money raising process has always been a difficult one for independent filmmakers and new, creative, digital, and public methods are beginning to become the norm. This concept is being dubbed “crowd-funding” and allows average people the opportunity to become personally connected to a film and therefor invested (emotionally as well as financially) in a project. As Jeff Steele describes in his article “Independent Films’ New Path to Financing”, this phenomenon speaks to two basic human instincts; “greed and self interest” (2010).

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Documentary filmmakers have been utilizing this concept in order to circumvent a traditional donation process, which can be lengthy and extensive. Although this method is becoming more popular for smaller projects, it is not 100% effective with the larger undertakings. The amount of time it can take to raise a substantial sum through social media compared to going through the traditional grant process is influential. YouTube and company blogs are also being used to showcase film trailers, up-to-the-minute updates, and personal stories about cast, crew and filming in order to bridge the personal gap that many projects face in finding funders.

Instead of dealing with groups of face-less investors that have no personal interest in a project, only financial, many filmmakers are choosing to appeal to individuals who feel like they are a part of a special project that may some day appear on the big screen. The tricky situation, as Steele warns, is how to use these digital mediums in a more efficient and time saving manner by making sure your audience sees a return on investment. A producers credit is not as effective as filmmakers assume since the general public often times do not understand the importance of the title. Frankly, if the Executive Producer credit is over used and given out at ease, it will lose all influence in the industry. The Academy Awards are too long as it is, if an Oscar for Best Picture is presented to all the Twitter followers for a production company, the telecast would last for days.

References

Steele, J. (2010, April 27). Independent films’ new path to financing. The Huffington Post: Tech. Retrieved from http://www.huffingtonpost.com/jeff-steele/independent-films-new-pat_b_553044.html

MPAA: The Big Fish in Film

Starting out in an industry, especially forming your own business, it is vital to know the key players and be able to network. In an industry such as entertainment, the old adage “It is all about who you know!” rings true and in the film industry, this concept could make or break a business. While in most industries, it is smart and productive to start at the local level by networking with city or state associations and commissions, the film industry has one major player at the helm; the Motion Picture Association of America (MPAA).

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In analyzing the film industry and the steps it takes to create a successful production company, my instincts lead me to my local film institutions, the Colorado Film and Video Association which partners with the Colorado Office of Film/Television/Media. These organizations have amazing programs, incentives, events, and supportive resources aimed to help Colorado filmmakers and media professionals navigate this unpredictable industry. While delving through the various channels of these groups however, I was consistently navigated to a MPAA reference and soon discovered the all-encompassing power of this association.

MPAA is comprised of the six major U.S. motion picture studios, which include Walt Disney, Sony and Universal. They control and monitor major functions in the film industry such as getting a film rating (their board of parents make that fateful and expensive decision between PG-13 and R), registering movie titles, and gaining approval for all film related advertisements. In order for any rated film to be released, it must go through their channels and attain approval.

Although they seem like the all-powerful rule-maker, MPAA’s main mission is to be an advocate and fight for the rights of the film industry by educating professionals, creating and defending legislation and establishing programs that fight for and maintain an advantageous environment. They create new initiatives and technologies that assist professionals as well as ensure a healthy and respectable future for this creative medium. They are extremely committed to intellectual property rights education and protection from pirating and also act as the champion for the rights of the artist. They actively pursue those who illegally mass-produce, identify and shut down criminal websites and campaign for new laws to protect the rights of filmmakers.

Being a small fish in a big pond can be a terrifying thought and so often large groups and associations (especially the thought of a collaboration of several major players) can seem intimidating and threatening. MPAA, although comprised of potential long-term competitors, is designed to promote fair trade and competition and create a business atmosphere where smaller companies stand a fighting chance. They promote the ideals of job creation, economy stimulation and spreading art to the masses. In starting a small production company, their standards are what I would have to abide by with regards to ratings and advertising. They give detailed advice about how to properly attain the necessary requirements but are also a great resource and possible protection for any projects that I may someday attach my company name to. With a persona of community, artistic expression and a thriving business for all, MPAA has a direct affect on the film industry and while my local resources are vital, this big fish is the gatekeeper.

A Soldier for Film

Film has always bridged a wide array of gaps and facets in my life. Whether it ignited a passion (mob movies such as The Godfather- I love stories of family, whether born in to or made); helped me see a different perspective (I viewed a film named Ajami at a film festival a few years ago about young lives in Tel Aviv that really opened my eyes to a differing way of life); got my creative juices flowing (Sofia Coppola’s vision and direction in Lost in Translation); or simply allowed me to escape the realities of the world for 90 minutes or more (I adore Judd Apatow for his genius in this arena); film has always been my gateway to another world or way of thinking. Projects, in particular documentaries, are specifically designed to take the viewer somewhere new and unexpected while shedding a light on something the filmmaker is passionate about.

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When I came across the speech of Deborah Scranton at the 2007 TED conference, I viewed it simply to fulfill my own selfish enjoyment of hearing a female filmmaker talk about her experiences in the industry but was blown away by her project War Tapes. As a military kid I have lived that unique lifestyle of growing up on bases, watching loved ones be deployed and being raised by one parent as the other was in a war zone and I have therefore always been sympathetic and extremely emotional to the stories of the military and war. Scranton is able to connect with her audience, whether seated in front of her, in the movie theater or from her oversized chair in her Colorado office in front of the computer, and show them a rare glimpse in to the life of American soldiers during the war in Iraq. Her “film from the inside out instead of the outside in” approach put the cameras, not in the hands of the media or filmmaker, but the soldiers themselves and gave a never before seen perspective into the horrors of war. The shaky camera and the terrifyingly unexplainable sounds in the distance made the audience feel like they were on the front lines. The profanity, blood and machismo all added to the realness being unfolded. The gripping images that exploded on the screen moved me to tears while Scranton's voice cracking as she spoke of these soldiers so warmly and genuinely sympathetically drove me to fits of sobs. 

Scranton built a relationship with these soldiers living in an unforgiving and deadly place and it was evident in her end product. The military is very protective of its image and very wary of the media but she gained their trust through correspondence, a listening ear and most importantly, patience. There was no exploitation, only reflection and examination. That she was able to do this at all is something profound but accomplishing it as a woman is astounding and inspiring. 

Filmmakers have a responsibility to their audience and their subject that can be so often forgotten or abused. Scranton takes her role as storyteller of an untold or socially manipulated tale with a sense of integrity very seriously and you can hear it in her voice. This film was not designed to be a clever PR piece or publicity stunt. She gave these soldiers a voice and an opportunity to allow the world to see their side; the good, the bad and the horrific. These soldiers changed her life and she is passionate about putting this film in front of others so that they may have the same experience. In the last minutes of her speech, she calls the American public to action. No more blind support and ignorance. There are ways to help and things to be done and that to me is the beauty of film. That something I feel is my passion and cause can be put in front of the masses to share in an experience. While I appreciate my 90 minutes of mindless bliss with a good romantic comedy, film can also change the world.