There is no such thing as art without audience. A motion picture does not even exist without its impact on human viewers. As an independent creator without established lines of distribution, how do you build an audience that yearns for your specific stories? How do you keep them excited about your stories of the future? In today’s market, your response to this question may be the difference between a “one & done” and having a long, sustainable career as a filmmaker. Rather than answer the question in hypotheticals, I will instead take look at a film that has been particularly innovative in their building of a core audience. Hopefully from this others will be inspired to create their own authentic KickStarter campaigns within their self distribution efforts. Ownership equals accountability: DIY distribution and marketing liberates a filmmaker from an evil third party who might mis-package their film, deliver it to the wrong audience, or even worse not give their seedling the attention it deserves. While this ownership sounds grand in theory, there are 2 catches: (1) there will be no-one else to point the finger at if your film fails and (2) you are going to have to do much more work. Yes, at IndieStreet we champion a group mentality and “do it together”(DIT) over “do it yourself”(DIY), but even on IndieStreet if your film release does not meet your expectations, there is really only one person that is held accountable. Your sisters and uncles and cousins in the Indie Street family will help as much as they can, but this is your baby. The two IndieStreet partner filmmakers we will feature probably couldn’t be any more different individuals or have more distinct films. The first, “Cam Girlz” directed by Sean Dunne, tackles selling sex on the Internet and emerging forms of human connection. The next, “Tanzania: A journey Within” directed by Sylvia Caminer, documents an African voyage and the resulting personal and societal inner reflection. One of their crowd building campaigns was in the middle of production and the other was leading up to a limited theatrical release. The differences between these two documentaries and their directors only strengthens my encouraging argument: No matter the stage of your career or the stage of your film, you have the ability to execute innovative & authentic strategies to build a sustainable audience. Film 1: Cam Girlz Documentary (www.camgirlzdoc.com) Director: Sean Dunne – (Oxyana, winner of Best new Doc filmmaker at Tribeca 2013) Promotional Campaign: Crowdfunding campaign that doubled as an audience building promotion. Sean completed a $65,000 KickStarter campaign by partially targeting an untapped audience market. Stage of film during campaign: in Production 1. So Sean, After deciding on your subject matter for Cam Girlz, did you take time to figure out the core audience for your film? If so, how did this help in these early stage promotional efforts? The great mystery and challenge of being someone who makes films for an Internet audience is figuring out exactly who is watching your films. It’s really important for a director in my situation to understand their audience, so I can more effectively hone my message toward them during fundraising and marketing. It’s not always going to be the case but with Cam Girlz we have a bit of a double edged sword in terms of audience – film lovers who have followed my work through the years and the built in viewership that the women we are documenting bring to the table – with very little overlap. The Kickstarter campaign was the perfect opportunity to bring those audiences together. One of the strategies that really helped was launching the campaign after we had a good portion of the film shot and had teasers and trailers in the bag. We needed to show both audiences how we were going to treat this subject matter, not just imply it. In the end that’s what led to the film being successfully funded. 2. This was your second successful KickStarter campaign. What can you share about your experience to date with crowdfunding (as a community growth tool)? What we learned with the Kickstarter campaign for Oxyana was that it was about so much more than just raising money. The Kickstarter established a dialogue about the issues raised in the film and ultimately proved to be PR that we could have never otherwise afforded. Even if the dollars came up short, we were raising awareness about the social issue and attracting passionate supporters even before the film was made. That first campaign helped us identify our core audience and build a grassroots effort that led us to Tribeca, and eventually, to successful self-distribution. Without traditional resources at our disposal all we can do is absorb and assimilate, so when it came time to fund Cam Girlz it was a no brainer to go back to Kickstarter. This time around we really understood the power of crowdfunding and what it meant for growing our audience. 3. The path for Cam Girlz is still unwritten, but can you discuss why you decided to jump into a self self distribution path with Oxyana so shortly after it won awards at the Tribeca film festival? The idea of taking Oxyana on the film festival circuit for a year or more seemed unnecessary given where my audience comes from in the first place…the Internet. Rather than chase something that others said we were supposed to, we decided to trust ourselves and what we knew. We knew we had the means to self distribute and some good buzz coming off our success at Tribeca, and we knew that all of the initial deals that were put in front of us were bullshit. Putting our film into the machine would have only slowed the process of getting it to a wide audience. So we stayed small, focused, and in the moment. Eventually we had an epiphany of the obvious…that the film should be available to audiences while it still had all this momentum. And the decision paid off. There are a lot of old guard ways of doing things that filmmakers blindly subscribe to when it comes to getting your work out there. We don’t have to be beholden to festival programmers or sales agents anymore. We need to take the opportunities in front of us, and not be afraid to start from scratch and make this more sustainable for ourselves. We have personally been lucky that Oxyana has been successful, but honestly, even if our means of distribution was an utter failure, I’d wear it as a badge of honor. I’d rather retain ownership and fail hard than buy into a system that never gave a fuck about me to begin with. -------------------------------------------------------------------------------------------------------- Sean’s final statements should hit home for all filmmakers. Do not be afraid of failure or of what someone will say if a big studio does not pick up your picture. With current technologies, by branding yourself as a filmmaker or group of filmmakers, you can become your own studio machine. This is of course only if you put out quality content and focus on building your audience in authentic ways like Sean and his wonderful producer, Cass Greener, have done. By tackling a unique subject matter, Sean and Cass have not only fed their craving for spelunking the caverns of human character, but they have also tapped into a whole new market. Probably half of the audience of Cam Girlz will be from the world of internet sex, not from the already saturated indie film community. In my opinion, at least a quarter of them will be so intrigued by the film’s non-boob storyline that they will start to follow the film’s director and his career. Easily thousands of viewers that probably have 0 interest in indie film, but now they have an interest in Sean Dunne. This new audience segment, on top of the fans from Oxyana, on top of the fans from IndieStreet and even this simple post will all roll Sean over into his next film and continue to grow his core audience even further. Uncovering an untapped market segment isn’t easy, but if you are a great storyteller and you focus on strategic audience building at the early stages of your film…you can create a sustainable filmmaking career and gain some invaluable Indie street cred like my man Sean Dunne. -Jay Webb
Film lovers rejoice! It's Filmmaker Magazine's 25th Anniversary and their latest edition is officially out and chock full of inspiring reads. With that, this means the magazine's most anticipated yearly roundup has been revealed! If you love indie film and can't wait to see what the future holds for the industry, then you gotta check out 2017's 25 New Faces of Independent Film. All as innovative and as exciting as the next! Check out the full list over on Filmmaker Magazine and remember to keep these names on your indie radar. Indie Street sure will!
If you are in anyway associated with the film industry, you know without a doubt: making a movie is hard. Besides money, ideas and resources, one of the most important ingredients to have to be successful is creativity. And if you have no confidence in your creative abilities? Well, get ready to make a hard task even more impossible. Need a confidence boost? Check out No Film School’s list of ways to get your creative mojo back. From owning your failures to joining a community, there’s always a way to get your groove back!
Over the past couple of decades, Kevin Smith has worked hard to become a powerful indie film legend in his own right. But what if you could harness that power and use it to help self-distribute lower budget films from some of the best up-and-comers you’ve never heard of? Well, this is what Smith is trying to do - find new ways of financing, self-promoting, touring and distributing his own films as well as the films of others. He spoke with Indiewire this week to talk about the state of the film industry, how his relationship with the business has changed, and how he hopes to move beyond just creating his own films in the future in order to help champion the voice’s of others and bring their films to the masses. Read the full interview here.
Since 1998, Filmmaker Magazine has graced us with an annual list that is absolutely worth checking out every year. Something they have declared their most “celebrated feature of the year”, their “25 New Faces of Independent Film” articles have come to show us a list of impressive up-and-comers in the industry that are worthy of all the praised bestowed upon them. The 25 lucky people are the result of Filmmaker Magazine digging deep to find the pulse of what’s new within the indie film community this year - new storytelling forms, new stories to tell, new ways of impacting an audience. With that, the 2016 list has been released and Indie Street was absolutely thrilled and colored rainbow hues of surprised to see Livia Ungur and Sherng-Lee Huang of Hotel Dallas on the list. Hotel Dallas, a hybrid experimental doc telling the story of the TV show “Dallas” in 1980s communist Romania, was one of our most exciting doc feature selections at our inaugural Indie Street Film Festival last month. Read more about the married collaborative duo here and make sure to check out the rest of the list of newcomers making names for themselves within the industry!
When filmmaker Jim Cummings created his latest film "Thunder Road", he didn't imagine it would ever get into Sundance, let alone win a top prize. And now, not only has his widely successful and lovably hilarious short film gone on to gain him exposure and amazing opportunities, he can also claim it has gained him a favor from "The Boss" himself. Cummings recently wrote an open letter to Bruce Springsteen regarding the cost of rights to his song "Thunder Road" - a song that makes up the very fabric of his film. Without the song, there's essentially no film. But with a 50K price tag on the rights to the song, it was looking likely the film would never make it online at Vimeo for free, as was Cummings' intentions. However, thanks to hard work and a touch of sheer luck, Sony has granted him digital rights to the classic Springstreen track. Festival wins, notoriety, an awesome film and now a favor from a musical legend. Not bad. Read here for more info on the one shot short that could! And be on the lookout for "Thunder Road" when it hits the Indie Street Film Festival in Red Bank this July!
IndieWire's Ani Simon-Kennedy reflected upon her experiences getting to partake in the Cine Qua Non Lab Screenwriting Residency in Mexico last summer. Spending two weeks in a tiny town called Tzintzuntzan and working on her script, she was surrounded by a diverse, international roster of other talented filmmaking veterans and beginners. This year the lab runs August 7-20, 2016. The deadline is this weekend, so if you’re interested, check out Simon-Kennedy’s account of her experience and read here for more info on applying.
Ah, the short film. A creative, bite size piece of media that has become all the rage on digital platforms, social media, and everywhere in between. But what about short films that are winning on the festival circuit, at bigger festivals like SXSW or Sundance? As the visual, moving image calling cards of the privileged few, where can these filmmakers find a balance between exposure and profit with their shorts? Indiewire recently sat down with a dozen directors of 2016 festival favorites to find out the secrets behind the short film market. The interview is an interesting look at the different options popping up and the advantage of putting your content out there for free. Interview also features friend of Indie Street, the collective Ornana! Check it out!
Even if you’re an emerging or already established documentary filmmaker, you’re probably always looking for ways to sharpen and hone your filmmaking skills. Good news: The UnionDocs Centre for Documentary Arts has a new opportunity (or two!) open for applications. With an already strong reputation throughout the film industry, UnionDocs will be offering two collaborative labs: The Collaborative Studio and the Summer Documentary Intensive. These labs are open to both domestic and international applicants with application submissions due at the end of March/beginning of April. Read here for more details on what each program offers along with their costs. Winners have gone on to screen at numerous highly respected documentary film festivals worldwide. If you think you have what it takes and are interested, you can apply now over at the UnionDocs site.
Following the success of its inaugural year, the Financial Times and OppenheimerFunds recently announced the launch of their second annual Emerging Voices Awards, an initiative to recognize talent within emerging nations. Focused on three categories, including art, fiction and film, winners of the 2016 awards will be accounced in September and will receive prizes ranging from $5,000 to $40,000.The competition is only open to residents or passport holders of emerging-market nations, including Africa, Asia-Pacific, Latin America and the Caribbean.For more information on the global initiative and awards scheme, get onboard and read here.
Interviews with an underground NYC music legend, Milo Z, and his budding jazz saxophonist (Steven Frieder) give our creative community some insight on different ways to manage the ever-changing creative ecosystem.
A rainy afternoon in the early 1980s: Soft rain acts the snare as a group of young boys add the kick drum on their leaps from truck top to truck top. Right behind CBGBs is where the old U-Haul trucks used to line up tight, and that is where the bright eyed young stompers would play their games and talk of the unknown. This is where the young boys would undoubtedly stumble upon some mischief that might just turn them into young men. In general these were the days when kids went out to play for the whole day without checking in ‘til the street lights came on.
Milo Z was one of these boys, free to explore the East Village with no need to digitally check in or post a quick selfie to announce whereabouts. Humans were happy to share memories with a select few, but Milo still dreamt of big days ahead. It was one of the first days this particular group of boys had graduated from truck hopping to cab looting when the now local icon found an old practice drum set. Milo dragged that drum set home, and the rest is as Milo would say, is Razzamofunk!
This past week, I had the chance to interview two musicians in different stages of their careers, different stages of their lives, and from different eras of the music scene. Even stemming from two unique ideological generations, these talents share the stage, perform together, and inspire each other in the types of ways that make crowds gather on Indie Street. Both Milo Z and the young jazz saxophonist Steven Frieder had lots to share about their values, their music, and their paths as independent artists.
A total professional, Milo Z sings, dances, conducts, orchestrates, and interacts with the crowd, all the while dressing and grooving in a style that is unique and all his own.. Showcasing his talent in NYC for decades, now 5 albums deep, Milo has the experience and grit that produces some truly authentic music and lyrics. His appreciation for originality is pretty obvious considering he has created his own music genre Razzamofunk (a blend of Rap, Rock, Rythym & Blues, Jazz and Funk).
Steven is only 24, but some consider him a sort of jazz prodigy. His saxophone will transport you back to a day of funky soul from before you were born, or may have forgot existed. Steven wales on the sax with Milo Z and a variety of other bands, and released his first album as a leader last year.
Steven and Milo seem to have a natural synergy with each other. Not just a student-teacher relationship, but one where both realize the great benefits of the others presence regardless of age or experience. The young generation has a lot to learn from the toughness and persistence of those who succeeded in the past, but now more than ever, older generations must keep an open ear to the young street for new ways to swing and sling in the market.
The two will be traveling with the rest of the Milo Z band to spread the funk in Greece later this month. Milo Z loves bringing in and bringing up young musicians, who he admits at times end up on even bigger stages than his. He becomes enlivened from the youthful vigor and reconfirmed by challenging Steven and others to perform at their highest level. Steven looks to Milo a leader who expects the most of himself and his band while committing himself to his craft and his crowd.
Distribution & Self Promotion
New School – Steven Frieder
The simple act of referring to this young talented musician “new school” is probably an injustice because his musical soul and spirit are from a different generation. In any case, his physical age is of the digital era, so we asked him about the new tools for getting out there. For the most part, Steven believes it is very different from musician to musician depending on their priorities, but he did reveal what he believes to be the most intriguing new digital concepts:
“I think that one of the most powerful social media phenomenas is that of the viral video. Do you remember this video of the subway street performers that went huge last year? It’s this trio with Bari Sax, Trumpet and percussion. Too Many Zooz. I know the horn players, good friends of mine that I went to college with. That video went viral overnight because someone posted it on reddit. Now, they are touring all over, playing in Europe and all over the west coast. I couldn’t be happier for them, cats that went to a major jazz conservatory, and got big playing “Brass-House” as they call it. It’s some great stuff.”
Old School – Milo Z
As an old school cat at heart, Milo Z (and many other humans on the planet) feel that the social networking and digital media have started a trend toward shameless self promotion:
“Nowadays everybody is a star, everyone is taking their selfies. There is no shame. It seems now the old expression there is no bad press has reached a new height.”
Lyrics from Milo Z song, “Bitch (for the camera)”:
“Nobody cares if they’re comin’ off wrong or right, as long as their name in the paper gets spelled right.
Even for artists who have some hostility toward youtube stars and the year of the selfie, there are still many ways to hit the avenues while still creating art. Milo Z for example, is taking advantage of his creative drive and rich childhood to write his first book.
“It's a coming of age story of a kid growing up in NYC and the (Lower East Side) in a time when the L.E.S. in particular was a very different place, a rough place that was untamed and untrendy. I’m exploring a different way to be creative and i'm excited about the process. Maybe I can drop my next album when the book comes out and one thing can cross pollinate the other, than who knows.”
We School – What can other cooperative artists learn
It seems the takeaway is that being genuine in your marketing is what matters. Even if you don’t want to write a whole book, you can tell your story without it being shameless self-promotion. Cross marketing, collaborating, and finding new ways to reach the audience is part of surviving for an entrepreneurial artist. Artists have always been entrepreneurial by necessity, and new tools like viral videos, social networking, and crowd funding, (while making it more complicated), do give more ways for creative to think a bit more about business.
Old School - Milo Z
When I asked Milo Z if he ever considered using a Kickstarter or Indiegogo crowd funding campaign, he was a bit taken aback. “Passing the can around just doesn’t feel right for some reason.” If you are from an era like Milo Z and myself where you feel weird to ask your friends and family for some extra scratch, then the odds are that they may think it a little awkward too if they are of similar age and upbringing. Crowd funding can alienate your core audience if your audience doesn’t think its cool.
New School – Steven Freider
Steven used IndieGogo to help finance his first album, After Time (Produced by Jake Hertzog, feat. Bob Meyer, Luke Franco, & Peter Brendler) and had this to say.
“I think crowd funding is a great idea for independent artist to finance their project. How much you can raise definitely comes down to your strategy and your audience. My audience was mostly friends, family, my fellow musicians, and people who kept asking about when I was going to make a CD! I kept the project within my limits, and still paid for most of it out of pocket.”
We School – What can other cooperative artists learn
If you have grown up in the age of crowd funding and to your knowledge your circles support the idea or would really enjoy your rewards, than what is the harm in going for it? Even if all your friends and family don’t have much dough, they can spread the word to others in similar circles so you can grow your audience (even if you don’t raise millions). There may be one new fan you get who may have some serious connects or a huge network of followers themselves. On the other hand, be honest about who your core audience is. If you think they would be offended by asking for donations, than maybe look toward other avenues of financing your next project. We have not used crowd funding yet directly for IndieStreet, but thre is surely value in it: some of our filmmakers have raised a good amount of money, as well as increased awareness for their projects.
Creation – The School of the Insane Now
When I asked both of these unique artists why they made music, I got answers far from the realm of digital, all of the words were lined with human passion and grace. So rather than me go on about why they create, I chose a few of the most telling quotes from my talks with each of these talented musical creators:
Milo Z: I make music because I have to. If I wasn’t making music I would lose my mind. I think we are all a little bit crazy and what keeps us sane is our outlet.
Steven: My mother played and taught classical piano, played guitar and sang. She passed away when I was 17, and it is very much because of her that I play music today.
Milo Z: What has changed for me in the last few years is that I'm a father now and that now my daughter Sierra is the most important thing to me, even more than my art! If I never did another show I still be her dad so the rest Is gravy.
Steven: One of the greatest truths for any art, is that there is always more to learn, no matter what level you have achieved…
Milo Z and Steven Frieder are innately insane artists from different schools, but they both really live by the same code. Don’t fight the human need to create, don’t stop learning, create with your heart, and be authentic. The actual creation of art and its motives do not seem to change too much from generation to generation. No technology can stop our primal emotions and releases. No technology can truly engage a human audience without a human story behind it. Milo is building on his already rich story, and Steven is just starting to write his.
If Indie Street can help harvest discussion and keep the most talented (and by Milo Z’s definition the most insane) creators with sustainable outlets, then we can all stay a bit more connected to our human roots. By getting creative with technology and sharing the experience of truly unique individuals, the world gets to hear more great music, watch more great films, and keep some really awesome people from going insane.
-Jay Webb, Indie Street
Check out more and keep informed on Steven and Milo Z at the links below: