Strange and redacted teasers on t.minus...

I was going through my unread Instapaper list tonight - cleaning things up, watching videos I had saved for later, etc - and I came across a post by Ted Hope, from his blog, Truly Free Film, titled: 50* Ways You Can Do Something Different On This Production.

There were a few points that I particularly liked - that got me thinking about ways in which I could change the way we're doing things on Pedal. I thought I'd write about them here and get people's feedback.

#2: Do something stylistically just because you like it. Allow something to be “outside” the film, something that doesn’t fit so right and is only there because you dig it. Why does it always have to fit?

This is one of those suggestions that seems like it would come naturally - but I have found that there is an incredible amount of self-sensorship or filtering with ideas during the creative process.

I try to write everything down that comes to mind - and find ways of working it in, or at least discussing it with Amanda as an option. But many ideas get dumped too quickly because they don't "fit", and what does that really mean? Doesn't fit how? Doesn't fit with things I've seen done before?

Reading this suggestion helped remind me that there is a difference - albeit a fine lined one - between something not "fitting" and something not "working". As the story of FToM gets closer and closer to being locked down - I need to add in ideas that really feel creative and new... maybe they'll only make the deleted-scenes in a DVD extra... but at least I'll have tried hard to make them work.

#9: What would be a different business model? Could you give it away? Free it? Never plan to screen it theatrically? What if the movie was not the main event, but something else was?

Although we do have solid plans to release FToM freely - I want to think more about the idea of the film not being the main-event. What could we structure around the film that would give it more meaning... more interaction... more momentum?

I don't have an answer for this yet - but it's something I want to revisit often as we work through post-production.

#12: What if you built your audience base prior to shooting? And maintained significant communication with them throughout the process? How might that change your final work?

I feel like I've tried very hard to do this during every step of Pedal. Sometimes I've not done as good a job as I would like... I let things get in the way of being open and keeping a conversion going around the project - or around storytelling in general.

But I like how Ted ask, "How might that change your final work?", because this blog has lead to a back-and-forth that has dramatically changed the project itself and the final film. So much so I'm not quite sure I would even know where to start... I feel very fortunate for this site and the people that it's helped introduced me with.

I now know that, for me, storytelling will always be a very empty undertaking without this kind of community from day-one.

#13: Innovate. Try some new equipment on every production. Improve a simple process. Isn’t production about the communication of information in the service of art, as efficiently, economically, and aesthetically as possible?

I wanted to mention this idea for one specific reason - when the crew, The Black Sheep, flew from Belgium to Los Angeles, they brought a handful of different equipment with them to use on the road. They packed their main camera of course, an Fx1 with a SGpro 35kit, a 16mm hand-crank camera - but also several small mp4 cameras. These small low-quality cameras turned out to be incredibly helpful for both the 64 Days series as well as FToM. The jump in quality and frame-size really helps add another layer to the story... the footage feels personal in a way that the HD footage does not.

When Amanda, Karen and I leave for Northern California to film additional scenes with Larry, I intend to have a camera in my hands at all times filming little details.

I've been working hard to storyboards specific shots and have been busy editing those into a timeline with temporary voice-over tracks - and these shots will be the main focus, they'll be scheduled out and planned in detail. But there's so much I could miss if don't take the time to step back and record things the way I see them in the moment without the filter of "how is this going to fit into the film".

A few post back I mentioned: "Amanda and I are very close to working with two very talented people who's work we think is amazing". For some of you who follow the film on twitter, you might have come across the USA Today article that made the announcement a few days earlier than planned - which I thought was quite funny. But in any case:

In May, Amanda and I will be traveling to Northern California - we'll be doing this to film scenes with Larry that are from the perspective of both coming home and (then later in the film) prepping for his next 16,000 mile adventure. We've always known that we would need additional help with these scenes - unlike the strictly documentary part of For Thousands of Miles, these will be specific shots that involve a lot of planning and precision (in some cases). So, after a lot of thought, we approached our 1st choice for the posistion, Karen Abad. And she said "of course!".

I really can't explain how fortunate I feel about the history of this project - I think back to just weeks after this production blog launched (in 2004), when I talked with Amanda about my number one choice, out of *anyone*, for filming this documentary, being a small team of Belgians half way around the world. And by some odd and random string of events - it actually happened. I actually was able to spend two amazing weeks on the road with a team of three filmmakers who taught me so much about storytelling.

And now we'll be working with Karen, who's work on Vimeo I love so much - she's always been such a big part of the film's support structure for me. Has always been very encouraging... and even gone out of her way to self-design and hand-make buttons for the film! She's just been great - and she's immensely talented and Amanda and I are extremely excited to be working with her on this step of the film (above is a picture from our first group chat).

Well, that's one big announcement related to people that we're very anxious to be working with - and that leaves one left to go. But I'll save that for it's own special post. In the meantime I'd like to leave you with one of my favorite Memory Banks from Karen, Memory Bank 120394a.

The last week of work for Pedal has been a big multi-tasking challenge. It always seems like the holidays come with a traffic-jam of task and catching-up. I've been keeping myself overworked with re-writing / storyboarding / scanning those storyboards and editing them into the FToM timeline.

I've been recording new temporary voice-over tracks for pacing. Finishing our 64 Days production journal. Packaging up all the t-shirts, stickers, and (now) little owls that people have been buying from our new store. I feel like I've had great momentum this month and I hope I can find creative ways of keeping that momentum in the next four months!

Which brings me to a question I wanted to ask: Do any of you reading have ideas about how we can be more open in what Amanda and I are working on from now until May (when we film in Northern California)? Are you interested in seeing a list of weekly task? Are you interested in simply seeing more Production Vlog Updates?

I suppose my thinking is, the next few months are going to require a tremendous amount of focus and energy... and I'm a believer in the idea that people's interaction and involvement, even oversight, is extremely motivating and sparks creativity.

Moving on. I wish I could go into details right now - but it's not time for a full announcement just yet, but I'm far too excited to keep it all to myself: Amanda and I are very close to working with two very talented people who's work we think is amazing. One will be (hopefully) involved with areas of filming, and the other will be (hopefully) involved with areas of design and illustration. More on that as soon as possible - we don't like to keep secrets from everyone.

One more small note before I go - we've been migrating all our hosting and registration to Dreamhost, and over the weekend I accidentally deleted the .css file for our main site. So I ended up re-writing it from scratch. Then I stayed up until 2:30 in the morning re-writing 64 Days from scratch. Let us know if you spot any weirdness of certain browsers. Thank you.

On Thanksgiving morning I woke up with a killer sore throat - which by the time Saturday night hit, turned into a full-blown flu that kept me up the entire night in the bathroom. Three days after that and I was finally able to drag myself out of bed without being too dizzy to stand. I haven't been that sick in a long, long, long time - six days in bed was fairly extreme for me when it comes to my typical cold.

I have an overwhelming pile of things to catch up on now that I'm back on my feet - first up is putting the finishing touches on the Kickstarter rewards for all the unbelievably amazing people who helped us reach our goal and secure $8,945 towards the film!
Our 64 Days Production Journal is 98% complete, and up next is creating the 64 Days - parts 1, 2, 3, and 4 - DVDs with bonus features and commentaries from Amanda and I. If any of you have ideas for fun things that we could add to some of the 64 Days DVDs, please let us know!

In between working on our KSR responsibilities I'll be very anxiously story-boarding more pieces of the film that we'll be shooting in Northern California with Larry. I have to remind myself most days that there are still many small stages of FToM left to complete - but at the same time, we feel so close to the end. I look at the script and I compare it to the time-line in Final Cut and it's just very exciting. I feel like we only have several major hurtles left to deal with before we're able to sit down and actually watch a rough cut of FToM.

It's time I get back to work - don't forget to share any ideas for DVD bonus features in the comments!

I'm scrambling to get ready for Thanksgiving this morning - and trying to make time to run to the store to get some cough medicine :( Woke up this morning feeling a bit under the weather. But! I wanted to do a very quick update about the last few hours of our campaign.

The last 90 days have been amazing - and it being Thanksgiving today, it's pretty appropriate that I point out how overwhelmingly fortunate Amanda and I feel to have all of your support. I'm pretty anxious to start packaging up all of the exciting rewards for people. It's been a crazy three months.

Okay - more updates to come very soon! I hope everyone has a really great day and I'll leave you with this super short video of the production book I've been working on like mad for one of our KSR rewards:

FToM on Kickstarter - We Did It! from mike ambs on Vimeo.

November 11th marked a few excited things: a 28th birthday, the 100th week of post production, and the day FToM on Kickstarter reached 100% of it's funding goal!

Since then pledges have slowly kept coming in - and we want to make the best of this momentum and the remaining days (campaign doesn't end until Thanksgiving).

We'd love to see if we can hit an even higher goal - Kickstarter is such a powerful and unique outreach tool and we want to raise the bar as high as possible.

We've designed FToM t shirts that we're really happy with (American Apparel 100 percent organic cotton unisex) and want to give as many as we possibly can to the amazing people who helped us reach this goal.
If we can hit our new goal, we'll be able to include a t shirt for every single person who pledged above $20.

Also - with 10 days left - I have a bit of a birthday wish: to get Livestrong / Lance Armstrong to pledge a $1 to the film. If you click this link - it will pop open twitter, with a pre-written tweet all ready to send. I know we can do this!

Amanda and I had already been struggling to get Pedal off the ground for 3 years by the time we released Episode One (in Dec of 06). Even at that stage in pre-production, the story driving the feature length film had evolved quite a bit since day 1 of planning.

The project was always growing, and always structured around a current understanding of our own personal experiences with long distance traveling.

Now it's been over two years since following Larry McKurtis across the country, and Amanda and I have gone through several variations on roughly the same story during the writing and editing process. One of the most important changes has been the interview segments, which I wanted to talk about in this post.

During our 64 Days on the road, we filmed as many interviews as possible, with people taking their own bicycle adventures. We always expected these interviews to fit into the film as the driver for a reflective, post-trip narrative.

After two years of writing and editing and more writing, I've been more and more accepting, specifically the last 4 months, of the reality that these interviews don't fit smoothly with the rest of the film. They don't need to be in the film... they don't bridge any thoughts or moments that otherwise feel rough. The only reason it feels that we would use the interviews is because... well, typically you see interviews in documentaries.

And that doesn't seem like a very good reason to use them.

The other day, Amanda and I had a long brain-storming session over iChat, we did a full read-through of the script as it stands today, and discussed the few pieces of the film that are still just notes in an outline. One of the most important things we talked about was "what" For Thousands of Miles has evolved towards.

We both agreed that FToM closer resembles a documentary like Earth, or March of the Penguins then it does Man on a Wire, or Dig!. I've always heard that documentaries really find their story in the editing room - I just hadn't assumed that FToM would become the film it has.

I remember pretty distinctly, for whatever reason, watching Earth in the theater and thinking a lot about the basic format being used: visuals of different animals making great journeys, and an (all knowing) narrator talking about those journeys. Elephants traveling across great desserts... Birds migrating over some of the highest mountain ranges in the world.

And I started to really consider this format for the film... I wanted to treat FToM like a case study. Like we were learning about this species of animal; people, that sometimes would travel impossible-to-imagine distances for seemingly no reason. Sometimes alone, sometimes in small packs. A big focus of this study would be the after effects that these youthful adventures would have.

Pedal has never been a project about someone's personal experience - it was never intended to tell stories from one person's trip. And although visually we follow one person from coast to coast, there are many layers in the narration that feel more generalized... That these emotions aren't unique to Larry's experience - that most people go down a long and exhausting road internally after they've come home.

Also, one last thought before I sign off - I've never been able to explain Pedal as a *this* meets *this* kind of pitch. It's been 6 years of working on this film and I just could never do it. But after talking with Amanda and really going over things - I think I'm finally comfortable with mashing two films together as a close'ish representation of what people can expect.

So, here it goes, you're the room full of execs / producers and I'm the awkward, sweaty, unproven filmmaker pitching his film in 5 words or less: Winged Migration meets The Mirror. Now comes the part where I wait nervously for someone in the room to say something.

Several days ago, I posted a quick question about setting a date to Digg our current For Thousands of Miles (FToM) Kickstarter campaign - all the feedback we received was positive.

So with only 34 days remaining, we're going ahead with what we're calling a: Digg*athon. Here's everything you need to know to be involved.

We'll be Digging the film's campaign at 11 am EST on Monday, October 26th. The first 2 hours following will be the most critical in pushing Pedal towards the front page of Digg, but the Digg*athon will last the entire day, as all diggs will be very helpful.

Once the story is submitted, I'll post an update with a current shortened URL here on the production blog, as well as all of our social sites: Facebook, Twitter, IndieGoGo, Virb, Tumblr, etc.

It's important to clarify "why are we doing this?". Digg can be a very powerful site, and it can help reach out to hundreds-of-thousands of new people in a matter of hours.

The last time we submitted something Kickstarter-related to Digg, we spent only about an hour pushing the story on Twitter and Facebook, and had just shy of 40 people help Digg it. What was most amazing though; was at the start of that morning, our campaign was lagging at around the 20% mark for total funds raised, by the end of the night, we had jumped to over 60% - raising more than $4,200 in pledges.

But Kickstarter is an all or nothing campaign - if FToM is even $1 short of it's goal (of $8,300), the film will received none of the pledges these people have made during the last 60 days.

We know that Digg was just one part of the equation that afternoon, but we're excited to see what kind of effect the site could have if FToM's campaign received, say, 100+ diggs, or even 300+ diggs? How many new people would that put the film in front of? How many of those new people would find the film worth pushing forward?

We are hoping that by taking the weekend to help spread the word about Monday morning's Digg*athon - we will be able to pull in at least 70 diggs within the 1st hour.

A few things to keep in mind: if you'll be away from your computer during the first 2 hours - you can very easily help Digg with almost any cell phone (ie: iPhone, Blackberry, or any cellphone with internet access) via mobile Digg.

If you don't have an account already, make one early so you'll be able to simply click the URL, and then the "digg it" button and be done with it. You can even connect Digg to your Facebook account to make signing up much faster.

Also, comments are factored into the algorithm for Digg's site -if you are able to, leaving something as simple as a one sentence comment could help launch the submission ahead of several other stories with the exact same number of Diggs. If you have a question regarding the film, it would be a great place to post it, it could help spark a conversation.

The hashtag we'll be using for all related tweets, post, or status updates will be "#diggathon", if you'd like to help spread the word, using this hashtag will help us track that progress.

We're only $1,900 short of meeting our goal! Let's see how much closer to that goal we can get by the end of Monday night. Mark your calendars or add yourself to our event page, and thank you all so much to everyone in advance for your involvement and support.

I've spent most of the last week going over and over the same three pages of script. I'm not at the stage yet where I feel mostly frustrated, I just have yet to find how they fit together and overlap.

The three pages all deal with the moment Larry arrives at the Atlantic Ocean, in Bar Harbor, and for the first time in 4,200 miles, has reached the end of the road.

The first of the three pages was written well over a year ago, and the 2nd two are variations on the same moment from different approaches. One version focuses more on the "chain of events" perspective; that Larry's own experience will go on to influence other people's experiences, and how that relationship feeds itself at a level that often goes unnoticed.

Another page deals with the rush of emotions that come at the very end of any long adventure... all the memories associated with your trip, all the struggles and little memories seem to snap together at once and it's an overwhelming rush that comes and goes all too fast.

Some of the script tries to touch on how these memories are all filed away in your brain, how the human body works in an environment that's always changing and always challenging. There's also a layer of the anti-climatic, when you come to end of something grand and ambitious and no one around you seems to have any idea or any or interest.

I guess I just thought that writing about this might help me find what I'm looking for, and also it's been 9 days since my last post and I wanted to let people know what I've been working on piecing together. All this talk of Bar Harbor and arriving at the Atlantic has reminded me of this video Amanda and I recorded, knowing that we had finally made it to the end of production.

Also, before I sign off, I wanted to say thanks to everyone for all the feedback on the Digg*athon question. I've been working on putting that together as soon as possible. Stay posted.

There are days, weeks even, where this project can feel stuck in the mud. That no matter how hard I try; I just spin in place - and it goes without much saying that it's a difficult feeling to put up with. Whether it's accurate or not.

And I'm not writing this post to whine or sulk - I'm writing to say that I feel quite the opposite right now. A month ago I was still running over and over the same 4 pages of script and barely making any real progress... I was also starting to worry that I wasn't able to reach out to enough new people for our current Kickstarter campaign.

I felt like I was dragging my feet on both fronts. I know a lot of people find themselves in these situations, that no matter what it is you're working on or busy with, that there are times when you just want to crawl under a rock and sleep.

And, I admit, that I did that for several days... not literally, but I would sit at my typewriter and blank out... I would walk around in circles with the script in hand, reading the same 4 pages out-loud on repeat. I would see that we had a slow day on Kickstarter and instead of pushing harder to get the word out, I wouldn't mention it anywhere.

But last week, something finally shifted and I began to make leaps and bounds with the script. Long lost pages and narration began to fit together and tell a story that felt smooth and progressive. Which, I believe, lead to the burst of confidence and momentum I needed to re-record and re-edit a new intro' video for our Kickstarter campaign.

The morning I uploaded our new intro', we currently had raised 20% of our goal - a handful of RTs, a few dozen diggs, and a wave of status updates later - and by the time I had gone to bed we jumped forward to an amazing 60%!

Which means a few things: a) we might actually be able to pull this funding campaign off after all (which means lots of exciting progress just ahead)! b) that in the next 52 days, I should be able to piece together large and completed sections of the film (writing, editing, voice-over, etc). c) that we are reaching all kinds of new people out there... and that we are very anxious to make a lasting connection with them. d) I felt like I a fourth point... but it is past my bedtime and I'm feeling groggy. So, I don't think it's coming back to me.

Now I'm sitting here on the floor, listening to The Wind, and blanking out in the direction of my typewriter - and I just want to finish this post by saying: Everyone gets into a slump. Everyone. But in my personal opinion, it's important to let it to depress you... to let it eat away at you and your confidence... to let your lack of action get under your skin and leave you feeling anxious.

Because when all that gives way and eventually comes out in full force - you can use it in your favor. You can come out swinging harder... as if you'd been up against the ropes with the timer running out. It might not be the most efficient way of working, but it does feel damn good sometimes.

Kickstarter is a special site - and it has fostered a special community. I've always loved the internet, if not simply for it's unique ability to inspire. Anyone, anywhere in the world, can start sharing their labor of love - and stumbling across these hard-to-find projects usually leads to new ideas and new relationships.

I first mentioned Kickstarter, because one interesting project I came across recently was called Lake Beast, in particular a post that was written about "what was inspiring the look" of this animated short film.



Which the last week'ish left me wondering: what films have / are most inspiring the look and feel of For Thousands of Miles? Many of these have actually been films I've seen long into the writing and creation process of Pedal. But they stuck with me... I have vivid memories of sitting in theaters in Los Angeles and seeing a movie that suddenly overwhelmed me with that sense of "this is what I want". Those moments and films are important to hold onto - they can serve as guide-lines.



In no real order of importance - here is a short list of five films that have an influence on me, and how specifically they influence FToM.

Stranded - I've come from a plane that crashed on the mountains: Main influence: message.



I might get a few strange looks for this... but when I was young, I was fascinated with Alive, a film about a group of real-life teenage rugby players who crash and survive in the Andes Mountains for 72 days. I watched it dozens of times during middle and high school.



The recent documentary, Stranded, is a collection of first-hand accounts with the actual survivors of that crash. Aside from it being one of the most visually engaging and crafted documentaries I've ever seen, it's also one of the most inspiring stories I've ever heard.



It's been one of the clearest examples of people's inner strength... of our ability to, in the most nightmarish of situations, not only simply survive, but to tap into a part of ourselves that is buried... that is often unnecessary in our routines.

The Mirror: Main influence: chronological-structure.



I remember first watching the Mirror, a Soviet-era self-reflecting film by Tarkovsky, the cinematography was stunning... each scene was so perfectly choreographed between the actors and the camera to maintain a constant mood of dream-like reflection.



But what stood out to me the most, was the story was told in an order that was defined not by date, but more by when the director seemed to fully piece together that event's meaning or relevance. It was the first time I'd seen this done so beautifully... and the first time I felt at all confident that, yes, I could tell FToM in a similar way.

City of God: Main influence: narrative-structure.



Similar to the Mirror, City of God is able to start a narrative, but then side-step into an important and directly related side-narrative, while then smoothly coming back full-circle to where it started, now having explained all the pieces of the puzzle the audience needed.



This kind of nonlinear story-telling seems most necessary when dealing with real life, which is often full of so many more layers and back-stories than fiction. But most importantly, just because X happens before Y, doesn't mean it's understood in that order - sometimes Z, M, F and H have to happen before X seems to have significance.

Gerry: Main influence: pacing, visual.



The first opening shot of Gerry, aside from the 13 seconds of blue, is a near 8 minute continuous shot following the main character's car through Death Valley. Not a shot that everyone would be excited to sit through, understandably... but for me it was hypnotizing.



We've been trained to expect a certain amount of important information to be shown / explained in a certain amount of time when watching a movie (or TV show). But when a film takes an editing or pacing approach that goes beyond when we naturally expect a cut or a break, we begin to look closer at what's being shown - what's being said.



Is the film showing us clues, is the film setting a mood or level of reality that shifts the audience's perspective?



As a story-teller, you run the risk of pushing many people away with a shot that exceeds 3 minutes, 4 minutes, even 8 minutes - but sometimes that's a risk worth taking if important to the "way" in which someone begins to watch and take-in your film.

Days of Heaven: Main influence: visual, narrative.



This film is such a source of inspiration and nostalgia every time I watch it. The wide shots of the sprawling farmland just before sunset... the extreme close-ups of the grasshoppers clinging to strands of wheat. This is one of the films that I have a hard time putting into words.



There is something about how far-back the camera sits from people during a conversation... Or where the editor starts and ends that conversation which leaves something to the imagination. There's a drama that plays out that doesn't leave you gripping the edge of your seat, but allows you enough space to study the strange, predicable human-behavior the main cast finds themselves playing out.



Not to mention is has my favorite line from a film: "Looking for things. Searching for things. Going on adventures". I have that quote, from Linda Manz's character, written on a yellow post-it and taped to the front of my typewriter. I keep it there as a constant reminder of what For Thousands of Miles is supposed to be at it's simplest.





That's the end of my short-list for FToM's biggest inspirations. What are your most inspiring / motivating films?

It’s interesting how people can go on considering something a “character flaw” or a “weakness” for years, and that something as simple as a single sentence can turn that all on it’s head.

Perhaps it’s more to do with double standards - that something I struggle with myself; something I would label or consider a flaw, would be the same thing I would describe as “that’s just how you work” to another person.

But for the last several years, I’ve struggled with the issue of setting aside a piece of the film’s script if it seemed unfinished or “off”. I have always tried, and 90% of the time, unsuccessfully, to admit that I am stuck on a specific page, and let myself move on to another scene that might come out more naturally.

I can (and have) spent days, weeks even, on one paragraph, one moment in the film. Playing it over and over in my head, reading it out-loud countless times till I can perfectly see or feel all the pieces in place. It can be a terribly slow process.

And because it can be slow, because I can look back on two weeks worth of hard work and find that I’ve only two more pages to show for it, I’ve always considered it a severe weakness… a severe character flaw. And maybe what I read this morning doesn’t change that.

But as I was eating breakfast today, I was skimming over an interview between Spike Jonze and Dave Eggers, who together wrote the screenplay for Where the Wild Things Are. Here’s an except:

Eggers: Spike’s method of working is the definition of organic. It had to be very real. I always would prefer to write alone, and send stuff online, and write marks on a piece of paper, and send it back. That’s how I do things. But he really wanted it to be like, “Let’s talk this through. Let’s act this through, figure it out. What would he say here?”

Jonze: I think sometimes that was really frustrating for Dave because he just wanted to be productive. I definitely work a lot slower than Dave. He’s very experienced as a writer, very disciplined, always moving forward. If he gets stuck, he just puts something in a placeholder and keeps moving. But, if it doesn’t feel right I’ll stay in that place until I find what feels real or right or true. I don’t want to let go, I don’t want to leave it.

The bold-emphasis being mine - that one thought, from a director I look up to in so many different ways, seemed to put into question everything I often worried would stand in my way of finishing Pedal.

It’s the first time I’ve allowed myself to think “that’s just how I work”. I do have flaws, I have many self-imposed hurdles that might or might-not ever go away. And realizing this today, doesn’t leave me thinking that it’s necessarily ok for the sake of just being ok, but that it’s not going to change, and that it will be ok if I find a way to work with it and not against it.