The Kickstarter Blog

Rescuing Movies from Annihilation

Creativity is about thinking ahead and looking forward — but it's also about acknowledging a history of work that existed before your own time. This is part of the reason we're celebrating projects whose focus is on the preservation and restoration of something otherwise lost, forgotten, or ignored. We collected a list of projects that fit the bill: restorations, preservations, and archives of all sorts right here

In the world of film, this can mean anything from rescuing a lost work to completing a filmmaker's canon. It's part technical, part philosophical, and part curatorial — and it involves some informed decision-making as well. As Jake Perlin of Cinema Conservancy put it: "Restoration is the work that’s done to bring a film back to the closest approximation of what the work looked like initially." We asked five project creators to talk about what it means to restore something, and why they were moved to do so with these particular projects. 

Pioneers of African-American Cinema

"Some of the films we’re working on have been out in other versions. We’re trying to create the definitive version. We find the best existing material and give it the best possible treatment so it looks as good as it’s going to look, short of having a 35mm print projected onto the screen. It’s an art form — you can go way overboard and change the film. We try to maintain the integrity of the film so it looks close to how it should have looked, without looking enhanced.”

- Bret Wood, producer

"If you think about the rise of American mass media, African American culture was the basis. These kinds of films were sidelined by the rise of Hollywood. To exist outside of that, you had to have your own narrative and your own circuit and your own distribution methods. They are profound examples of independent cinema altogether."

- Paul Miller, aka DJ Spooky, executive producer

Bloody Friday

"It means a lot of things to restore a film. First and foremost, it means preserving something for the future. This movie was made in the early '70s, and there wasn’t any thought in the market beyond next year: if it served next year’s purpose, it served its purpose. But so much has happened since then — people want to learn about the past and see the movies and extract something from them. A lot of those movies are gone or will never be seen. When you think of how most German silent films are missing, gone, completely destroyed, lost in World War 2 — that’s sad. To restore something is to preserve history. People like us step in to make sure that history is preserved. 

This film has never been released in America uncut. It’s possible it never had a proper theatrical run. There was an English dub, but that’s all. But good movies deserve to be seen, and we could just tell that there was a North American audience waiting to discover this movie. It’s too wild, it’s too good to not be seen."

- Elijah Drenner, Subkultur

River of Grass

"Restoring a film means different things to different organizations, distributors, people, filmmakers, fans. There are a lot of film prints and digital mediums, but basically for us, it means this: we’re going to restore River of Grass, and do a 2k scan so we can have a DCP of it. We’ll also make it available to digital platforms, because that’s incredibly important right now.

There’s definitely a curatorial and philosophical element to it, but we want to stay true to what the filmmaker wants as much as possible. You do have to be careful, because film has a beautiful grain element to it, it has its own color timing and blacks and whites. You don’t want to over-restore a film and make it too pristine."

- Debra McClutchy, Oscilloscope

Living Los Sures

"Restoration is a huge site of opportunity, and there’s so much potential in the archive for new stories to come out and new ways to interact with those stories. This film from 1984 opened up a window into the history that’s hard to find. It’s been a way for creating connections between people in the community, and organizations that have been there for a long time, and also to understand the history of the people who lived in the Brooklyn neighborhood called Los Sures for well over 30 years. The microhistories of New York are often very difficult to find.

Union Docs is a center for documentary, so we show films all the time. In 2007 some filmmakers asked if we’d seen a film that was made in the neighborhood in 1984. It blew us away. We thought the film would have been preserved in some way, but the reality with so many of these projects is there’s nobody out there who’s tasked with taking care of these films. But because of our energy, the New York Public Library became interested in it. They had the only surviving print that was of any value, so we were really lucky to do the work when we did it. It would have been very easy for it to be totally lost."

- Christopher Allen, Union Docs

Jungle Trap 

"Restoration means rescuing a movie from annihilation. Everything’s going to fall into obscurity eventually, but for a movie to not even have a chance to make a mark is unfortunate. You have to be judicious, and try to restore and rescue the movies that have cultural weight or value, but the entire point of it is to make sure that anything that can improve somebody’s life in some way has the opportunity to be seen. Even if that just means entertaining people on a gut level.

Jungle Trap is made by a guy named James Bryan, who is one of the pioneering exploitation filmmakers of the '70s. He was so motivated that he jumped into filmmaking with no money or experience. He did it with a drive and energy that’s really contagious, so when you watch even his earliest and most poorly made films, you really feel it.

In the trunk of a used car that my friend had bought was a VHS tape for a movie called Run Coyote Run, which was considered lost. We watched it, and it was incredible. We contacted James Bryan, who turned out to live in Texas where I live, and said we’d like to release Run Coyote Run. He said he only ever made ten copies of that movie for the crew. Then we went to his house, and he said “Too bad no one's ever going to put out the movie I made after that.” He'd shot an entire film, but the market had fallen apart.

So we realized that this guy who has this incredible story and is really deeply rooted in the history of drive-in cinema and exploitation had an additional feature that was never going to be seen. This isn’t just a matter of finding a completed project and sharing it with the world — we’re actually going to work with him to do the edit, to make a soundtrack, to make the movie as he wanted it to be in 1990. This will be his final project."

- Zack Carlson, Bleeding Skull

Some of our Favorite Film Festivals

It's probably no surprise that we love film festivals at Kicktarter — what better way to celebrate our love of such a wide variety of cinema? Each festival on the list below offers a unique perspective on what a film festival is: some are idiosyncratic, some are expansive, all have something unique to offer. Here are just a few of our favorites.

Ambulante 

It's no static event — Gael Garcia Bernal and Diego Luna's documentary road show has screened all over Mexico and Latin America, from the U.S.-Mexico border to the Columbian National Museum in Bogota. This fall they brought the festival north of the border and set up free screenings all over Los Angeles in a variety of unique settings: parks, parking lots, movie theaters, community centers and more. You can see the program at Ambulante's website.

H.P. Lovecraft Film Festival & Cthulhucon 

This Portland, Oregon and San Pedro, California-based celebration of the literary horror and weird tales of H.P. Lovecraft touches not only on filmic adaptations of the author's work, but also on the literary, gaming, art and music scenes devoted to Mr. Lovecraft.

Cucalorus

This long-running Wilmington, North Carolina-based festival screens over 200 independent and international films yearly, bringing their filmmakers and artists together to conceive new works and launch new projects, all the while offering artist and audience opportunity to connect at an intimate level.

Horrible Imaginings

The first film festival in San Diego dedicated to macabre cinema and art annually celebrates the world of horror and all its associated sub-genres through a world spanning array of independently made feature and short creations, along with classic revival screenings of genre cinema staples.

Making Waves 

Screening in New York City and Pleasantville, New York, this annual survey of Romania's socially incisive, independently minded personal cinema is the only U.S. film festival dedicated to showcasing and celebrating the best in Romanian contemporary cinema.

Migrating Forms 

Growing out of the long running New York Underground Film Festival, this diverse collection of work bridges the gap between the film, video and art worlds through the common context of cinema.

Robot Film Festival 

The first and, currently, only event of its kind. This San Francisco-based festival is an annual celebration of robots on screen and in performance; nurturing a community of creatives and engineers who explore, document and invent within the world of robotics.

Rooftop Films 

This New York City-based organization has spent the better part of two decades bringing independent film to the rooftops, parks, public plazas and waterways of the city. Through their wide-ranging and varied programs, they are able to support the cultural community in NY — be they artists, filmmakers, musicians, schools, or nonprofit organizations.

How Do You Do ... A Short Film on a Tiny Budget?

We asked a few of our favorite filmmakers for their tips and advice on making a short film for very little money — say, $500 or less. (That's very little money in film terms, if not, like, security-deposit or parking-ticket terms.) Watch above to see what they had to say.

You can also watch plenty of great work by any one of these generous folks, including:

An Interview with David Cross

David Cross is famous. You might remember him from the HBO sketch comedy show Mr. Show, which he created, wrote for, and performed in with Bob Odenkirk. Maybe you know him as Tobias Fünke from the beloved and recently resurrected Arrested Development. Then again, maybe you remember him best for his decades as a successful stand-up comedian, or a multitude of other film and television appearances.

His latest project is Hits, a comedy that premiered at last year's Sundance Film Festival, which he's planning to release in theaters independently. The film is about virality and unintentional celebrity in a small town. I spoke to Cross, and asked him some questions about fame.

The film is about fame. Your project video also riffs on that theme. Why did you want to do a film about fame?

Well, the short answer is that of the roughly 25 ideas I have kicking around in some form, this was the one I felt I could do the cheapest. The other ideas are a little bit more expensive or fantastic at points, and this idea is really grounded. It takes place in a small town, and I knew I could shoot it up there. I live up there and I knew I could call in a lot of favors. And I knew I could shoot it for under a million dollars. It was 100% a practical decision.

So this is your directorial debut?

For a feature film, yeah.

And you wrote it and directed it.

I also did craft services, and filled up the peanut-filled pretzel nuggets.

You filled the nuggets or you filled the bowl?

The bowl with the nuggets. The nuggets are made in a factory in Sri Lanka. I would get them from Costco, but I’d be responsible for filling the bowl.

It seems like you rail against the way fame works nowadays. Where like, anyone can do this kind of thing — like fame is almost cheapened by American Idol, or…

It’s not almost cheapened, it is cheapened. But it’s not the people that are good singers on American Idol that I have a problem with. They deserve it. It’s the people that are terrible, who then become famous for being terrible. And it’s really less about, “Hey do you mind us making fun of you for a couple years? We’ll give you a couple million dollars that you never would have had, but we’re going to present you as a fool.” It’s less about that than the people who don’t have any discernible talent, but just feel like they deserve to be famous. They have this sense of entitlement, which I get in this culture, especially if you’re born and raised — I mean, we’re talking about millennials at this point.

Anything on Bravo, or TLC, or Honey Boo Boo — to me, Bravo and TLC and the like, they’re really responsible for what I’m talking about. There’s nothing of any merit and it’s kind of disgusting to me that these people are rewarded just for being awful personalities. At the absolute best they’re just shallow people. And at the worst, they’re some form of evil.

This idea of fame — when you were getting started with stand-up, was that a thing that crossed your mind? Did you think, I want to be famous?

Insofar as fame is a measure of success, yeah. I wanted to be successful. I didn’t have any vanities like, you know, “I’m going to be the next Charro.” I hoped to be a successful stand-up. Back then that meant you’d appeared on, what, the three shows you could go on? So I hoped to work steadily, and perhaps do some movies, and then eventually write and direct movies. Therefore, fame will determine that I’m able to do that thing. You can’t divorce the two things.

Do you remember the first time you thought to yourself, I might be famous?

Oh, I can tell you exactly when it was. I was at Bumbershoot, the art festival in Seattle, in 1996, I believe. Up until then I’d been doing mostly stand-up and I definitely had a name that other stand-ups knew. People who booked shows knew who I was. But audiences didn’t. But then I was there at the Bumbershoot festival, which I had done a couple times before, and Mr. Show had aired — the first four weird little nothing episodes.

And this is before the internet, so there was no immediate feedback — we were just out there in the vacuum. Then I was at the festival for three or four days, running around to see bands and I don’t think 30 minutes went by on any given day when people weren’t coming up to me and going “I saw your comedy show. It’s really funny.” I remember calling Bob [Odenkirk, Mr. Show co-creator] and telling him, this is nuts. I’m wandering around and everyone knows who I am, and they’re talking about Mr. Show, and the stand-up shows are packed.

I tried to find you on Twitter.

I’m not on Twitter.

That’s a conscious decision?

[laughing] Yeah, of course. The government hasn’t said I’m not allowed to be on Twitter. My mommy didn’t take it away. Of course it’s a conscious decision.

Right, but some people have PR teams run these, or they don’t give a damn about it but they at least have a presence there.

Oh, I completely understand the value of it. I don’t think it’s an exaggeration to say I would be wealthier and working more if I focused on that presence. If I had a million followers on Twitter, I’d probably be able to get a book deal and an advance for two million dollars. That’s the reality, and I can’t deny that.

But it’s also just a headscratcher that people can monetize having a million likes on Facebook. To me, that’s crazy — it’s a stranger clicking a button. I do believe that in the pretty near future people will understand that it doesn’t really translate to much. The people with all the money who are financing things will come to discover that it’s not a good measure of what determines financial success. I think that day is coming in a few years. Anybody who’s getting a million-dollar book deal or anybody who’s got a lot of followers for their Vine channel or whatever should absolutely take the money now, because I think it’s going to dry up shortly.

Right, it’s a funny thing trying to recreate virality. It’s totally inconsistent.

To me, my reluctance to engage in social media is . . . it seems like a waste of time. And I waste my time in other ways. I’m not saying that every waking second of the day I’m doing something worthwhile — I play video games, I lay around, I read dumb magazine articles, I go out drinking at night. I waste my time, you know? But somebody’s pithy comment about a movie that came out — I don’t care to engage in it in either direction. I’d rather be known for other things than my take on the situation in Ferguson. I’d rather develop that and talk about it onstage. I think it also takes away from the specialness of seeing somebody, especially stand-ups, come to your town, if you can follow that person and they’re constantly throwing shit out there. It waters down your voice.

But like I said, I do truly enjoy going out to bars and getting into heated discussions. I debate things beyond 140 characters. And I know that if I tweet it, I’d get in trouble pretty quickly — I would tweet something, then have to apologize for it or explain, then I’d get even more frustrated, and who wants to be famous for that?

I guess some people?

Right, yes, the answer is obviously quite a number of people. And again, they can monetize it. Look, I’m the dumb one. I readily admit it. And I absolutely understand that I would be more successful and I’d be a wealthy man if I did that, if that’s what I concentrated on.

Do you think there is even such a thing any more as selling out?

No, that’s gone. That ship has sailed. That’s a Carnival Cruise called the Dreamliner and it’s now docking in Orlando. I’m old enough to remember the chipping away at that notion, but again, it’s … if you’re an indie band, and you’re not gonna make a lot of money, and you’re getting ripped off by Spotify and Pandora, and people are taking your music for free, and you worked hard on it, and the old ways of getting money for your work are gone, then fuck it. Sell cars. Sell a Prius, I don’t give a shit.

I mean, Tina Fey does a commercial for American Express, a credit card company with some dubious past history, and she’s phenomenally wealthy. Alec Baldwin and Samuel L. Jackson are doing commercials for banks. And there’s all that synergistic “Stay at the Reebok House in Brooklyn for a month. You can stay rent-free and record. You just gotta give Reebok some of your songs.” Nobody thinks twice about it.

Do you think that’s a good thing or a bad thing?

It doesn’t matter what I think. I’m just one guy, but I think now it’s fine — it’s a good thing. If I could go back in time 20 years to when this shit started happening, well, that’s a bad thing. But now it doesn’t mean anything anymore. If I say to you, “That band fun. is doing a commercial for Chase bank,” and I’m surprised and slightly disgusted by it, then I’m the idiot. I’m the old man. You look at people that age and I just seem like some weird dinosaur. They’d be like, “I don’t get it, they offered us a million dollars, dude. Why is that a bad thing?” And for the world they’ve grown up in, it’s fine. That’s what we are as a society — we monetize and commodify ideas. You’re a fool if you believe in some sort of purity of your ability to express yourself. Go to Art Basel, or whatever that thing is in Miami. Go anywhere — art is to be commodified. And the last couple generations have grown up where that’s just what you do.

You act, you do stand-up, you write, now you direct. What’s the most important art to you?

Writing, absolutely, writing is what’s most important to me. And writing is a part of stand-up, but.… Acting is very impressive when somebody can do it well, but I don’t think it’s nearly as important as good writing. I’m not saying that I’m a good writer, but I think that’s the more important thing. You don’t have any acting without writing. You don’t have any directing without writing.

Talking Shop: An Evening with Hal Hartley

Recently, filmmaker Hal Hartley came to Kickstarter HQ for a screening of his new film Ned Rifle. The film is the conclusion of the family-centric trilogy that also includes Henry Fool and Fay Grim — "This is like my Star Wars," he quipped in the conversation that followed the screening. 

Among other topics he discussed with Kickstarter's Yancey Strickler: film school, how everybody seems to want to be a standup comic lately, and the interesting thing that happens when you work with an ensemble cast for decades.

Kickstarter at Sundance 2015

It's time to head to Park City for another year of celebrating independent film. For the fourth straight year, Kickstarter-funded features, docs and shorts will make up more than 10 percent of the festival slate. 17 films going to Sundance this year were funded on Kickstarter, and they join the 70+ Kickstarter-funded films that were selected for previous Sundance Festivals. 

We're so proud of these filmmakers — all amazing storytellers who have found their own ways to cultivate audiences and and make work that represents their true creative vision. Here's a brief look at each of the 17 films whose journey to Sundance included a stop on Kickstarter:

Advantageous 

In Jennifer Phang's science fiction short Advantageous, a single mother makes a decision to partake in a cutting-edge biomedical project in order to secure her daughter's future. It's a story about family, the struggle for a future, and surviving in the technological singularity. 

Christmas, Again 

In Charles Poekel's Christmas, Again, protagonist Noel suddenly finds himself unable to do what he's done for years — sell Christmas trees in NYC. It's a film about endurance, human spirit, and the unique relationships that communities form with their Christmas tree vendors. 

Dog Bowl 

Dog Bowl is a short about what happens when a disaffected young woman steals the vest from a service dog and finds herself contemplating the answer to her very existence.

Finders Keepers 

In 2007, a severed human foot was discovered in a grill bought at a North Carolina auction. Bryan Carberry and Clay Tweel's Finders Keepers is the story of what happened after that — and it only gets weirder.

I'll See You In My Dreams 

In I'll See You In My Dreams, Blythe Danner plays an older woman who begins dating again when her routine is shaken. She finds herself connecting with two very different men — one older and exuberant, and the other young and unsure about his next steps — as she enters a different phase of her life.

In Football We Trust

Filmmakers Tony Vainuku and Erika Cohn have spent the past five years following four Polynesian football players as they try to make it to the NFL. For these Salt Lake City teens, football isn't just a game — it's a way out of poverty and gang violence. 

James White 

The third feature from filmmaking trio Borderline Films, James White, is a coming-of-age story of a young man caught in a spiral of reckless behavior — but it's also a film about the relationship between a mother and son. (See also our interview with two of the filmmakers, from earlier this year.)

Misery Loves Comedy 

Misery Loves Comedy is a documentary about the darker side of comedians — in it, actor (and comic) Kevin Pollak examines the popular notion that the people who make us laugh are, in fact, miserable. 

Papa Machete 

Papa Machete examines the art of machete fencing — and talks to the main man doing it — in Haiti. 

Racing Extinction 

Racing Extinction is a film by the same people that made the Oscar-winning documentary The Cove. It takes on the topic of mass extinction as something our planet might be facing soon.

Saturday 

Set against the backdrop of the Hillsborough disaster of 1989, Saturday is a fictional account of one family's experience — one brother is at the football match, and the other is at home, watching events unfold.

Sembene! 

Ousmane Sembene is one of Africa's greatest storytellers, on the page and screen. Sembene! is the first documentary about his life. 

Songs My Brothers Taught Me

A reckless decision changes everything for three Lakota best friends in this coming-of-age film from director Chloe Zhao. 

The Mask You Live In 

An exploration of the way that American masculinity is portrayed, The Mask You Live In is a doc about the ways in which certain behaviors and traits are socially imposed on boys from an early age — and how it affects them negatively throughout life. 

The Royal Road

San Francisco filmmaker Jenni Olson's contemplative The Royal Road takes on ideas of colonization, nostalgia, butch identity, and more, and sets them against a backdrop of 16mm California landscape. 

Volta 

Volta is the Greek word for a stroll. In this short film, a single mother and her daughter take a journey across Athens by foot, bus, and more. It's part road movie, part love song to a city in crisis. 

Welcome to Leith

In a town with a population of 16, an individual begins buying up land in order to turn the town into a white nationalist community. Welcome to Leith is the story of the town as it struggles for sovereignty against his vision. 

How We Made the Kickstarter iPad App

By now, apps are such a routine part of our daily lives that we rarely think about what actually goes into making one. We sat down with Brandon Williams, our iOS Engineer, and Zack Sears, Product Designer, to discuss how they created Kickstarter’s iPad app even as they were updating the iPhone app. If you’ve ever wondered how something like this comes about, read on. (If you just want the app, you can get it here.)

How do you start making an app?

Zack Sears: We would lock ourselves in a room with a whiteboard. The primary problem we wanted to solve was how you navigate from a list of projects into a specific project, to other projects, and then making that flow work. The iPad is such an interesting device in terms of how you open or close things with pinching, dragging, and swiping — we really wanted to think through all the different ways of navigating through. Once we solved that we went into mockup phase. I started working through different concepts of vertically scrolling through projects, horizontally scrolling through projects — what do we think the transition is going to be when you're going from a project within a list to a project page, and then into the next project, and then how do we close that? Is there a visible close button? Or is there some cue to be able to drag it and close it or pinch or something like that? 

Brandon Williams: We just wanted to visualize it so I wouldn’t be coding blindly. Then I would experiment a lot — I had things like a white screen with samples of project cards, showing what the transitions would be for blowing them up and shrinking them back down. It was a lot of coding. We did so many versions, and the one we settled on was having this entire vertical world spectrum of categories, and within each of those, sideswiping between projects. It had all been converging on that, but we went all over the place along the way.

The entire app, the code, it opens up with splitting: “Am I on the iPhone or on the iPad?” And then along the way there’s more and more code saying "if iPad, if not iPad." That’s the route we went because we were like, we’re just going to do the iPad. 

Why an iPad app?

BW: After we launched the iPhone app, it just made sense to have an iPad app too. Zack, back in the day, worked on something that was internally known as “Lean Back,” and became publicly known as video mode, which is what should have been on an iPad. No one wants to do an intensive video discovery on their desktop computer.

ZS: The idea was to be able to, quite literally, "lean back," and browse Kickstarter projects based on their videos. We built the feature but the technology wasn’t right — it really was an experience intended for the iPad. The iPad is the perfect device for that. It’s geared toward casual discovery.

BW: And the entire point of the app was to focus on discovery.

ZS: I think a lot of our power users — people come to Kickstarter to find out about new cool stuff — are not necessarily looking for a specific thing they want to back. It’s more like, "I just want to see all this cool stuff that people are making." Really embracing the idea of being able to get a cross section of this creative universe.

BW: That’s also a relatively recent user pattern — for people to just casually browse. Historically, so much of our traffic has been someone going straight to a project because a friend shared a link. But we've reached a point where people are going to come to Kickstarter without knowing about a project, just wanting to explore.

Is that something you've already noticed happening?

BW: Yeah. We were surfacing that data and seeing more and more repeat backers.

ZS: We’ve reached a certain level of maturity where people are comfortable enough with the platform that they’re coming back and looking for stuff.

BW: No one is downloading the iPhone app who only ever backed a single project. It’s going to be people who are repeat backers and just want to be in this mode of browsing. If you just backed a single project, you'd use the website. So we could also use the app as a playground for experimenting with our brand, where it would typically be a bit more scary to do that on the site.

Do you have an example of that experimentation?

ZS: The way we revamped Discover — the pages for finding projects — last summer on the actual website was very much inspired by what we had done already on the iPad. We had this back and forth where we got inspired by using the iPad as a testing ground and solved a lot of things. Then we actually brought it to the website, and solved all the other things that weren’t quite finished yet.

What was your vision for the app?

ZS: If you download the app, you probably already know what Kickstarter is. That's a huge hurdle that's already been solved. So the things that motivated me were, first, the opportunity to make a really nice, optimized experience on this device — but second, I think the most important part was creating something that really caters to our hardcore, passionate users.

BW: When I first started working here, Kickstarter wasn’t really looking for an iOS developer. It’s a web company — the conversation was, "does Kickstarter even need an app?" I grappled with that for a long time. It really is serving some of our core, most vocal people. We aren’t trying to push everyone into this app. If you downloaded it, you get it.

Can you talk a bit about how you started working on the iPad app and revamping the iPhone app that already existed?

BW: It wasn’t part of the original scope. Zack and I were working all day in a conference room. I had the iPad and the iPhone hooked up to my computer. You can install the app straight from your computer as a test. I accidentally installed the iPad app on my iPhone, and it was all gigantic and didn’t make sense, but there was enough there that it could totally work. The project cards were the size of the phone, but you could scroll through them sideways and flip through categories.

ZS: Even tapping and pulling it closed and stuff like that — we were like, this could totally work.

BW: We saw it and couldn’t un-see it, so we worked on it in secret just as a side project, spending a couple hours on it, getting it more into shape and as we worked on new designs for things we hadn’t nailed down. 

ZS: We went rogue and did it silently because, honestly, we wanted to make sure we could actually do it before we promised anything. This is a huge win, technically, because we now have a universal app with a shared code base. It’s also a win for us in terms of creating a nice, unified experience across phone, tablet, and desktop.

BW: Pulling up a category page, seeing a splash of color, you can tell that all these things were influenced by each other, and it’s the first time we’ve had that ever.

As you were working on the iPad app, did it change the way you thought about looking at the site on a desktop computer?

ZS: I think it has informed a lot of future direction for the project page. We recently rolled out a revamp of the project page, and I think there are hints of this new stuff, but we’re going to do it a little more incrementally on the site. It’s almost entirely changed the way we think about the Discovery section of the site and what we care about putting front and center — how we present categories, how we present the primary ways of slicing and dicing the projects.

Can you give some examples?

ZS: Right now, if you go to a category page, the category name is front and center and all the sub-categories are below that. The content you want will be grouped together. We’re basically pulling out of the advanced filter and putting that front and center, so it’ll be category sorted. That’s something that we found just by looking at the data around the new Discovery experience. That’s what people are doing nine out of ten times. 

BW: And the project cards are precious.

ZS: They’re representations of people’s projects, and we don’t want to clutter that view with 50 things to look at. This is very much about making sure that we’re not putting too many things in front of you at once. We left everything on the table forever, but we decided on certain interaction patterns early on — this idea of swiping horizontally through projects, whether that’s in discover view or once you actually open up a project. We thought, this is the way it has to be. We knew that was right. Everything had to fit around it.

Kickstarter at CES: Friends Old and New

The Consumer Electronics Show is so big that it no longer fits into the main convention center in Las Vegas. There's another show floor down the street at the Sands, and a big chunk of it, called Eureka Park, is set aside for startups. We spent a lot of time there last week, because Kickstarter creators took up nearly a quarter of the booths!

The 102 creators who were at CES raised more than $50 million on Kickstarter. We had such a great time stopping by the booths of old friends and making new ones. Here are some highlights from the floor.

The WobbleWorks team launched their 3Doodler 2.0 project at CES, and decorated their booth with lots of amazing things that people have “drawn” with a 3Doodler…

...including this dress, which was the work of two design students in Hong Kong.

The folks at ProtoPlant are running a project to make 3D printing material that conducts electricity. They showed it off by printing a game controller that connects to a MaKey MaKey and lets you play drums.

Janelle Wang and Peter Treadway of Acton RocketSkates let the public try out the skates for the first time. The public did so, very carefully.

The RocketSkates app lets you find people near you who also have the skates, so you can rocket together. PicoBrew, which makes home beer-brewing machines, does the same thing on its site: live updates showing what’s brewing where.

Speaking of PicoBrew, Greg White let us try a fresh batch from their Zymatic brewing machine, which is pioneering the Internet of Beer. Tasty!

John got his head scanned by Occipital's Structure Sensor, a 3D scanner that snaps onto the back of an iPad. (Action figures coming soon.)

And he also checked out the new design of the Avegant Glyph, a pair of headphones with a video player inside that tricks your eyes into thinking you’re looking at a giant screen.

We also saw Tony Hawk ride a Boosted Board, danced with dinosaurs in a demo of the latest Oculus Rift prototype, and celebrated a batch of project launches, including LyteShot, Vikaura Screen, and Listnr.

All in all, quite a week! Maybe we’ll see you in Vegas next year.