LIMO RIDE is a feature-length documentary comedy about ten friends surviving their wildest night ever, told by those who lived it and recreated for the screen. Take two minutes to watch our red-band trailer! (warning: NSFW)
BUY THE MOVIE. FUND THE RELEASE.
We just want to sell our movie. To you. Right now.
And if we can sell it to enough of you here early, then we can afford to sell it to a lot more people and have it viewed by just about any means out there.
The number one question in our day, every day, is, "When/where/how can I see Limo Ride?!"
Thus, we have spent quite a bit of time and resources trying to figure out the best way to answer that question. We spent the last two years having meetings with distributors, checking references, going over contracts, dealing with sales agents and attorneys, etc. etc. etc. Thankfully, we do not feel this was time wasted, because all the while, we have also been constantly working towards making the film the best it can be. And now that the final film is truly complete, we want to answer the question for you and everyone else interested of when/where/how you will be able to see it.
After assessing all of our options, we have decided to pursue a strategy of direct distribution. What does this mean? It means we will be releasing it ourselves via DVD and digital download/rental available through our site, as well as iTunes, Amazon, etc, and hopefully further down the line via subscription-based video-on-demand services such as Netflix, Amazon Prime, etc. Time and money allowing, we also hope to have some theatrical engagements via tours of the film (much like our Kickstarter-supporting Alabama brewery tour) to garner further press in other markets.
And while we privately financed this entire film and its festival run, we did not budget for distributing the film on our own. But the means to take our film to market are within our reach. They just cost money. Think of it this way: we don't need a kickstart, we need a kickstand to put it on the showroom floor.
CHECK OUR CREDENTIALS.
Gideon Kennedy is a Media Arts Fellowship grant recipient from the Alabama State Council on the Arts. He's most recently proud of his work as a production and research assistant on director Margaret Brown's documentary study of the BP oil spill's human impact, “The Great Invisible.”
Marcus Rosentrater is an animation director on Floyd County Production's hit animated TV show "Archer." He recently achieved internet fame with his STAR WARS WARS, a psychedelic overlap of the first six Star Wars films all at once, receiving mentions in Esquire, Wired, Nerdist, LA Times, Time, CNet, /film and a lot of others.
For over the past decade we have been producing a constant stream of film projects, including short documentaries, commercials, music videos and this, our first feature film. All of our previous and award-winning work has found audiences at festivals or via broadcast in the U.S. and around the world.
Currently, our partnership Climenole LLC has three other feature-length projects and several shorts in various stages of development. To see some of our past short films and where they have played, goto www.climenole.com.
With all of our work we seek to explore the vast and various ethical terrain that lies between the two territories of fact and fiction, documentary and narrative.
With LIMO RIDE, we combined the audio of the participants themselves with a fast-paced visual narrative to weave a modern myth that falls not just into the South’s tradition of oral history, but into the mythological traditions of any barroom, any campfire, any time, everywhere.
LEARN WHAT THIS IS BUYING.
There are many reasons filmmakers take distribution offers that are not beneficial to them. Not least of which is the cost in time and money.
When we decided to pursue a path of direct distribution, we learned a lot about what distributors actually do, starting with the vocabulary involved in this business. So here's a brief breakdown of some of the things that make up our budget.
Advertising: Just because you've made something and put it up for sale doesn't mean anyone knows about it or where to buy it. Even if you get your film on iTunes, it doesn't mean it gets on the front page. Same for selling it direct on Amazon or our site or wherever. Advertising to let others know it's there and to convince them it's worth their time is key to this whole equation.
Poster Art: We still don't have a proper poster because that was never included in the original film production budget (which was only designed to make the film at as low a cost as possible). Not only do we want one, we need one, for DVD cover, online image etc.
Aggregators: To get your movie on iTunes, Amazon Prime, GooglePlay, Hulu, etc., and eventually to subscription-based streaming platforms like Netflix, you have to pay a third-party service. Why? This is so Apple and the like aren't flooded with every offering out there and, instead, they can outsource the work of getting every film that wants to be on their platform conformed to their exacting standards. These aggregator services also help QC, produce necessary deliverables such as Closed Captioning, and generally act as gatekeepers.
Closed Captioning: Not only is it the right thing to do, it's necessary to get on iTunes and some other services. (Hell, we've been told some non-Southern, English speakers might need 'em...) And while we feel we could produce simple subtitles, the rules for properly captioning something for the hearing impaired are a bit more formal. How important is it to get on iTunes? Some estimates put them at 80% of the market.
DVD Manufacturing: Fairly self-explanatory. DVDs have to be made and somewhere more reliably than one-at-a-time on our aging laptop.
Storage/Fulfillment Services: Physical media (such as DVDs) takes a place to store it, someone to fulfill orders, package and mail. Even more time-consuming can be handling customer service. While we will be handling this out of our own homes to fulfill the rewards for this campaign, at some point it becomes too unwieldy for us to handle on our own and still manage to work our day jobs.
Merchandise: T-shirts and other offerings we'd like to provide for fans of the film have associated manufacturing, shipping, storing and fulfillment costs. But we've already polled our audience to see what they may like best.
We thought it was tough (albeit fun) work to make a movie, until we started down this path to being a distributor. If you're interested, there's plenty of reading out there on the changing nature of filmmaking and film distribution, art and commerce, etc. Suffice it to say, successful artists are increasingly required to act as their own businesses. It was with this knowledge that we intentionally put crowd-funding at the tail end of the filmmaking process, when the rewards would be closest to our backers and audience and, thus, most like a sales exchange.
So what we're ask for is your help in completing the process of putting the film fully out into the world by being one of our earliest audiences.
Risks and challenges
The major risk we have right now is this one - crowd-funding as an all-or-nothing gamble. But we are trying to mitigate that with broadening our reach during the crucial first two weeks by taking the film on a tour of Alabama breweries so new audiences can see just how funny and entertaining this movie is. You can help us tackle this risk by donating early and often! Telling friends to go see it in the towns we'll be visiting!
The biggest challenge after the fact is using the money to its maximum potential to get back our best dividends to repay our investors. But we have been studying and putting together this strategy for the past six months to a year and we feel confident our research will pay off. And we made the film for so little we feel that our goal is very feasible. We, the co-directors, have the sweat equity of 5+ years in it, but have never received any payment from it. Again, all to keep our costs as low as possible.
And what happens when we don't make the goal or get swindled by nefarious aggregators and fulfillment houses? We go back to what we're basically doing now - selling it out of the trunk of a beater limousine, town-to-town, door-to-door, until the film has seen its full audience. Because we're not giving up.Learn about accountability on Kickstarter
- (30 days)