About this project
HOORAY! We reached our immediate goal, BUT, that does not mean that we are fully funded! PLEASE use these next few hours to PLEDGE and SUPPORT OUR FILM! The archival licensing and music rights are astronomical - so please pledge in these next hours. OR go to our website and DONATE via our 501 (c )(3), not-for-profit, fiscal sponsor at this link: http://www.broadwaythemovie.com/bbga_donate.html
THANK YOU EVERYBODY!!!
BROADWAY: BEYOND THE GOLDEN AGE is the long-awaited, much anticipated sequel to the award-winning feature film documentary, BROADWAY: THE GOLDEN AGE, which documented American Theatre in the 30's, 40's and 50's. This new installment continues the story from the legendary Broadway season of 1959 (GYPSY, RAISIN IN THE SUN, ONCE UPON A MATTRESS, etc.) through the tumultuous 60's (HAIR, OH, CALCUTTA, etc.), the revolutionary 70's (Sondheim, A CHORUS LINE, CHICAGO, etc.) up to the opening of 42ND STREET in 1980. Once again, the filmmaker Rick McKay tells the story with in-depth, candid, personal interviews with over 100 newly filmed, legendary stars, while incorporating never-before-seen footage of the original productions as well as home movies and photos from the stars' personal collections, bringing to life a lost era in American history. Many of the stars of the film went on to become household names from their subsequent fame in film and television, and talk of the differences between the mediums and how the theatre gave them the foundation for their success in front of the camera. Your support, no matter how big or how small, makes a huge difference. With the government hardly supporting the arts, it is harder than ever to complete a project like this. But, Rolling Stone Magazine did not call me "the unstoppable Rick McKay" for nothing. I pulled off the first film of this trilogy, "Broadway: The Golden Age", to great success - and I know that the second film, "Broadway: Beyond the Golden Age" is richer, deeper and even more exciting. And it will reach more people than ever - thanks to you!
THE CLOCK IS TICKING . . .
SO, WHERE DOES THE MONEY GO?
We are raising $12,500 to go towards the post production of the film (color correction, final sound mix, HD upgrade, restoration of rare archival footage etc.) as well as towards the first installments of the tremendously expensive music and archival footage (film, tv, news footage, etc.) that we have to license in order to use in the film. This $12,500 will be a tremendous help to keep us on schedule. And here at Kickstarter, as you may know, if we do not raise the FULL $12,500 we will not receive ANY of the funds! Your credit cards, bank accounts, etc. will not be charged, Kickstarter will not get any funds and we will all walk away empty handed. But, we can't let that to happen, not after all of this work, so it is important that you make your pledge today and send your film and theater lovin' friends to this page to do the same.
And even though I can do practically all the work on the film alone (write, shoot, direct, lights, sound, edit), the film is still enormously expensive to make. Our stars often need (and deserve!) hair, makeup and a car service to come here for the shoots. And the travel to London, Los Angeles, and other cities where I go to track down our stars - as well as hotels, etc., make the budget even bigger. Nevertheless. I am able to make each film for between $750,000 to $1,000,000 - whereas similar projects, even on public television (known for small budgets) are often in the $7,500,000 price range. So, I am bringing in the film for roughly 10% (or less) of what the networks or public television could - mostly because I do 90% of the work myself. I wear the hats of everyone from the entire camera crew, to creating the background music to avoid the costs of more music rights and the scoring of the film, to setting up and breaking down all the equipment while schlepping cameras, lights, tripods, etc. on my own across the country or globe.
I will keep you all updated on this page and through email updates (for those of you who've pledged and left your email addresses), so you can follow our progress. I will also be updating this page regularly as well. I will be debuting new trailers and videos here on Kickstarter in the next four weeks - all that can't be seen anywhere else - so you will want to keep coming back and spreading the word. Thanks!
HOW WILL YOU RAISE THE REST OF THE COMPLETION FUNDS?
Our fund-raising efforts continue with our fiscal sponsor THE FIELD, and I have chosen, as I did on the first film, to defer my salary, expenses and investment return until the films recoup. And as the final edit and post production are finishing, we will begin negotiating deals for Television, DVD and Theatrical. The monetary "advances" from these licensing deals will go towards the final music and archival licensing fees.
But, this is not till mid-2013, so your pledges are more important than I can tell you to help keep us on our timetable for a Fall 2013 release. Please call and email folks who you think would like what we are doing. Film fans, documentary fans, theatre fans - and send them here to our Kickstarter page. Thanks!
HOW IS THIS FILM DIFFERENT THAN ALL THOSE OTHER DOCUMENTARIES?
I believe that because I shoot and edit these films (often at the same time, as opposed to shooting it all and then editing), I can ask, or bring up subjects, that I know I can edit so that the stars (even though filmed years, continents and oceans apart) can be having a virtual discussion, or in some cases argument, and I don't think you will quite find that in many other documentary films. And whether the subject of the shoot is Robert Redford or a dancer who was in the back row of the chorus 50 years ago, I do every shoot personally, and alone - meaning running the camera, lights and sound while I am conducting the interview, never losing eye contact, and hopefully making each person feel that we are having a simple, if often deeply emotional, conversation between two friends. I truly believe that this is the reason that the films I make are deeply personal and surprise the audience so much.
When the legendary, golden age theatre/film critic Judith Crist (Today Show, New York Magazine, New York Herald Tribune, TV Guide) interviewed me on stage at a film festival, she said, "I know, intellectually, that your films take 5 or 6 years to make, and that you travel all over the world to find these stars. I also know that you spend years editing them into one seamless piece. But, when I am watching your films you can not tell me that all hundred stars are not sitting together in your living room, for a few hours one afternoon, interrupting each other and having one conversation ... I can hear and feel your heart beating in every frame of this film. And that is a triumph." She completely "got" what I am trying to accomplish and that also makes me feel like I am on the right track.
IF THE FIRST FILM WAS SUCH A SUCCESS, WHY DO YOU STILL DO EVERYTHING YOURSELF?
Although it can be exhausting, and take years to complete, I happily practice my one-man-band technique for another reason. It keeps costs down, which helps me to keep creative control of the films, allowing me to make the film I want, as opposed to the one that the studio or network wants. It also enables me to turn out a project I would really want to see myself, and not one that executives at studios or networks think would generate the best TVQ, ratings to pander to advertisers. I try to make the films the equivalent of sitting at the knee of a treasured elderly relative and begging them to tell stories about life "back in the day." But these "relatives" changed the world with their their passion and talent by transforming the theatre, as well as the film and television, that we know today. It is a HUGE responsibility documenting this history as many (over 50 so far) of the subjects have passed away during the process, which makes it even more vital to document this history while racing with the clock. But it also is a tremendous honor that I don't take lightly. I am grateful for every minute I have spent with each person in this trilogy. And the outpouring of deeply positive, emotional mail that I get from fans, young and old, and from the passionate fans that come to my DVD signings and lectures, make it all worthwhile.
HOW CAN I SEE WHAT THE FIRST FILM OF THE TRILOGY LOOKS LIKE?
If you haven't seen the first film of the trilogy, "Broadway: The Golden Age", it is available in stores, or for rent on Netflix or from Amazon.com and many other sources online. Or you can get a peek below at the trailer (below) that played in theaters before it opened. It is rather sad now to see Jerry Orbach as the first person in the trailer. The last time I spoke to him was a few days after the NYC premiere. He called me to to tell me how sorry he was for having missed the premiere due to illness, but had loved seeing the film that afternoon at the Sutton Theater on 57th Street in New York City with his wife Elaine. He passed away a few months later and is much missed. I thank God now that I documented his story before it was too late. He was especially happy to do our film because, as he told me on camera, "Most young people think I came out of the womb, fully formed, as Jennifer Grey's father in 'Dirty Dancing', or as Lennie Brisco on 'Law and Order!'" And this is a man whose long career in theatre included starring in everything from the original productions of "The Fantastics" and "Chicago" to "42nd Street" and "Annie Get Your Gun" opposite Ethel Merman! So I am racing the clock again with the second film as well. Another reason your support is so very important.
NO MAN IS AN ISLAND - EXCEPT MAN-HATTAN, OF COURSE
When I talk about being a one-man band, I have to admit that I am not truly doing everything alone. I couldn't do it without my producing team!
OUR LEGENDARY CAST (Pending Final Edit)
WHAT CRITICS THOUGHT OF PART ONE OF THE TRILOGY
THE PREMIERE AND THE PRESS FOR THE FIRST PART OF THE TRILOGY - "BROADWAY: THE GOLDEN AGE". HOPE TO SEE YOU AT THE NEW ONE!
Risks and challenges
It is always a challenge producing an independent film, especially a documentary with over 100 different legendary stars, music rights and archival footage rights.
Dealing with this much footage (over 600 hours of interview footage and over 300 hours of archival footage!) is a formidable challenge, and the fear of losing this precious footage is daunting, to say the least. Last summer our 24 TB storage system crashed and EVERYTHING was lost - yes, everything, the raw footage and our edits up to that date. It took months to do it, but we were able to re-digitize ALL of the interviews and find backups on film, tape and DVD here of all of the archival footage and photos. But, working in a digital environment, as we all are, you are always at risk. So, I back up my backups to be safe and have recovered from that crisis, and we should be safe in the future. Another challenge is that an independent film can never tell exactly what your release date will be with the studios' changing theatrical schedules, etc. But, our dates are pretty secure, barring any unforeseen surprises. And, luckily, I have pulled it off once already with the first part of the trilogy "Broadway: The Golden Age". On this new film 95% of the shooting is already wrapped and 85% of the edit is finished, so we will be ready to go into post-production soon and are already negotiating the licensing fees for the music and footage rights. So, we should be in movie theaters in the fall of 2013 and on DVD for Christmas 2013, with TV for early 2014. Thanks to your help!
The only other risk is that IF we are delayed by theater availability and the release is later, it could delay the DVD release and the shipping of advance orders of the DVD and Blu-Ray. But, I will do my best to make sure you receive your copy before anyone can buy them online or in stores. Also, there is a chance that the distributor may want to release the Blu-Ray after the DVD release, which would delay that as well, but again, I will do my best to make sure that all the generous folks who pledge here get it first!Learn about accountability on Kickstarter
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