Risks and challenges Learn about accountability on Kickstarter
It's a tough proposition to make a real feature film these days. The market for all forms of media continues to ride in a state of major transition, and it's kept me back for a long while because I wasn't sure what was going on, but I'm done waiting for things to settle down, and am ready to start to do this. I know that no matter what happens with the changes in technology and distribution systems, people will still want to watch great movies when the dust settles. I have some pretty good contacts in the film business, and I'm ready to bring them something they can push. Making the movie is easy once we have financing and distribution locked down.
I wasn't sure about giving out this much information about one of my ideas for a movie in public, but I don't see any other way these projects are going to start to get made (this is one of six favorite movie ideas I've been kicking around for a number of years), and I figure for every secret I'm revealing here, I still have dozens more to put in the actual movie. It's not just the ingredients anyway, it's how you put them together that counts.
I've wanted to make movies since I was barely 3 years old, watching my father mess around with Super-8 home movies, and sitting on Mama's lap in a dark theater at Fort Benning to see "E.T." ... I'm told I kept leaning forward as if I wanted to be inside the movie, and I talked about it so much afterwards they took me back to see it three more times. I love cinema and filmmaking and big stories. I was born to be creative, I was taught to be precise, and I've learned to power on through. Let's sell some popcorn.
The stats say that your production cost will be $18-25 million. Where is that money coming from? For what is the $12000 you raise on Kickstarter allocated?
The $12k is development funding, mainly to create a package that I can take to a studio to get full funding. I need to generate specific concept art, hire a publicist, and get out to LA to meet with studios and investors. There's more detail in the "getting the ball rolling" section of the project page, but those are the basics. The $12k is the minimum I need to start the project. I will use that to create and mobilize tools to attract investors for the full production, distribution, and marketing costs.
I've been writing-producing-directing various media projects for the last 17 years. I started out messing around with stop motion and then computer animation to make my own shorts, was on the air for over 1700 hours working as a DJ at a radio station in high school, went to film school, got my degree in writing, interned on Dawson's Creek, worked in public television, went to grad school for filmmaking, started doing fashion photography to learn about creating very specific images and ended up founding a magazine in the process, and now I'm back to trying to make my own movies.
Directing, mostly experienced with documentaries, but also photo shoots, numerous episodes of a comedy/variety series in college, and an Off Broadway show.
Writing, I have a degree in Creative Writing and I've been editing an unusual little fashion magazine for a couple years now. I'm not an experienced screenwriter in terms of having sold scripts. The longest script I ever had produced was about five pages, it was for a comedy sketch, and we ended up throwing out two pages of dialog to make the joke work better.
My primary guidance in understanding how films work is by being a bit of a John Ford scholar. I got interested in Ford around 1999, after catching Directed by John Ford late one night on AMC (or TCM?). I have seen every Ford picture I could get my hands on since then, have read every book about him, even the out of print works. I strive to create films with a breadth and depth that can still approach his level of methodical simplicity.
I may end up directing or re-writing some other film projects for other people before this one gets made, if that's what it takes. I want to be in production on Passare in 6-18 months though.
My ultimate qualification is being able to lead a creative team, because filmmaking is a collaborative art, and the director's true role is to be a nexus and a lens. I pick strong artists to work with, people I trust and think I can learn from, and I help them get their jobs done together. That's something I'm absolutely qualified to do, it's what I've spent the last 17 years training myself to do. I've wanted to make movies since I was 3 years old, and despite moving around a lot and not spending a lot of time specifically directing narrative projects, it's what I was focused on figuring out how to do the whole time.