Peter Broderick posted an interesting article in April 2012 on how the documentary HUNGRY FOR CHANGE became a success after husband-and-wife team James Colquhoun and Laurentine ten Bosch (directors) made the film available to view on their website for free. Broderick says the film “illustrates how “free” can be used to achieve broad awareness, generate revenue quickly, and build a worldwide audience.”

The numbers are impressive. The film was free to view for 10 days. In the first 14 days, the film generated $1.02 million thanks to DVD and recipe book sales. A key component to the success was the directors’ existing fan base. The fan base was built by their preexisting website, and a previous combo documentary and recipe book – FOOD MATTERS. I believe that both films (HUNGRY FOR CHANGE and FOOD MATTERS) show how, in addition to offering a film for free, creating content across platforms and media (website content, streaming video, DVD, recipe book, etc.) for a specific audience can influence the success of a film.

In analyzing HUNGRY FOR CHANGE, it’s evident that it’s more than a documentary – it’s a lifestyle. The filmmakers are using the documentary as a platform to bring people to their website and buy their products in order to support the lifestyle. While the trailer is compelling, the film itself feels like a infomercial in a documentary’s clothing. The filmmakers attempt to convince the viewer that it’s time for a change in the food industry and in their diet, and that the best way to implement that change is to buy HUNGRY FOR CHANGE related products (recipe book, DVD, etc.), access the information on their website, subscribe to their e-newsletter for updates, and tell their friends all about it.

The impact of the social media aspect of this film cannot be ignored. Testimonials in support of HUNGRY FOR CHANGE on Facebook abound. The film and its use of social media is an example of how targeting a specific demographic can payoff.

Take note of this approach. Do you have a product or a lifestyle to sell? This approach could work for you. This approach could also work for “movements” and “causes” that resonate with people (e.g., KONY 2012).

Could an approach like this be used for narrative films? For example, could a supplemental book be offered? A graphic novel? A soundtrack? A website that helps people get involved in some aspect or cause related to the film? Perhaps something of “substance” – something that would inspire people to tell their friends because the film was so life-changing, impactful, engaging, FILL-IN-THE-BLANK? What do you think? Have you seen films that have used a similar approach and have seen success?

For an interesting read on the distribution journey of TRANSCENDENT MAN and how a combination of disruptive technologies and traditional marketing techniques can result in successful distribution, check out this case study at Sundance.org. Having a fascination for Ray Kurzweil and the Singularity, I watched the documentary film on Netflix streaming last summer. In reading the case study, I learned a few lessons, logged a few distribution techniques in my toolkit, and came to appreciate how the film managed to find it’s way to my MacBook Pro.

After completing the film in 2009, the filmmakers had no luck securing distribution. So they began to distribute themselves, starting with a special event tour where they arranged screenings and live Q and A’s with Ray and Barry, using Eventbrite for ticketing and Square for credit card purchases.

The tour generated press headed by publicist Celia Black. Anyone remember seeing the Singularity inspired cover of Time Magazine on February, 21 2011? Yep, that was because of the film. Press was all over the place by then, and this wouldn’t have happened for just any documentary… Ray Kurzweil’s views are larger-than-life, and his genius knows no bounds. It’s Ray that makes this documentary interesting, press worthy, and current.

In tandem with the tour, the film was distributed on March 1, 2011 on Movies-on-demand (VOD), iTunes, direct-to-consumer on the film’s website using Dynamo Player, and through DVD sales on the film’s web-site. The film jumped to the top 20 of all films on iTunes in its first week and remained the number 2 documentary for 13 weeks.

Not too shabby.

In the next phase (starting on May 24, 2011), Barry and team partnered with New Video to create a retail DVD and distribute it to Wal-Mart.com, Amazon.com, Barnes and Noble, Target, and Best Buy. Press was churning by then, and with Ray’s appearances on late night TV talk shows, DVD sales increased. At the same time, the film was available for viewing online on Amazon, Netflix, Wal-Mart, YouTube, and Hulu, which also helped increase DVD sales. 100,000 people rated the film on Netflix in the first 90 days that it was available.

Whoa.

Other avenues of distribution included an app for the iPhone and iPad created by MoPix. The app includes the full-length movie and special features. The filmmakers also sought the help of Fathom Events to produce and broadcast a live event from Lincoln Center New York to over 500 theaters in 49 states. The event included appearances by Ray and Barry, Steve Wozniak, Deepak Chopra, Quincy Jones, and more. Other techniques noted in the article are four-walling, using Google Analytics, partnering with an agency (WME, in this case), bundling the DVD with t-shirts and books, and maintaining a Facebook page.

Lots to chew on here and lots of questions – like who negotiated all of these distribution channels and how much did they cost? I think you can point to the star of the film as a main driver for its popularity. Not just any film will be able to follow these exact methods of distribution, and see this kind of popularity, but the case study certainly provides several methods distribution; and even a few tools for those with a micro-budget.

I realize that many of us are not going to have a publicist that went to Harvard (Cellia Black did) and representation from WME, but the methods used to self-distribute TRANSCENDENT MAN are, for me, inspiring. Read the full article over at Sundance.org to learn more. And feel free to share your thoughts on self-distribution below.

Following EL ABEULO is an Indie Showcase at 2:00pm, and the short documentary INNOCENTE at 3:30pm. INNOCENTE is the latest short film from Academy Award nominated directors (2008 documentary WAR/DANCE) Sean Fine and Andrea Nix.

Watch the trailer for EL ABUELO and learn more about the film here.

I’ve been reading a lot of posts about digital distribution lately and one thing is clear – it’s tough out there for filmmakers, folks. I’m not convinced there’s an approach that works in general for all films, and getting your film on iTunes, Amazon VOD, etc. doesn’t guarantee that you’ll make a profit (or that people will watch it), but we can all learn something from those who have gone before us in this brave new digital world.

According to this article on TubeFilter, indie film THE NEW YEAR (director Brett Haley’s feature debut) was released on iTunes on May 22nd. At the end of the article, the fine print states that the film is being distributed through the TubeFilter Indie Film Network, a partnership with GoDigital Media Group that “aims to give independent content creators – and their works – greater exposure” (GoDigital Media Group’s press release about THE NEW YEAR was posted on May 24th and can be found here). GoDigital is a full service Digital and Video on Demand (VOD) distribution company. They have an arsenal of over 1,000 films including the Swedish versions of Stieg Larsson’s “Millenium Series” (The Girl With the Dragon Tattoo, etc.). It turns out that it’s pretty difficult to get a feature film distributed through iTunes, Hulu, Netflix, Amazon VOD, etc., and companies like GoDigital exist to make it easier.

Having followed TubeFilter for a while, this is the first I’ve heard of their indie film network, and a Google search for “TubeFilter Indie Film Network” only turns up a couple of related articles, but for those interested in learning more, TubeFilter says to contact them. It you have a feature film under your belt with some bragging rights, who knows, maybe they could help.

THE NEW YEAR (which I have not seen yet) was reportedly made for $8,000 (some sources say $5,000) in 12 days. It was an official selection of the 2010 Los Angeles Film Festival, won the Audience Award for Best Narrative Feature at the 2010 Sarasota Film Festival, and received some good reviews from the New York Times, IFC, and others. It just so happened that Allison Loring, an employee of GoDigital, saw the film at LAFF 2010 and wrote this glowing review for Gordon and the Whale. I’m not sure how her love of the film played into the distribution agreement between GoDigital and THE NEW YEAR, but it’s an interesting note.

I’m glad to see no-budget indie films get digital distribution. I wish the the team the best of luck as they try to get THE NEW YEAR in front as many people as possible. Getting the film online is just the start. Now comes the work of directing people to it and getting them to watch it. Here’s a link to the film on iTunes. The film currently has 4 out of 5 stars from 9 ratings on iTunes, and 100% on the tomatometer from Rotten Tomatoes. I’m think I’m gonna go watch it.

Have you seen THE NEW YEAR? What did you think? Can you offer any digital distribution woes or praises?

Admission free as a gift with your donation to the Autism Society of San Diego

In Celebration of Autism Awareness month, San Diego State University, along with the Autism Society of San Diego, Tender Loving Canine’s and Sierra Academy, will be presenting “HEARTS LIKE OURS” FILM FESTIVAL, a screening of three short films hosted by SDSU’s School of Theater, Television and film. The proceeds of this event will go to Autism Society Summer Camps and to Sierra Academy film and music programs for students with autism.

“HEARTS LIKE OURS” will screen these shorts on Monday, April 23rd, 7:00 PM at Don Powell Theater, San Diego State University.

The festival will showcase three short films about autism, all made by emerging SDSU student filmmakers.  From a heart-felt drama about a boy with autism who finds his voice, to a documentary about training dogs, and an experimental short film created for the autistic mind, this series of shorts is intended to raise awareness about autism. This event will also bring attention to and celebrate local talent who create compelling work on shoe-string budgets that promote social activism and help change the way people see the world.

Tickets can be acquired at the door with a recommended $10 ($5 student) donation by cash or check. You can also donate online in advance by credit card at www.sd-autism.org. Simply type in how many tickets you would like in the “comments” box with your donation of $10 or more.  Print out your tax deductible receipt and bring it to the film festival.

Your donation gets you an evening to see autism from three perspectives, while 100% of your gift goes directly to summer camp and film/music programs for children with autism living here in our San Diego community.

Film Line Up

Autistically Speaking, no. 1

Official Website
A film designed for the entertainment of an audience with autism.
Directed by Anthony Pang
Running time: 6:48

Autistically Speaking is a film/research project that begun in 2009 as a serious attempt to create a film for an autistic audience. Combining scientific research from fields like neurology and psychology, accounts from educators and caretakers, direct observations in a natural environment, as well as the concepts and theories of experimental film, Autistically Speaking addresses the individual with autism not as subject but as spectator. The project explores perception and perspective in an autistic world and explores how these individuals see and engage with the physical world, then extrapolating the observations into a film that acknowledges that way of seeing and engaging. The hope is that a model can be created to develop media/film specific to this demographic.

Strong Souls, Gentle Spirits

A wonderful story of overcoming obstacles and the human-animal bond/relationship.
Directed by Iris Caffin
Running time: 20:34

A wonderful story of overcoming obstacles and the human-animal bond/relationship is told in STRONG SOULS, GENTLE SPIRITS. The documentary tells the story of 8-year-old Jolena. After Jolena is born, her mother, Rebecca Cook, notices delays in her development. The road to have Jolena correctly diagnosed is a huge struggle for Rebecca. After several years, Jolena is finally diagnosed with autism. Despite the diagnosis and therapy, life is still difficult and meltdowns still occur. When an autism service dog is placed with Jolena, her life and that of her family turns around completely.

El Abuelo

Watch the Trailer
A short narrative film about Nick, an autistic boy who doesn’t speak. It is only when Nick is befriended by an illegal Mexican laborer, El Abuelo, that he finds his voice.
Directed by Stephen Crutchfield
Written by Stephen Metcalfe
Produced by Patrick Scott
Running Time: 19:49

The short film EL ABUELO brings the storytelling of writer Stephen Metcalfe (JACKNIFE, BEAUTIFUL JOE, studio writer for PRETTY WOMAN, MR. HOLLAND’S OPUS), to the screen once again in a tale about the mystery of human connection. The narrative follows Nick, a young autistic boy, as he surveys the world in silence, eventually finding an unlikely friend in El Abuelo, an elderly Mexican migrant worker. Through the bond formed in their relationship, Nick’s silence is broken. Stephen Metcalfe wrote EL ABUELO from a personal perspective; his teenage son is autistic. Metcalfe teamed up with Director Stephen Crutchfield (an SDSU graduate student) and Producer Patrick Scott of Drama House Productions to make the film. The film stars 2005 Independent Spirit Award nominee (Best Debut Performance in ROBBING PETER) Louis Olivos, Jr. as El Abuelo, and young San Diego theatre actor Jonah Gercke in his debut film performance as Nick. As our society struggles to welcome those on the autism spectrum, and secure our borders without betraying our humanity, the filmmakers hope that Nick and El Abuelo’s relationship provides a glimpse into what can happen when we diminish our differences, and celebrate our common ground.

Films will be followed by a Q and A with the filmmakers and Autism representatives.

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Directions and Parking Instructions:

SDSU is located on the East Side of San Diego just off the 8 Freeway, at the  College Avenue exit. At the end of the exit turn right to reach the campus. Follow College Avenue two stop lights to Montezuma and turn right. Take Montezuma two stoplights to 55th Street where you turn right. At the first stop light; turn left into parking Structure Number 5. In this structure you may purchase visitor parking passes for 2-4 hours depending on the event you are attending. Handicapped parking is located in the Cox Arena parking Area called K lot, located to the right one more stop light ahead on 55th Street.

To get to the Performing Arts Plaza enter the San Diego State University campus on 55th Street and walk directly toward the Cox Arena and turn left just past it. Follow this path uphill and eventually curving to the right. On this walkway the Don Powell Theatre and the Performing Arts Box Office is the second building on your left.

Please note that parking will be available for $3 during the film festival, Guests are not allowed to park in SP spaces

For parking details and a map go to  -   http://theatre.sdsu.edu/html/GettingHere.htm

•    Structure 4 take the elevator up to the walkway bridge.  Handicapped parking is on the top level.
•    Structure 2 Visitor Parking Permits are available inside Structure 2 (Hardy Avenue)
•    Parking Lot M, Lot Q and Lot R Visitor Parking Permits are available in these lots and will allow visitors to park on any space.
•    Handicapped Parking spaces are available in Lots M, Q and R for free. Some handicapped spaces are available in Structure 2, 4, 5 and 6 with a permit

So I got an email from one of my friends yesterday. He had to cancel an evening meeting with me because he was working on a music video. They had already been shooting for 12 hours. He half-jokingly said they’d be there until sunrise. It was 8pm. Do the math. That’s a 22-hour day.

While this is rare, the average production day for a film/television crew is 13 hours+. On student/indie sets, it can be really bad. I’ve heard of students pulling three 18-hour days back to back.

In 2006, Academy Award-winning cinematographer Haskell Wexler made a documentary called “Who Needs Sleep” that shows how sleep deprivation and long work hours in Hollywood are a lethal combination. Wexler recently wrote this article for the Huffington Post that talks about the health and safety dangers of “Sleepless Hollywood”. The article marks the 15^th anniversary of the tragic event that led Wexler to make the documentary – after working a 19-hour day on “Pleasantville”, assistant cameraman Brent Hershman fell asleep at the wheel and crashed his car. He was killed.

On the short films that I’ve directed, I’ve tried to keep the days as short as possible (12 hours maximum), and give the cast and crew at least 12 hours of rest.  These decisions were partly driven by budget (the SAG contracts I used required overtime pay for work in excess of 10 hours in any day excluding time spent for meals, and rest period charges if performer is not given at least 12 hours of rest), but mostly driven with the well being of the cast and crew in mind. I, like Wexler, am an advocate of the 12 On 12 Off campaign. The campaign has “three basic rules of humane and responsible filmmaking”: 1) No more the 12 hours of work; 2) No less than 12 hours of turnaround; and 3) No more then 6 hours between meals. (Perhaps an exception would be shooting French hours on an 8 to 10 hour day.)

Not everyone in film and television has long hour production days inflicted on them. According to this article, Clint Eastwood is known for working 9-hour days. On top of that, Eastwood has a history of finishing a product early and under budget, and, in my opinion, his films are stellar. Talk about efficiency and excellence.

Thankfully, my friend mentioned above only had to work a 14 hour day. As filmmakers we are a committed bunch and we love what we do. We’ll work as hard and as long as it takes to get the job done. But to what end? Time with family, mental and physical health, and public safety are all sacrificed. Hopefully, it won’t take another tragedy or broken family to wake us up.

To close, here’s a comment from Sidney Lumet on long hour days in Hollywood – “Now I know that great movies have been done that way, and I know great performances have been achieved that way, but in my view they have been great movies or performances despite the hours, not because of them.” (From “Directors Speak Out” clip by Haskell Wexler, 12 On 12 Off Blog, posted January 29, 2010.)

Do you have any stories about working long hours (or short hours) on set?

On directing (what he’s learned from Oren Moverman’s directing style)… “…if you do your research, and you do your homework, and you come in and create an environment that allows the actors to listen to each other, you can do no wrong. It’s all about protecting that space.”

On burn out… “Nick Cassavetes said something really lovely to me that I’ve held onto about some silly job that will go unnamed that I didn’t want to do…’Well [do it], [do it] if you have to, but just make sure you don’t blow your own candle out.’ And Hollywood will do everything, it will find every weak point in your heart and in your mind, and try to blow it out. And that may be by making your candle so bright that it just fizzles after a few years…”

On working with great actors (Al Pacino and John Travolta in the upcoming film GOTTI)… “Yeah, bring your A game, but they will raise your game. And then, on top of that, these are professional make-believers. These are people who refuse to grow up. These are full-grown adults in costumes.”

Trailer for 2009 film THE MESSENGER starring Woody Harrelson and Ben Foster. Directed by Oren Moverman.