The Crowd funder: A final summary

It has been a bumpy ride but as 101 draws to a close I would like to take a moment to reflect on the Crowd funding campaign, its strengths and weaknesses, and what I would change.

I have been open in my opinions of the fit for me within the platform for the film I am working on, I will not labour this point here.

However the perceived success or failure of the campaign itself does interest me, I worked under my own extra and quite stringent criteria, I am aware that if I had ‘towed the line’ in terms of the full commercialisation of the project it may have a wider and possibly greater financial return…But not necessarily, for one thing I believe that generally peoples ability to analyse and critique the basis and validity of a project is naturally very high, any attempt therefore to suggest one thing with the film and then appeal in a different model to the potential audience would I believe not only have lead to a dislocation of the overall project but would have come across quite clearly as dishonest or disingenuous. This in turn would have undermined the confidence of said backers.

Avoiding this dislocation of medium and message was of course one of my central aims in the campaign.

I did extra research into the validity of the rewards system and cross checked the pricing with the rewards for screenings, this was based on the Plymouth art centres booking fees for its cinema space. The ideal would have been to create more screening opportunities, dependant on the interest and return from backers. Joe O’Grady  started on some amazing concept art and story boards, that I can’t include as finished elements here but on which he is still pouring in his talents.

If I had more time I would have also loved to have put together the out takes for the crowd funding pitch itself, as a precursor to the actual
(Inevitable) outtakes from the film when it shoots.

Undoubtably my key area to pursue if I had been intending to go live with the project would have been that of Social media platforms, I am in a surprisingly good position here, as I have received offers of help in this direction from a member of the cast, Kashi Gill the Busker. He is a whizz at promotions online, with years of practice with his own band, has a far greater understanding of social media and how best to leverage it, particularly the dark and forbidden waters (for me at least) of ‘Farcebook’.

I am aware that I could also have developed the presence of the films campaign on Twitter On which I am reliably told I am still mostly a lurker! At this stage however it felt a little strange to start shouting about a project that has no real outward facing objectives.

The parts of the project that I feel have been a success are within the idea development itself, I have taken away the idea of screening events and as a distinct possibility for the future outside of this campaign, and the thinking this has developed in building community is certainly something I will look to pursue.

The thing I have learnt most of all about these platforms and the development of a project is that you are crazy to go it alone! It really doess lend itself to having a team of (volunteers) people equally invested in the project, particularly if this is part of a wider scheme of work and responsibilities.

And lastly I have to quietly shot out thanks to all of the crew and cast and family and friends who have supported me in this project, It really does build a reliance in team building and delegation, everyone who has put up with my constant demands of “just one more” pitch video shoot or take, does indeed deserve a medal!

Thanks go out to:

Jake Bench

Caroline Morley

Russell Cleave

Tip Cullen

Joe O’Grady

Kashi Gill

Tamzen Howe

Samuel Johns

 

 

 

 

 

 

 

 

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