Bibliography

References

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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

 

 

 

 

 

 

 

 

From mind to screen: a conceptual art form

conceptual bresson
Robert Bresson  breaks down the boundaries between physical and mental space

So much of film making is conceptual, I have never really thought about that so much as now.

Making for many arts and crafts practitioners of course involves conceptual design and theory.

What makes film so interesting is the process that brings about the film, As a filmmaker I do use external means of communicating conceptualising I use story boards, photos scribblings in my note books, and sometimes I record myself talking about the film ideas.

However, before any of that I see the shots in my head, and I play those shots like a movie continuously through in my head, as things in the external world affect and change the film the screenings are adjusted to fit.

Film is often said to be the closest art form to dreaming, I would say for me that the process itself is most interesting in that it allows us to see at least internally a version of the finished film complete with cuts camera moves and all the intricate and complex elements that go into a film.

“My movie is born first in my head, dies on paper; is resuscitated by the living persons and real objects I use, which are killed on film but, placed in a certain order and projected onto a screen, come to life again like flowers in water.”
Robert Bresson, Notes on the Cinematographer

Our problem as makers is taking this into the world and through the various filters of script, camera, actors, these processes all have an affect and if not the dying as Bresson suggests then I believe that the technology of the camera in some way is the bottle neck that all these ideas and visions have to pass.

To get to this stage though, to be there on set with crew and cast assembled ready to shout the words Action, this is the journey that takes up so much of our time and energy. This is the making that so often gets little or no consideration, it is more than the words pre production assume, It is not merely project management, or assembling of people and locations and permissions, it is not even just planning on paper with story boards and shot lists or perish the thought scripts!

No, What it really is, is making, making with the imagination, it is believing that this crazy idea in your head can live outside of it, it being brave enough  to even  others about it in the first place, this is film making in it’s most delicate and pure form, long before the camera rolls.

Permission granted!

So just as they said the permission came back within 24hours to Use Moby’s track ‘Stella Maris’  from Moby Gratis. This is fantastic news! And in celebration I am blogging the licence agreement, the track, and the Audition that, I hadn’t at the time realised was an audition, with Kashi for the busking track! Yayyy!


<p><a href=”https://vimeo.com/205051999″>Kahi Pis for paddy audio only audition</a> from <a href=”https://vimeo.com/chrislakefilm”>Chris Lake</a> on <a href=”https://vimeo.com”>Vimeo</a&gt;.</p>

 

 

 

 

 

license-agreement