A Year in Review: Adventures in Start to Finish Filmmaking

I cannot believe how quickly the past year has flown by. Just over a year ago, my business partner Maria Springer and I graduated from the University of Oxford with our MBAs. We felt that the staid, old, complex film industry, especially documentaries, needed further disruption, beyond what Netflix and Amazon were already doing.

Armed with the LEAN principles we were taught in our technology and operations course at Oxford, we set out to make films at record speeds on record low budgets. And, as we learned in business school, it gets faster to make a film every time you do it. You will learn tricks left and right.

It took over 5.5 years from the time I landed in Perugia, Italy to start doing research for AMANDA KNOX until the film was released on Netflix. For our first OBSERVATORY project, EUROTRUMP, it took 9 months from the time we conceived the project until it aired on television on VICELAND in the Netherlands and Belgium and on the Dutch national broadcaster. This is a substantial improvement but there is more work to be done. If not for minor mess-ups along the way, we could’ve had this film ready three months earlier. But we will live and we will learn. We will make process improvements, And we will help others along the way.

Here are the key lessons we learned from making EUROTRUMP in 9 months:

1. Run simultaneous processes: At its simplest level, this means if you are shooting a film you should also be gearing up to sell that film at the same time. This means start making trailers for your film while you are shooting it. It might be a pain, but as they say, “Show don’t tell.”

2 . No deal is a deal until it is a deal. The BBC gave us a contract for this project a few months in. We thought we were set. We thought all was good. Then, the executive we dealt with over there went on vacation and all hell seemingly broke loose inside their headquarters. Our project became too controversial for them. And ultimately it was dropped. This was BY FAR the most stressful month for us over the past year. We didn’t know this rule at the time, so we started coasting, thinking the BBC was a done deal and all was good. It didn’t happen that way.

3. ALWAYS BE CLOSING. As an independent filmmaker, your job is to sell as much as it is to create. If you don’t sell your project, nobody will see it. And then you’ll have an audience of 1.

4. If you make something for $100,000 and sell it for $200,000 you’ve made a profit. If you make something for $600,000 and sell it for $200,000 you’re very deep in the hole. This sounds logical, but too often I see filmmakers who want to raise loads of money, especially for non-fiction projects. If I can make a film for well less than $100,000, then you can too.

5. Hire slow, fire fast. During the past year, we’ve had hundreds of personnel working for us on different projects at OBSERVATORY. It’s been a major ride. I’m grateful that so many of the people who have helped us out are super competent at their jobs. However, we have also had to get rid of a number of people throughout the year, including interns, producers, and edit staff. It is painful when a bad apple, intentionally or unintentionally, ruins the whole bunch. There were many moments when I blamed myself or other people for someone’s incompetence. (For example, if you start fighting with someone you previously worked well with, you have to look around you.) I hate to say this because it lacks scientific proof, but at some point, you have to GO WITH YOUR GUT. If you feel that a person is hurting your team or your efforts to move your project forward, you’ve got to get rid of them. This is the most difficult but also the most necessary part of being a manager. Once you are rid of your burden, you will immediately feel free. Having nobody working for you is better than having someone work for you who is incompetent and will waste all of your time.

More observations coming soon…

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Boyhood, America in a Post- 9/11 World, and our Techno-Frenzied Future.

Last night, I had the pleasure of watching the new Richard Linklater film, Boyhood. Boyhood is unique among films in that it was shot over the course of 12 years. The film starts in an America that was still contending with the post-9/11 world and continues through to the modern day. Boyhood is full of nostalgia — the soundtrack is excellent — and you’re likely to hear lots of “oooohs” and “aaahs” and “I had one of those…” while you’re in the theatre, but that is really just the beginning.

Similar to how The Wonder Years captured the 1960s in a beautiful way for my parents’ generation, Boyhood does this for Millennials. There are many themes and motifs in this film that resonated with me. Here is my analysis of a few of them:

Economic hardship —  From paying bills to putting kids through college, our world is expensive. You may have wanted to be a musician, but sometimes you’re forced to put those ambitions aside to take care of your family, as it is necessary to pay the bills. (At SkillBridge, we have certainly provided supplemental income for hundreds of consultants, and it is our hope to continue doing this for many years to come.)

Forgiveness — Moving on is a trait that is undervalued. It is necessary to forgive to move forward. As we see in this film, Ethan Hawke’s character goes from being a 30-year-old bum to a 40-year-old family man. People shouldn’t be punished forever for decisions they make when they are young.

Personal growth — Not everyone makes the right decisions when they are young: Some people become single parents, others fail to study subjects that are relevant to the careers they want. These should all be considered learning experiences. You can go back to school to study the subject that interests you. You can raise your children to become fine people without a spouse. And you can pursue your passions.

America — Living in New York, I often forget about America’s natural beauty. In such a large place, people have differing opinions on politics, religion, etc. This diversity of opinions, whether we agree with them or not, is what makes America interesting and sustainable in the long-run. The American Dream is still alive, and with hard work and dedication, it can still be achieved.

Family — Families grow, families shrink, and the dynamics of the American family in particular is changing. As we see through Patricia Arquette’s character and her significant relationships with three different men — none of which works out for her in the long run — relationships have become more transient, but that doesn’t mean they can’t be fulfilling.

Immigration — America has long been a land of immigrants. Those who work hard, succeed. It may not be easy, but it is possible. Nothing happens overnight. Life isn’t one big reality show.

Technology — For better or for worse, technology has grown to be an essential part of our lives. In some places within America, technology still lags. You needn’t be tethered to your iPhone for six hours per day, and there is still quite a bit of beauty in the world, but technology is improving so rapidly that we forget to make time for nature and the other wonderful things that our world offers us. Let us use technology for good, and not for evil.

Life is short — In one of the final scenes of this film, Patricia Arquette’s character starts to cry, as she realizes that she will now be an empty-nester, her kids grown up and moving out of her home. Of course Millennials tend to “return to the nest” at higher rates than previous generations, but this film really puts things in perspective. Enjoy your life, love the people who are close to you. Be thankful to your parents and the other adults who made you who you are.

If there’s one film you should see this summer — dare I say this year — it is Boyhood, as it encapsulates so many of the ethos that have guided our lives since the turn of the millennium.

Bob Dylan of Detroit Sixto Rodriguez Should Be Honored By Kennedy Center

If you haven’t seen the documentary Searching for Sugar Man, then consider this a spoiler alert. If you’ve already seen it or you’re not going to see it any time soon, then keep on reading. (But first, take a second to sign this Change.org petition!)

In the late 1960s and early 1970s, Sixto Rodriguez created brilliant music that was the stuff of legend, but for whatever the reason, his records didn’t sell in America. And he fell into obscurity.

It is rare that a documentary elicits emotions that I carry with me for days and weeks after I have seen it. But that is just what Searching for Sugar Man did. This film tells the story of Rodriguez, whose songs inspired the movement to end apartheid in South Africa and whose lyrics became anthems of change for people around the world.

However, nobody knew what happened to the artist, and ghastly rumors about his demise abounded. In this genre-defining music-mystery, the filmmakers set out to determine what happened to Rodriguez, whose lyrics were favorably compared to Bob Dylan’s based on their insight and calls to action. This led to another question: Why did Rodriguez never make it in America, even though he hailed from Detroit? This question (and many others) are answered in the film, but ultimately Rodriguez emerges as a larger-than-life character who remains humble and true to his roots and beliefs.

After not finding mainstream success as an artist, Rodriguez spent some fifty odd years as a humble laborer in Detroit, remodeling homes while also heading to college later in life to earn a bachelor’s degree. He was never bitter about the twist of fate that prevented him from achieving fame in America. And even while achieving success (due in part to the film) in recent years, he distributes the money he earns to his family and friends.

Any marketing student would tell you that when a customer evangelizes for a brand, that symbolizes the pinnacle of success. And while I rarely see myself as a brand ambassador, I now find myself telling friends to go see this film, listening to the soundtrack on repeat, and even going so far as to wait in line for four hours last week in hopes of scoring a last-minute ticket to see Rodriguez perform live in New York City.

Rodriguez pays great lyrical homage to the downtrodden of Detroit, where he has lived all his life:

Sugar man, won’t you hurry
‘Cos I’m tired of these scenes
For the blue coin won’t you bring back
All those colors to my dreams

But it was his more universal themes that inspired revolution against the apartheid regime in South Africa and the country’s repressive ethos:

I wonder how many times you been had 
And I wonder how many dreams have gone bad
I wonder how many times you’ve had sex
And I wonder do you care who’ll be next

Seeing Rodriguez live, he seemed older, slower, and quieter than he appears in the film. I watched as an assistant escorted him to and from the stage, as he was too frail to walk alone. And then I realized: Rodriguez may not be able to perform for much longer, and while there is all of this fanfare and hype around him and his work right now, what can I, as one of thousands of his fans, do at this moment, to bring him his overdue recognition?

A little research showed that grassroots efforts are an acceptable way to petition Michael Kaiser, President of the Kennedy Center for the Performing Arts in Washington D.C., to nominate someone for a Kennedy Center Honor (lifetime achievement award). I created a Change.org petition, with a target of 50,000 signatures to get Rodriguez the recognition he deserves. Please sign here, and show that, right or left, Democrat or Republican, you support recognition for a man whose recognition is long overdue, and stands for all that makes America great.

Startups that are trying to create marketplaces that monetize video content. But how will they get people to the market?

I have been researching startups that offer opportunities for original video content creators to monetize their work, oftentimes by creating marketplaces and platforms. Here are some of the more interesting companies I have discovered. (Please add others in the comments section.)

Note: I am not writing about companies that work in music monetization or companies that are video advertising solutions.

1. PlaceVine (Acquired by social video syndicator Alphabird in 2011)

About: “PlaceVine is a service that bring passionate content producers together with marketers and their agencies to create socially engaging branded video experiences. Today, the basic Placevine service enables producers to showcase their concepts and content for brands, and enables marketers to provide talented producers with brand integration opportunities.”

2. Koldcast.tv

About: “KoldCast TV, a division of KoldCast Entertainment Media, LLC, is an international television network which distributes programming to entertainment consumers around the world via the KoldCast TV Network site, found at www.koldcast.tv, via set-top boxes, connected/smart TV’s and mobile devices, and via unique relationships with broadcast and cable TV networks and other television distribution venues around the world. Our programming is largely created by independent television producers and filmmakers from the United States and countries across the globe. The phenomenal growth of independent programming allows KoldCast to be highly-selective in its programming choices. Unlike online video distribution sites like YouTube and those that have followed them, KoldCast specializes exclusively in professionally-produced programming. Our programming slate does not combine user-created videos of cats and dogs playing the piano or riding a lawn mower.”

3. Blur Group

About: “Blur Group has built and operates the world’s largest Creative Services Exchange™. With 14,075 creatives and exchange staff, a unique business model and advanced technology, it radically alters the marketing services space. CMOs, marketing directors, VPs, creative heads and innovation leaders buy the best, most cost-effective creative services from expert providers around the world. The biggest global brands, the coolest startups and all points in between choose this transparent approach for the most cost-effective, real time and relevant design services, marketing campaigns, content programs, original artwork and innovation partnerships.”

4. Talenthouse

About: “Talenthouse provides life-changing opportunities for the creative community. It’s a place to participate in projects with leading artists and brands, gain recognition and virally grow your audience. Talenthouse embraces artists at every level of their career, as well as all supporters of the arts. Attracted by the potential for discovering, collaborating with and mentoring emerging talent, many global brands and acclaimed industry icons are involved with Talenthouse by hosting Creative Invites. Brands choose Talenthouse to engage in a dialogue with their audience in a targeted, relevant and credible context. Talenthouse currently focuses on film, fashion, music, art / design, and photography.”

5. Videolla.com

About: “You simply upload your video to Videolla and set price for it or insert ads into the video. Its simple and free. You will not need any coding skills. Just register, upload your videos and pick if you want to sell them or place ads.”

6. Bozza (South African)

About: “Most individuals in Africa engage with digital communication, information and entertainment through their mobile phones. Content drives the uptake of technology; yet despite the global increase and focus on the value of content, there continues to be a lack of locally generated, contextually relevant content for the African market. Focused on local made-for-mobile content, the Bozza application offers artists, filmmakers and entrepreneurs a mobile platform through which to distribute their content. By doing so these SMMEs earn revenue and users get free access to relevant, premium content (music, written word and videos) that entertains, educates, informs or all of the above.”

7. Poptent

About: “Poptent is a vibrant community of filmmakers (and actors, comedians, grips, animators and more!) who are connecting to each other and to companies that want to pay them for their talents. Through our passions for advertising and commercials, we are exploring a new way of creating branded messages for the Internet age. Poptent members can show off their work, build a portfolio, collaborate with other creators, leverage our deep set of features, and best of all make money doing what they love. Poptent brands are seeking new ways to reach their consumers and create new audiences. They are finding exciting possibilities that save them both money and time while staying just ahead of the curve of competition. They are, in a word, trendsetters.”