Sunday, January 30, 2011

Breaking Down Your Script

This weekend, I met up with two really good buddies of mine, Chris Voelz and Matt Mann at the Starbuck's down the block. We started doing the script breakdown. I've never done one officially before, and I'm guessing most indie folks haven't either. So I wanted to do a quick writeup about it.

There are several programs out there like Gorilla and Movie Magic Scheduling that do scheduling and script breakdowns, but alas, I don't have those. So we did it in Excel instead. Basically a script breakdown is an organizational document that maps out and color codes principal actors, extras, props, costumes, set dressing, special effects, stunts, vehicles, sounds, music, make-up/hair, scene breaks and locations. From that, individual departments on the film can reference it and know that for setup 2a, they'll need a coffee cup, a piece of pie and a cigarette in the main character's right hand. It just generally helps keep everyone organized and keeps small details from being overlooked.

The other main benefit of a script breakdown is that it gives you a great map to put together a detailed cost estimate and can help you shape your budget a little more. I'm pretty sure that the project can be made for less than the $9,000 that we're asking for on the IndieGoGo page, but the only way to truly know that realistic figure is by doing a breakdown and figuring out the all around production costs. And that's what we're heading towards. I'm still debating whether or not to actually publish it, but my hope is that we'll come in at around 5 or 6K and we can encourage potential contributors to aim for only 50% or 60% of the amount we're asking for, I think that makes things a little more encouraging for people thinking about helping out with the project.

The headlined image was taken courtesy of Chris's iPhone and shows my first pass at it. If you look closely, you can see the scene breaks with a dash through the dialogue and I started highlighting props. Matt is working on breaking it out further and getting it a bit more organized.

The next step in the process, pending the cleaning up of our script breakdown, is finding a UPM willing to sit down with us to calculate a rough budget so we can keep things rolling without blindly throwing money at it. Hopefully within the next few weeks, we can find someone willing to do that for us. Got someone? E-mail me at

A Treat for Our Supporters!

So earlier this week, I put a call to action out. If we could reach $1,500 by Wednesday evening, that the contributors up to that point would receive an extra bonus on top of their amenities. By the end of the day we were $100 over that goal and so here's me making true to that deal. As a reward for the contributors thus far(providing I have your address and you tell me you want one), you're all receiving a copy of the final version of this poster!

The wonderfully talented and stunning artist/illustrator, Veronica LaPage (who also just happens to be my fiance), put together a few sketches for the film. The intent was to make one teaser poster, but we ended up with two and here's a bit about the process.

The original idea of the sketch called for three of the main characters in 'Your Milkman' in composition akin to a scene from the film. Peggy and Glenn would be totally fixated on one another, playing footsie under the booth while the waitress stood between them with their slices of pie. Veronica and I had collected a library of reference images to help make the sketching process a little easier on her.

After several drafts of sketches, we realized that that composition wouldn't quite work. The waitress was blocking their flirtation and some of the layout just wasn't right. So we made a few notes and began the next draft.

I knew I wanted the waitress and then the couple somehow included in the poster, so instead of compositing the two in, we broke the concept out into two separate ideas. The waitress with pie as one, and the milkman/housewife as the other.

By the end of the week, Veronica had both sketches finished and cleaned up. I then laid out the pencil sketches into the 27" x 40" standard movie poster format.

From that, I wanted to also see the illustration colorized in the vein of Rockwell, so I then did a colorization pass as a proof of concept.

So there you have it folks, two sketches, four variations. Again, this is a rough sketch of the final comp, but the progress is far enough along that I could share it with you. I LOVE how they turned out, and cannot wait to keep the process going on it. Stay tuned, and be sure to contact me if you want one!

Also, if we can get up to $3,200 (double what the campaign is now), there's going to be another major surprise in store. So be sure to get that link out there and help us get this project made! :)

Thursday, January 20, 2011

Prime Example of a Great Pitch for Crowdsourcing

So I'm an audiophile. I love all kinds of music and I'm subscribed to a few of my favorite musician's mailing lists. Yesterday I received an e-mail blast from Jersey-based singer/songwriter Nicole Atkins. The message was simple. If you want to see us on tour, give us money on our Kickstarter page.

So, being both a fan and a recent convert of crowdsourcing, I went to look at the page. Whoever Ms. Atkins has marketing her has the pitch/video down to a science.

I wanted to post the link as a great example of an excellently-set up page. The video has a fun concept, the pitch is solid and the amenities for donation were awesome. They played up to their fans and that's a great lesson to learn from.

Wednesday, January 19, 2011

Crowdfunding Strategy: Getting your Campaign from 'Mediocre' to 'Fantastic'

As the progress of 'Your Milkman' charges forward, I think now is a good time to discuss funding yourself.

Crowdfunding isn't anything new, but the platforms that are available are. So we're using IndieGoGo-- there are other sites such as Kickstarter that do the same thing, but you actually get to keep the contributed finances on IndieGoGo even if you don't achieve your goal. That's really what sold me.

Anyway, there's a wonderful melding of IndieGoGo/Kickstarter platforms with social media. It's a tango of sorts. A push and pull of giving and taking with your social circles. There's a fine line to tread with crowdfunding. Either you're not pushing enough, or you're way too in-your-face.

Of course I'm only a month into this campaign, I've still gone into this with some strategy under my belt. Here it is.

Social networking is great, but it works best in creating awareness of your campaign, not actually instigating an action. Unless you can benefit the laymen who stumbles across your crowd funding page, they'll just look past it. SO, how do you drum up the kind of budget you need? Well, it's simple case of time and work.

Direct contact to individuals is crucial. 75% of our budget thus far has been obtained by directly contacting individuals. That equates to a LOT of personal emails asking each person for help. That doesn't mean doing a copy-and-paste message to your friends and family. It means reaching out to everyone you think might be interested and engaging them by writing a personal message. Keep it conversational. Offer to help them with something if they need it. Make it a two-way street.

With the mass amounts of messages people are bombarded with every day, the general public has grown quite keen to a sales pitch. I know anytime I get approached by someone on the street or am asked to give money for something, I immediately decline without even listening to what it's for. You crack that egg by actually putting time into an individual and conversing with them. I'd much rather help a friend out than a complete stranger. Use those relationships to your advantage.

So once you get people to put in the initial sum of money, you've got to keep it fresh. You need to update your audience on the project's progress. The updates need to be relevant and the more you can give back, the better it will be received. So far, our biggest hit aside from the campaign launch was the 10 minute documentary we made about the script read through. We have four or five video concepts designed that both remind the viewer about the project, but also inspire and educate them on the process.

How frequently do I make these posts? I try to put something out once, maybe twice a week. If I'm slacking on progress for the production, I get something done that's newsworthy. It keeps me motivated. If I'm totally stumped with news, I post out a thank you to my newest contributors and update the grand total of donations so far. I update the progress of the week.

It's important to keep your project relevant, but not over saturated. Posting too much is off-putting and gets people numb to your project. Once or twice a week is plenty.

Now-- When? When do you post? There's been a lot of data floating around recently for social media that all concludes that you NEVER post on weekends. Friday-Sunday is a dead time for reading news. You need to capture your audience while they're at work secretly checking their facebook pages and twitter feeds and happen to stumble across your interestingly-worded piece of news.

Monday Tuesday and Wednesday in the morning, between 8-10am is your prime time to post. If the right people see it, and it gets reposted, it should coast through the afternoon.

So that's the basic strategy I'm riding on right now. It seems to be working. Keeping it up for the remaining 85 days of this campaign is just the challenge. I'll definitely keep a running post of my strategy, so stay tuned!

Crowdsharing works, it just requires a LOT of time. Keep it entertaining, relevant and regular and you should be able to get the most out of your promotions. Good luck, folks!

Tuesday, January 18, 2011

Point of Contention for the Thesis

My friend and producer on my current film, Jake, brought up a topic that definitely serves as a point of discussion for the thesis. George Lucas.

So IMDB tells me that Mr. Lucas has directed 19 pieces of work and produced 64. Among his directed pieces, there are only 6 narrative features. There is THX1138, American Graffit and the remaining four are Star Wars episodes I-IV. The other 13 films are either short films, or documentaries. While his entire body of work is quite impressive, to consider him a master of the craft, to some, might be off.

I'm a bad student in film for not seeing THX, but I've seen his five other narrative pieces. And while there are enough plot holes to cram an AT-AT Walker through in Star Wars I-III, episode IV started a marketing empire and an entire way of living for a lot of people. And American Graffiti is a classic that, as the critics say, 'defined an era'.

When I speak of George Lucas' accomplishments, I'm speaking of the latter films. Star Wars and American Graffiti. Those two films together are a shell of what I'm seeking in capturing in my thesis, and even demonstrate a lesser piece of it. Allow me to explain.

So Lucas went to great depths in creating the story of Star Wars. He applied the hero's journey (the most rudimentary character arc in storytelling), theories of linguistics, consulted mythologists, theologists, psychologists and historians all in order to tap into the human psyche to define good and evil and to subconsciously reinforce a universal story that everyone can relate to and that everyone has heard before.

American Graffiti, although different in story, uses the same tactics of manifesting a universal story, but relies less on psychology and history, and more on nostalgia.

Jake argued that George Lucas banked too much on nostalgia, but I think that's mere opinion. I think everyone has an audience, and while Jake may not be Mr. Lucas' prime target, there's still a large sum of people out there who respect him and truly do love his work. So he must be doing something right.

Whether or not you think the filmmaker is good doesn't matter. His approach is respectable, especially once you realize how much his films influenced individuals, and our pop culture today. I can hardly go a day without a Star Wars reference. It's inevitable when you work with a bunch of film geeks. You can't deny his films have penetrated a large audience and his stories, on the whole, appeal to the masses.

Tuesday, January 11, 2011

A Crude Explanation of my Thesis

So the whole purpose of this project and this blog, are articulated a bit in the IndieGoGo profile for 'Your Milkman. But, I would like to reiterate the mission statement, since many people I've talked to have only skimmed the page. [It's more important than the outcome of this film, as far as I'm concerned]

Over the past year, I've been working on a thesis on mass-appeal filmmaking. This doesn't mean blockbusters, but films that are well received on a wide-scale and that the 'every man' can relate to. I need to state that the following is more of a free-form writing, spewed from my fingertips, and the thesis itself is still in its infancy. SO as a disclaimer: ideas are subject to change without warning, and potential contradictions may be abound. With that said, this mass-appeal storytelling rerely on at least five principals.

One: That films are about making the ordinary extraordinary. This is based around a mantra that my boss, Steve Weiss, states constantly. Basically when it all comes down to it, even small moments like learning to tie your shoes as a child, can be told with an extraordinary spin. It's all how it's told and through what lens is it seen.

Two: That simplicity is key. A complicated story can be good if told right, but there's a correlation between how complicated it is, and how detached emotionally you can feel for the characters. Lord of the Rings and Harry Potter are great to sit through, but they're too long, too many characters to invest in, and I'd argue that the only things that make them so revered are the visual spectacle, the worlds created by J.K. Rowling and J.R.R Tolkien, and their publishers' affinities for acronyms. The folks who read their books may all be closing out this blog post because I'm blaspheming on their favorite pieces of literature, but their film counterparts just don't do what the original text did; which was allowing the viewer to get invested in every character over the course of thousands of pages. While some list these film series as their favorite movies, I argue that for the 'every man', it's not something they can get emotional over and get invested in.

Three: That the story has conflict. We as humans love to hear stories about humanity going up against the odds. We love that redemption story. We want to relate and sympathize with the protagonist, and the drive of that catharsis we experience is through the journey of conflict. Every story has conflict, and from what I have noticed, the conflict typically lies within some variation of seven deadly sins: Pride, Envy, Wrath, Gluttony, Lust, Sloth, Greed. We have a drive to see and learn how fundamental problems are dealt with. Now, pair the conflict up with a drive, whether it's love, or a personal goal, or the objective to save the world, the obstacles and the way the protagonist goes about dealing with them is where part of the entertainment and warm fuzzy feelings come from. Now, not every film fits into that nice formula, but generally speaking, if you ask any good storyteller, they'll tell you that dramatic stories about people often rest on those pillars to drive the dramatics of a story.

Fourth: That these films have a personal connection with the viewer. Something that is hopefully subconscious and totally unnoticed, but just where the viewer says "You know, I liked that movie, but I can't tell you why." This fourth principal is a discovery that I'm finding in my list (which you'll hear about in detail further down this post.)

Five: That the elements of the story are romanticized or possess a sense of mysticism. One could argue that this is an offshoot of the other principals, but if it hasn't already done it through those, then this remains. With this idea, both What the story is, and How it's told go hand in hand. I guarantee Speilberg could tell a childrens' story far more effectively than Michael Bay. To do so successfully, you must understand how a child's mind works, and you play up to those elements. Repetition, rhyming, elements of magic, relatability are all ingredients present in successful childrens' stories.

Now again, I would like to cite a disclaimer. Aside from my IndieGoGo pitch, this is the first time I've actually written a text about this idea. I'm quickly realizing as a years' worth of work spills out here, that the idea is grander than I could encompass in a blog post. Rambling is imminent, but hopefully a few nuggets of this idea squeak through as I continue on this path.

I also acknowledge that there isn't a right or wrong way to tell stories, but I'm looking at the best of the best of filmmakers when it comes to telling successful stories and trying to connect the dots. And they're most definitely connecting.

My boss often encourage young filmmakers who approach us to critique their work(s), and what he tells them is that you shouldn't change your style based upon what someone else thinks. There is a way that every filmmaker sees the world, and there is a way that every filmmaker's voice develops as they tell their story. I think what this thesis does best is highlights ONE way to tell a story, and through that, I am discovering my voice. I feel that my aspirations are right in line with at least the ground basis of these storytellers.

As I've continued pulling sources together, reading book after book, and digging deep into this idea, I've began a storytellers' list of A-Listers that all exhibit some element of this idea. Several of the names include Steven Spielberg, George Lucas, Tim Burton, Chuck Jones, Dr. Seuss, A. A. Milne, Robert Clampett, Tex Avery, James Cameron, Francis Ford Copolla, Norman Rockwell, Jim Henson, Walt Disney, Ron Howard, Frank Capra, Disney Writer/Directors Ron Clements/John Musker, Chris Columbus and John Hughes. I'm not saying I have the skills that they do, but I feel like I have a keen understanding of their achievements.

Oddly enough, there is a direct connection between all of these filmmakers/storytellers in some way or another. For as close as these connections all are, one's mind could start to wander towards conspiracy theories of this collective of great minds that secretly meet every week in a tree house and share secrets with one another (I've heard they even have a secret handshake!)

Kidding aside, it's very interesting to bridge these connections and as I've done so, I'm uncovering and identifying these continually-practiced nodes that makes all of their films so timeless and successful. Things you would never even mention in film school. Curious now? Of course you are.

I would argue that any great film that has mass appeal and longevity exhibits some, or maybe even all of these principals. All of these filmmakers and storytellers certainly do. So let me get back to basics here and rewind two years ago.

October, 2009

It all started about two years ago when I was in an Italian Cinema class that I was taking at Purdue. We were watching Bicycle Thieves for the first time and as I sat amazed with my jaw open at how compelling the storytelling was, I asked myself 'why am I so drawn to this film? It's so simple, but indescribably compelling.'

By the third act, I started making a list of events that I was witnessing in the film that were undeniably compelling to me. They were simple concepts and actions, but had some sort of magical quality to them. Things you constantly see in movies, but never actually happen in real life. Things that possess some sort of familiarity.

By the time credits rolled, I had a dozen items under my belt. after reading it over once class was finished I realized I was onto something. It felt like all of these items were things I've seen a hundred times in films, but never actually experienced myself. They are all so simple, but all provide a source of nostalgia or romance to a normally mundane action, place or event. I had my flash of genius. My film professor called moments like that "Jouissance". A moment of enlightenment followed by mental euphoria.

About that time, I began doing research on US, British, Soviet and German propaganda posters for a poster series I wanted to design. From that, I was sparked again with 'Jouissance' and started creating a hybrid of current pop culture with the style of propaganda. They were made to look aged, worn down, used. A resemblance of the posters of the 1940's that were paperpasted upon the buildings of European cities. Where it differed, however, was that its content inspired a certain wonderment. Again, a thread of familiarity. The topics I chose and that were most successful revolved around things from my childhood. Pop culture, movies, cartoon characters, etc. I took those elements and put an interesting spin on them. A mashed up the Obama "Yes We Can" poster with the uncertain message of "I Think We Can" from the late, great Thomas the Tank Engine. I created an island resort advertisement for Jurassic Park's Isla Nublar, promising an adventure your family would never forget. I branded the Flux Capacitor from Back To The Future and created a futuristic flying car ad and conjured up the slogan "Flux: Time Is Just A Thing Of The Past". The series is still evolving and every so often, I'll create a new one, but I think I got what I needed out of the series. It taught me a valuable lesson that reaffirmed my initial spark from that idea that was planted in my Italian Cinema class. I was on to something.

Fast forward six months later. I hadn't given much more thought to the idea until I moved to Chicago, where I was living on my own and didn't really know anyone. For my first few months in the city, I spent a lot of time in my apartment after work watching films and reading different books on filmmaking. This is where I really got into it. My thesis had began.

It was a hunger to find these events, icons, characters, physical principals, places, traditions and habits that make up this undefined strata of filmmaking. Within a few months, I had a healthy list growing. About the time I met my fiance, she being an artist herself, showed me a series she did that sort of revolved around the same concepts that my poster series and list dealt with. Except hers were more personal. She created a series of items and events that appeared benign, but personally drew her back into her childhood. She defined it as items of "comfort". Like that, my thesis was defined just that much more. The things I was identifying all possessed some level of comfort, familiarity and romance. Up until that point, it was anything I felt was an emotional trigger for myself that consistently showed up in films. With her words, I was able to define it and understand it a little better. That word. Comfort.

All of us are starving for that comfort. There's that old Freudian principal that states "As soon as you're cut from your mother's umbilical cord, you spend the rest of your life trying to get back to that connection". Granted, that theory deals more with the Oedipus Complex, but it applies here too. I argue that as an adult, you spend your entire life swimming in memories of your past. Times you can't have back no matter how hard you try. They're wonderful, they're painful, and they're yours. People cherish those things.

Now enter films again. It occurred to me then that these icons all provided some type of throwback to common memories we all possess. Things we all share, things we all aspire to. In essence, they were ideals cultivated from American culture that signified good times, simple times, forgotten times.

Now broaden the scope a bit and re-read that paragraph. Done? I'm defining the American Dream. In college I had to write a final paper for a history class based off of book titled "Life, The Movie". It was a BS paper that the other 250 classmates in my large lecture half-assed, but for some reason, it really resonated with me and took my deep in it. I ended up getting the highest grade in the class and I believe it got published in a book my professor was writing on the subject. Anyway, the paper argued that culture cultivated our notions of the American Dream. It stated that the Dream is only real because of the constant reminder from pop culture that there's something better and you're missing it. It's manifesting its own demand. (Hmm, sounds like the principals of good advertising?) With that side, I think the American Dream and that emotional stir by an audience in response to the indexic sign posts towards it, is where this theory points.

So here I am today, with this idea planted in my mind and I'm still trying to wrap my head around it. I think part of the reason this has never been identified before by film scholars is that it is a subtext and possibly too abstract and too broad to define.

Let's simplify. I am arguing that through the use of nostalgia, subconscious icons that draw you back to simple times, either generated by culture, or by your own personal experiences, a viewer can become emotionally attached in a way they cannot describe to a particular film.

That's only half of it though. You can use these icons on a shitty story, and while one might say "I liked it for some reason, but there's things wrong with it", I argue that with a strong story that also rings true to these ideas, coupled with these icons, your audience will watch them again and again. They will become timeless.

Why do you think the large percentage of Americans sit down to watch Christmas Vacation, A Christmas Story or It's A Wonderful Life every Christmas Eve? It's escapism. There's a charm and romance towards all of these characters, and something magical about them that you can't shake. They're warm, nostalgic. And you watch them year after year.

The Key Players

Earlier, I listed a few people on my storytellers' list that are connected to one another and all seem to practice a variation of this type of filmmaker. Now, I'd like to go in depth on several of them. As it stands right now, there are 53 members on the list, but the teams under these ladies and gentlemen could spill out to at least triple that figure. I initially arranged the list based on how close these all rested to the pillars of my theory. Norman Rockwell is number one, quickly followed by Steven Speilberg and George Lucas.

These three are they key players. Let's start with Norman Rockwell. So as it stands now, I'm working my way through books on all of these guys, but I've read the most on Rockwell. Arthur L. Guptill's 1971 published Norman Rockwell Illustrator provided a great overview of his career, with great interviews from Rockwell, and an account of his working process. This book was sitting on a shelf in my fiance's mom's house and is great because it was written while he was alive, so it isn't watered down with the sentiments that an artists receives after their death. It is simply a raw account of his day-to-day and some of his fascinating experiences as he entered and quickly rose to fame in the world of illustration. That gave me an insight into him as a person.

I then started another book on him, also found on the same shelf as the aforementioned book. Frankly, it's a dry account of his works and analyzes his most famous pieces. While there's some nuggets of information in it, I'm having trouble finishing it.

This brings me to the book I'm reading now. The most fascinating and pertinent to my theory. Initially, my theory clung tighly to the pantlegs of just filmmakers. At that point, Spielberg and Lucas were the number one contenders. I realized though that the idea went beyond that. As I broadened my scope, I realized the more proper gauge and title is 'storyteller'. An artist, a musician, anyone who conveys the emotion of a story through a form of aesthetic. Enter Rockwell.

I was never really introduced to his work until I started explaining this idea to people. They kept mentioning Rockwell as a player of this idea. Nostalgia. American Dream. Childhood. Storyteller. These terms all kept coming up in relation to my theory and the late artist. After reading about him, I realized they were right. And more so, Rockwell took the number one spot. He understood it and squeezed every ounce he could out of the idea. Norman Rockwell Illustrator described it as '[Rockwell] painted the world not as it was, but how he wanted to see it.' This is sort of the cardinal rule in storytelling for a filmmaker. I felt like there was a direct connection between the works of Rockwell and the works of Spielberg and Lucas. I couldn't put my finger on it, but I felt like they both got him.

To my surprise while I was doing research, I discovered that the two filmmakers were one of the largest collectors of his work. BINGO!

I dug a bit more and found out that the Smithsonian Institute ALSO found this connection intriguing and invited the two filmmakers to put their owned works on display in an exhibit titled "Telling Stories: Norman Rockwell from the Collections of George Lucas and Steven Spielberg" in the Smithsonian American Art Museum. By the time I heard about it, the exhibit was on its way out of the museum, but what I discovered was that they also published a book to compliment the exhibit. It has interviews of both filmmakers on how their films were inspired by his work, and broke down the individual pieces of Rockwell and explained the genius of them based on how these filmmakers saw them as stories.

I'm about half way through the 250+ pages, and I've got to say, the discovery made me feel pretty damn good about this puzzle I'm trying to solve. The dots began to connect.

Seeing as I have a full time job, a fiance, and a generally jam-packed life, reading has become a luxury that I have to set aside time for. As such, getting through all of the books that occupy that special section of my bookshelf dedicated to this thesis is going to take time. Rockwell was the number one, Spielberg is next. Frank Capra, Orson Welles, Tim Burton, Walt Disney and Chuck Jones are all next up on the docket after that. I suspect more connections will unfold (such as Tim Burton's connection to Disney, which I recently discovered and found interesting).

I'm utterly excited to keep reading away and paving a road map of these storytellers and how they've all become intertwined within the lives of one another. As things play out, I'd like to start making a chart that shows that plots the connections visually.

The Wrap Up

So this pretty much brings you up to date on my thesis. It's crude, as the title says, and this blog post really is the first time I've written it out. Up until this point, it's been notes, observations and lots of reading. So I'd expect the framework of this idea to change quite a bit as I hammer things out. But an idea has to start somewhere and this lays the groundwork. Hopefully this will jumpstart other people to start thinking about it too.

Have a thought on it? I bet you do. Every filmmaker's a critic and an idea like this is sure to receive criticism, especially in its infancy.

Go ahead, punch holes in it, help me make it stronger.

Entering First Round in Fellini Awards, Generating Press and Handling Paperwork

On a whim, I received an e-mail about the BlueCat Fellini Awards’ Screenplay Competition in December and decided to enter. Well, several weeks passed and finally last week we received feedback from two of the judges. Based on what they said about the film and the scores we received, I think we’ve got a great chance at the prize.

In other news, the project is starting to receive a bit of press. This weekend, filmmaker social networking site, CineFile selected myself and the project as one of three projects in their Digital Filmmaker Roundup: Volume 1.

Lastly, we’re beginning the initial production paperwork. Script breakdowns, detailed budgeting and all of the essential stuff needed to make this project to happen. Would you be interested in seeing that stuff? I’m not REALLY keen on posting budgeting numbers publicly, but if I was a potential contributor, I could see how potential contributors would want to see where their money is going and could sway their decision to toss donations into the pot.

Comment below, E-mail, facebook or twitter me if you’re interested:

Kicking Things Off

A little over a month ago, I began the production journey for my short film 'Your Milkman'. I quickly realized that the only way we would ever raise the kind of budget we'd need to produce the film, we had to give back to the community.

With this film, I've vowed to follow the production in the ins and outs of it all, through blogging, social networking and making short documentaries that feature how-to guides, documentations of what we've learned and what we're learning as the project comes together.

Up until this point, we've been sending visitors to the updates page on the IndieGoGo site, and despite writing them to complain about it, there's no way to directly link to that page. SO this blog's purpose is to take the educational purpose of this thing and make it more accessible to you.

Without further adieu, here are the first couple of videos and posts concerning the project:

Your Milkman Promo Video from Daniel Skubal on Vimeo.

Your Milkman- Live Readthrough Doc #1 from Daniel Skubal on Vimeo.

So that kicks things off. I'll be posting updates as news comes in on the project, I look forward to broadcasting the process.