If you’re planning on doing a crowdfunding campaign at any point you’ll definitely want to read and save this post. And give a big thank you to Emily Best (founder and CEO of Seed & Spark) for sharing these tips with us.
In an effort to keep our advice fresh and present, we just closed out an audit of every failed campaign on Seed&Spark from the last 60 days. The patterns were not subtle. But rather than bore you with what not to do, I want to share with you the things you absolutely must do if you would like crowdfunding to be a successful part of your strategy as a creator.
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“South Korean TV shows didn’t take over America… Add concert films, anime, faith-based films and maybe musicals to the list of potential box office saviors that never saved the box office.” But will the YouTube Youth perhaps?Entertainment Strategy Guy tells it straight: “I want to write the most comprehensive analysis of the Obsession and Backrooms that you’ll find on the internet. This article is over 5,500 words long, with 20+ images.”
And how. But the reason you need to read the article is ESG’s commitment to precision… precision of language, precision of analysis, and precision of data. Let’s face it, the FKATheFilmBiz is pretty loose with its terms. We are sloppy. And in getting precise, ESG will give you a good course of where Hollywood is right now and what is going well and what is something else.
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You can count on Ted — and I don’t mean myself — to spell it out clearly and accurately, particularly in terms of the culture industries. He get’s it. And he doesn’t disappoint either.
Thankfully, not only did he make this #MustRead article from his #MustRead newsletter free, but not only does he spell out why the current practice of Audience Capture is doomed but he also shares the tactics for the better prospect of relationship building with the audience. And know what? It sure tastes like NonDē to me!
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These days everyone talks about “building community” and what they often really mean is building an audience in order to market something towards them. As a culture we more often reward branding ourselves and we seem to want to try to monetize all of our relationships. Here, Donny Slater reminds us what genuine community looks like and how it is earned, not bought or collected.
A community also has a cost of entry that isn’t money, more often than not, it requires you to give more than you take for a long time before you earn any standing as a leader in it at all.
And even the leader of a community has to be able to be held accountable, that’s part of the deal too. Community isn’t a hierarchy that protects the person at the top from consequences, it’s an egalitarian approach to all aspects of the tribe.
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Why do filmmakers love Moneyball so much? Is it that we constantly feel we’re playing a losing game against the Yankees? Is it because we each not-so-secretly harbor the identity of the underdog? Is it just cause?
I’ve read (and myself written) about Moneyball a lot in the context of independent and non-dependent filmmaking, but this most-recent missive from Taylor Lewis is the latest correlative effort that seems to (and forgive me for this) get us solidly on base. My dad, a coach for 40+ years, would review games every Sunday morning with his staff. They’d assess what worked and what didn’t. They’d use that information to scale up the good and cut the bad. Taylor’s piece does the same thing for us here — she’s illuminating what works and what doesn’t right now. It may not be the same as six months ago, or six months from now, but it’s a wholistic understanding of where we are right now. Which is of course, the only thing in our control.
Take a look at the notes with Coach Taylor on this one, get in your athletic-ready, bent-knee stance, and get out on the field.
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Who’s sharing what, you ask?
ARB= Alex Rollins Berg AS= Amanda Sweikow AV=Ami Vora CR= Courtney Romano DS= Danielle A. Scruggs SS= Sara’s Solilquies TH= Ted Hope
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