Please read NATE AND KELLY

If anything I’ve written has informed or inspired you, please consider reading my novel NATE AND KELLY.

2015 is the 100th anniversary of the PANAMA-PACIFIC INTERNATIONAL EXPOSITION of 1915 in San Francisco, California, the setting for the novel.

It’s dramatic historical fiction about the most fascinating year of the 20th century: 1915.

“Here’s the deal, father. The three of us and mom and Pamela are going to New York City. We are going to start a new advertising business there; the city is good for that. We are all getting a brand new start. It’s time for us to believe that the future will bring prosperity and wonder again.”

Read the reviews. Get the eBook for only $1.00 for Barnes & Noble NOOK, for Amazon Kindle, and for various eBook versions via Smashwords.

NATE and KELLY 100th Anniversary Edition

NATE and KELLY 100th Anniversary Edition

The new Detroit?

Manhattan from Brooklyn Bridge (c) Michael R. Barnard 2011

Manhattan from Brooklyn Bridge

I have often said that New York City is rapidly becoming an anachronism, so full of itself that it has lost track of humanity, unaware of being displaced logistically by the dispersion of everything that once made it imperative as the center of everything. Continue reading


I said to myself, for quite some time now, “I gotta do SOMETHING.” Tired of projects failing, hating the junior high cliquishness of crowdfunding, realizing it’s been too many years. I sought the Holy Grail of indie filmmaking: two people, one room, one day.

So, at Thanksgiving time, I took an inventory of what I had:
-A living room where I’m housesitting.
-An old car.
-A creepy old man.
-A couple storylines that had been ‘backstory’ for my failed passion project EVERYBODY SAYS GOODBYE–The Story of a Father and Son.
-Zero dollars.
-Some connections in the acting community in Fresno.
-A pathetic old computer that almost runs Adobe Creative Suite (I’ve used Adobe since 2001).

The result: HOT CAR. I finished it yesterday (damn pathetic computer!) and am bringing it with me for the fun of it when I head to SUNDANCE tomorrow.

“The worlds of an old man and a young man collide as each faces the end of his own life.”

It’s MATURE (language, nudity, sexual situations) and NSFW.

I hope you find it interesting and involving.


The Present Threat to the Internet


Millions of American citizens have flooded the FCC website with comments to let the agency know our demand for Net Neutrality. Many citizens are intimidated by this wonky and technical issue, knowing they do not fully understand the complex issues or its importance and urgency.

The threats to the Internet are real, and now newly-empowered scurrilous politicians, demagogues, and greedy mega-corporations are mounting huge campaigns to scuttle Net Neutrality so that the corporations can use their power over the Internet for political purposes, for demagoguery, and for profiteering.

Continue reading

How to Start Writing a Screenplay

There are a lot of screenwriting gurus. That’s because there are so many people who want to write screenplays and are scared to death about doing it wrong. It seems that, for every 100 people who are afraid of the number of brads that must be in a script (two), the typeface that must be used (Courier 11), the right software (FINAL DRAFT for $$, CELTX for free), and every other element that they think is the key to the magic kingdom of screenwriting success, there are at least a couple gurus who have all the answers.

That’s all good, but it seems to me, from the comments I always hear from people who want to start writing screenplays, the ‘take-away’ is always wrong. The wrong “rules” are assumed to be the most important.

So, I’ll throw my hat in the ring as a ‘guru,’ and will tell you for free the most important rule:


Tell a story about people who are fascinating, about love that makes us swoon, about hate that makes us fearful, about events that astound us. Let us see a person whose life changes before our eyes. Don’t be boring. Don’t over-inflate the myopic significance of your own life (please!). Write a story that will fascinate others.

After that, then you learn the craft of screenwriting. It is a craft, it needs to be learned, but it is something that you apply to a fucking great story.

That’s it. That’s my contribution as a screenwriting guru. For free.

And this: This is a verbatim conversation on Twitter from Friday, October 28, 2011, between me (@mrbarnard1) and Raven-Lee Royal (@Raven2BME).

Raven said: I read your post [The Movie That Needs to be Made], and I really hope you can get this movie made for all of us out there.

… So are you still trying to shop the film around?
Continue reading


Barnard’s Law No. 1
The greatest need of man is not food, shelter, or even sex. It’s the need to re-write what another has written.

Barnard’s Law No. 2
It’s not the idea. It’s the execution.

Barnard’s Law No. 3
Dinosaurs never see it coming.

Barnard’s Law No. 4
The responsibility to communicate is upon the communicator, not the listener.

Barnard’s Law No. 5
The job of children is to play. The job of teens is to deceive their parents. The job of adults is to slay their demons.

Barnard’s Law No. 6
Clarity is the soul of communication.

Barnard’s Law No. 7
Life is full of grand plans that suddenly need to be fixed with duct tape, and that’s okay.

Barnard’s Law No. 8
Be succinct. A short PowerPoint slide with just ten bullet points was good enough for God.

Barnard’s Law No. 9
In any group, the majority will misunderstand much of what you’re sure they understand.

Barnard’s Law No. 10
Hysteria breeds where context is ignored. Looking at results of history without knowledge of history leads to poor judgment and prejudice.

Barnard’s Law No. 11
The Internet demands of everyone that they be outraged by everything. It then amplifies it.

Barnard’s Law No. 12
Everyone else’s mess is far worse than our own mess. Roommates, especially.

Barnard’s Law No. 13
Heroes run in the opposite direction than the rest of us.

My Bumpy Road Through “Hollywood” — A Venom in the Blood

Twenty years ago, I bought a book.

In producer-speak, that means I acquired the rights via option to make a movie from a book. I knew a TV news reporter, and she had made contact with a reclusive author who wrote a book she thought I might be interested in. Actually, “reclusive” is too weak of a term; we both had determined that the author was in hiding. Contact was difficult and cryptic. Nonetheless, he and I got on the phone, and he figured that I would be someone he’d like to work with to get his book made into a movie, and I liked the deal, too. We sealed the deal without ever meeting.

Daily Variety: Barnard buys 'Venom' rights

Daily Variety: Barnard buys ‘Venom’ rights

The book was A VENOM IN THE BLOOD. It was a New York Times bestseller about our nation’s only husband-and-wife serial killers, told by the cop who busted them.

Wow. I gotta tell ya, THAT is a damn fine pitch. It got me in the doors at various studios (this was back when I still had some clout anyway, when there were still a few people in Hollywood who thought of me as “someone to watch”). I took that pitch to places like TriStar, Republic and other studios.

For me, it was an ugly subject. I had to research serial killers and try to assess character arcs and motivations and such in order to create a compelling screenplay from the novel. I learned a lot about serial killers, and to this day feel dirty and creepy whenever the subject comes up. I learned, for instance, that most serial killers – from Jack the Ripper to whoever shows up on the news tomorrow – are driven by sexual problems, and often target prostitutes. Most of us, myself included, didn’t know that, because the popular media would be too polite to report that the victims were prostitutes (that’s beginning to change now that there’s less stigma attached to prostitution).

There is an evil and perverse logic to that, I discovered. When one considers sex to be power (and many do, rather than an act of shared intimacy or something tremendously fun), and one validates one’s own life via sexual conquest, then the notion that having sex with someone who ultimately still demands money rather than showering the aggressor with adoration can be seen as a triggering event. Sex is seen as power, and then killing is seen as even more power.

Throughout history, and throughout the future, authorities every few months determine that there is a serial killer behind what appeared to be random murders. (Serial killers, unlike “spree killers,” have methodologies that are not readily apparent and are usually spread out over long periods of time.)

Quite sick and perverted.

That’s what the studios thought, too.

My timing was bad. While I was working out the screenplay strategy and pitching the idea to studios, they were reeling from a public backlash to Oliver Stone’s NATURAL BORN KILLERS, which had been generating a lot of controversy for its bold showing of senseless killing. No matter how logical and interesting the pitch was for A VENOM IN THE BLOOD, they all said, “Oh no, nobody’s going to do another serial killer movie.”

Drama-Logue - Barnard buys A Venom in the Blood

Drama-Logue – Barnard buys A Venom in the Blood

Eventually, everything I had worked on all came to naught. The one-year option I had on the rights to the book expired, and I could not track down the author anywhere to try to renew them because he was, I understood, in hiding. It didn’t matter that studio reluctance would likely mellow after a few more months. I could not regain the rights to the book.

I lost everything I had been working on.

Timing is everything.

But, I still have one of the best pitch lines ever: “It’s the New York Times bestseller about our nation’s only husband and wife serial killers, told by the cop who busted them.”

Do Indies Deserve a Shot in California? [updated]


Congratulations to our state for AB 1839, the California Film and Television Job Retention and Promotion Act of 2014 that has been sailing through the State legislation process.

For more than a decade, film production in the state has been dropping, and has dropped nearly 50 percent. PAID independent film work seems to have disappeared entirely.
Continue reading

My Bumpy Road Through “Hollywood” — Consumed by a Passion Project



Michael R Barnard photo 500 px


How Is a Filmmaker Consumed by a Passion Project?

The following is a guest post from Michael R. Barnard, who is in the final days of an Indiegogo campaign for his film, Everybody Says Goodbye: The Story of a Father and Son.

For many years, I have been chasing a motion picture project that has completely consumed me. It’s called Everybody Says Goodbye: The Story of a Father and Son, and I first began writing the screenplay in 1998. Having come so close to making the movie a few times, I keep referring to this project as “a fish-hook in the eye” because it’s impossible for me to ignore and walk away from.

[read more…]



My Bumpy Road Through “Hollywood” — The Mean Streets

I spent a lot of time on the mean streets of Hollywood. I lived there, worked there, had friends there, I walked them a lot. My screenplay for the feature film EVERYBODY SAYS GOODBYE—The Story of a Father and Son is set there, in 1998.

The sketchy stretch of Santa Monica Boulevard between La Brea Avenue and Vine Street is a little nicer now, but not by much. There has always been a veneer of potential violence.

It’s a little different style-wise, too. Back in the 1990s, if you saw a couple walking hand-in-hand along this stretch, and that couple was of opposite genders, and if each of them were their original gender, then you knew they were scared tourists separated from their tour group. Continue reading

My Bumpy Road Through “Hollywood” — There Was a Recession in 1990

(originally published April 22, 2010)

There was a recession in 1990. Not as big as this Great Recession, but big nonetheless.A hallmark of the 1990 recession was that, for the first time ever, a recession had a negative impact on “Hollywood” [1990 news article]. Home video, cable TV, and video games had broadened the “biz” and brought commodity vagaries to the tightly-controlled movie biz. It was also the time of the burgeoning new indie film biz, which blossomed in the late 1980s. And I, of course, was trying to get a movie made. Continue reading


The NAB Show 2014 in Las Vegas is showing many new and innovate products and processes for indie filmmakers. Colors are becoming important, including black.

CIE 1931 xy chromaticity diagram showing the gamut of the sRGB color space and location of the primaries

CIE 1931 xy chromaticity diagram showing the gamut of the sRGB color space and location of the primaries

Continue reading

My Bumpy Road Through “Hollywood” — When Prince was king

A friend just now found and sent to me this post from, the Prince fan site that described how I pulled off the production of Prince’s ALPHABET STREET video on impossible notice! It is from the book, Possessed: The Rise and Fall of Prince by Alex Hahn. Funny that I’ve never seen this before.

I remember Prince stopping me in the hall outside his apartment at Paisley Park Studios with a big grin on his face, saying “All the people in Hollywood are freaking out. They say, ‘Prince went and made a garage video!'” He enjoyed that, especially since it was a full three-camera shoot with a complete crew inside his brand-spanking-new mammoth sound stage at Paisley Park Studios.

The video of ALPHABET STREET, which premiered on MTV way back when, seems to be lost online; it’s apparently forbidden from YouTube.

Here’s the story, from Prince’s manager at the time, Alan Leeds:

On the ‘the New P♥wer of L♥vesexy’ thread from March 30, 2012: Continue reading

FCC’s vision for an elite Internet for the 1% leaves common folks in the dust

FCC Chairman Tom Wheeler yesterday responded to the dismay about the proposal for an elite Internet path in his blog post, “Setting the Record Straight on the FCC’s Open Internet Rules“.


The uncomfortable part of Chairman Wheeler’s discussion is his statement, “The Court of Appeals made it clear that the FCC could stop harmful conduct if it were found to not be ‘commercially reasonable.’” This implies the intractable presumption that the corporate conglomerates should hold sway over the allowed traffic on our Internet, a position to be expected from a former cable and wireless industry lobbyist (Wheeler). Continue reading

Updates for the indie feature film EVERYBODY SAYS GOODBYE–The Story of a Father and Son

The website for our indie motion picture project EVERYBODY SAYS GOODBYE–The Story of a Father and Son has been updated. Please visit

The Internet needs to be free. [UPDATED APRIL 23 2014]


Yes, free.

That’s not a statement about pricing, it’s a statement about democracy.

This is what is commonly referred to as “Net Neutrality.”

The following blog post keeps evolving since its original posting in 2010, because the concept of “Net Neutrality” (or the attempt at a more popular term, “The Open Internet“) is vibrant.


Breaking news:

I guess it’s time to say goodbye to the many independent online film distribution companies who offer streaming and downloading of independent movies. The F.C.C., in a complete turn-around on the principles of Net Neutrality, just announced that they are abandoning the principle that Internet users should have equal ability to see any content they choose. The F.C.C. plans to allow Comcast, Verizon FiOS, etc., to negotiate separately with each content company – the BIG, WEALTHY, EXCLUSIVE companies like Netflix, Amazon, Disney, Google – to have them pay for good video delivery.

Aside from the democracy of the Internet, that does not look good for the competition of small distributors, nor for indie filmmakers themselves, whose voice will not be allowed on those company’s libraries of titles.

See “F.C.C., in ‘Net Neutrality’ Turnaround, Plans to Allow Fast Lane

This subject is currently getting louder. By the end of March, 2014, it heated up in a war of words.
Continue reading

Equity Crowdfunding is dead for us. What’s next?

If you remember that there once was a glimmer of hope for more sustainable financing for innovative small business (and, for my concern, an indie film industry) through “Equity Crowdfunding” as demanded by the JOBS Act of 2012, the fact is that it’s not going to happen. It’s already far past the Act’s imposed deadlines because the concept is anathema to the entrenched and self-interested bureaucracy.

Instead of becoming a ‘big brother’ to the dynamic and egalitarian donor crowdfunding process that helped the art of indie film continue through the Great Recession and the Great Digital Disruption, the SEC and FINRA bureaucracies have delayed it and gutted it by turning it into a ‘little sister’ to mammoth elitist and exclusive brokerages.

A key element to kill the hope of equity crowdfunding: “the SEC decided that the financial statements should be provided in accordance with US GAAP (Generally Accepted Accounting Procedures). That is expensive…” and beyond the capability of most small business start-ups.

Equity crowdfunding will be nothing more than an easier way for the well-to-do professional investors to invest money in large corporations, but will not be an open door for the common citizen to participate in rebuilding America’s economy. There will be no widespread job creation, just as there hasn’t been since the Act was signed years ago. The dreams of the JOBS Act and its Equity Crowdfunding have been swallowed up by the bureaucracy and entrenched self-interests of the professional funding elite.

Say goodbye to the crashed dream of Equity Crowdfunding helping rebuild America through small business creation (including a healthy indie film industry infrastructure.)

What’s next?

By the way, if you are the type of person who believes entrenched anti-citizen bureaucracy can be swayed, you can let the SEC know your opinion about allowing Equity Crowdfunding to be accessible to all citizens by emailing your statement to

See “JOBS Act, Title III: A Brief Update on What’s Happening Behind the Scenes“)

Also see my original assessment, “FILMMAKERS, IT’S 2013. DO YOU KNOW WHERE YOUR JOBS ACT IS?

What the hell is wrong with State incentives to bring in movies?

OK, here’s my 2¢ about the political hysteria against Hollywood movies and state incentives used to entice movies to their states:

A political contingent shows disdain toward Hollywood, and therefore incentive plans, and does it through such pronouncements as those from e21, which, of course, says it’s “nonpartisan” but which is openly hostile toward any existing government action and on the path of the tea party and its positions. Likewise, such political contingent will dismiss the research of legitimate organizations such as EY (formerly Ernst & Young Accounting) while wholly believing in the partisan blathering of any number of ad-hoc websites, most of which don’t understand filmmaking and the choices for spending production dollars.

The thing is, when looking beyond the partisan Hollywood bashing, I am not a fan of the proliferation of the myriad state incentive plans. Of course, I am also not a fan of the political posturing that is against Hollywood for a wrongly perceived liberal bent and a wrongly perceived everyman millionaires.

What used to be a valid business strategy — not much different than those benefits given companies such as Walmart to entice them to come into a city, or to sports teams to build a stadium, or to auto makers to attract them to one area over another, etc. — has been polluted by hyper-politicizing based on our society’s tailspin into hyper-partisanship and the loud clanking drumbeat against “liberal Hollywood.” And, there have even been a couple incidents of flat-out wrongdoing by some of the principles offering the incentives–corruption, who woulda thunk?? (Yes, some think that’s only Hollywood. Yep.)

Nonetheless, the overlooked fact about the incentive programs is this: IF IT WERE NOT FOR THE INCENTIVES, NOT ONE SINGLE PENNY WOULD BE SPENT BY ANY PRODUCER IN ALMOST ANY OF THOSE LOCATIONS. Period. The restaurants would not feed the crew, the hotels would not house the stars, the airlines would not fly everybody, the gift shops would not sell souvenirs to grips, the rental car companies would not rent any cars to any of the people responsible for a movie, the residents would not gawk at the stars and then brag in their tourist materials that the movie had been made there, etc., etc.

Hollywood would rather stay in beautiful California where we live and make our movies here.

For instance, Hollywood would not be in Louisiana except the state benefited from especially generous movie-making incentives in an effort to help them rebuild after Katrina (the IRS Section 181 provisions included expanded benefits to encourage shooting in Louisiana). It worked for them. Maybe it doesn’t work as well for everyone, but that’s the risk of business. If you’re an American, you understand that you have to take risks in order to get rewards, whether a cafe owner risks opening another location, a producer risks which movie to make and where to make it, or a city risks offering incentives to try to build a new filmmaking industry (which, by the way, means the capability to make corporate videos, commercials, web episodes, and many other productions besides “Hollywood movies”).

Raging that incentives are liberal and therefore must be failures is not changing the fact that they may work: they bring movie production to areas where movies would not be produced if not for those incentives. Those people look at incentives as if it were cash being shoveled into the pockets of rich movie people, ignoring the fact that lots of money must first be spent before any tax benefits — a percentage of the money spent — can be accrued by the production company. And, the people working on the movies are trying to earn a living, just as you are. The $20 million star is a myth, and even the highest paid star is just one person, while a few hundred people working on the movie are working for occasional union wages or less. And, they’ve been yanked from their homes to go to some far-away little town because of your tax incentives.

So, rage against the liberal tyranny, please! Kill all the incentive programs, please! Even killing them for wrong, reactionary reasons will at least help Hollywood stay in Hollywood. Thank you, everyone who believes in the evil liberal millionaire Hollywood! Kill your tax incentive plans so we can stay in OUR homes and work, hire OUR neighbors, eat in OUR restaurants, rent OUR equipment, and stay with OUR families.

Motion pictures lured away from Hollywood by tax incentive programs

Motion pictures lured away from Hollywood by tax incentive programs

How to Survive on Set Without Looking Like an Asshole

Michael R. Barnard:

Nice compilation of things sometimes overlooked.

Originally posted on CALLAM RODYA actor, etc.:

Callam Rodya as Roddy with 3rd AD Alex Pitzel slating the shot on the set of "Stalking by Numbers". Callam Rodya as Roddy with 3rd AD Alex Pitzel slating the shot on the set of “Stalking by Numbers”.

When it comes to film work, actors have it the easiest. Don’t argue. You know it’s true.

In case you need a bit more convincing, consider this:

  • We’re the last ones called and the first ones wrapped.
  • There is a team on set whose sole job is to make us look beautiful.
  • They tell us where to stand, where to walk, and what to say, and they even put down little pieces of tape for us and print out our lines on little pocket-sized sheets to make it extra easy.
  • We get to stay warm in the trailer while they’re out there in a snow storm setting up the shot.
  • We usually get paid better.
  • We get all the credit.

Don’t get me wrong, acting is extremely difficult (especially when you…

View original 1,031 more words

Corporate Conglomerates Battle to Regain Gatekeeper Status

The merger between Comcast and Time Warner Cable is a powerful situation that has broad negative implications for society and for filmmakers specifically. It’s not simply a business issue, it’s a democracy issue.

The merger between Comcast and Time Warner Cable is another deliberate attack on Net Neutrality.

Continue reading

List of Filmmaking People and Resources

I have begun to build a list of filmmakers and filmmaking resources with a social media presence on Twitter. You are welcome, please, to help build this list. Let’s make it into a resource that can help build the indie feature film industry.




Crippling Digital Distribution for Indie Filmmakers: the Death of Net Neutrality

On my way to Sundance Film Festival 2014, news broke (see “Federal appeals court strikes down rules protecting net neutrality” at,0,2138188.story#ixzz2qlsuWDSC) that made two problems painfully clear, and they will have a huge impact on filmmakers:

1) A federal court exposed the failure of our legislators to protect citizens rather than corporate conglomerates on the most important communications issue in modern history: the Internet and “Net Neutrality.”

2) The indie film industry is not taking seriously a subject of paramount importance to all of us, perhaps because it seems complex and doesn’t have a sexy name. (Would we have cared more if it had been termed a buzzword like “Red” or “4K?”)

Dismantling Net Neutrality means that the major movie studios will rule the Internet, while access to the digital distribution that indie filmmakers believe to be the future WILL BE CRIPPLED.

For instance, consider that NetFlix operates a battery of auxiliary ISP gateway servers spread around in order to appease corporate conglomerate ISPs who are dissatisfied with receiving “only” about $70 every month in Internet access fees from you. Also, YouTube, of course, operates through Google’s bargeloads of servers around the world.

They can pay that price.

What will now happen to the scores of SVOD/VOD digital distributors that you are counting on to deliver your short film masterpiece to your friends and fans? They will no longer have the same access to the Internet as they do now. YOU will not have the same access to deliver your movie on the Internet as you do now.

Here’s an article about what just happened: “Why You Should Be Freaking Out About The End Of Net Neutrality”

Net Neutrality, which, hell, I will call “iNN” just to give it a sexier term (“InterNetNeutrality”) is much bigger than the damage done to just us indie filmmakers. Here is my article about the subject: “The Internet Needs to be Free”

As indie filmmakers, we once again face the need to veer off our path of self-absorbtion, iconoclassism, and megalomania (all good things for making great films!) to squeeze out some very serious cooperative effort to help build an indie film industry infrastructure that serves all. Now. How will we band together to fight this battle?

The independent filmmaking industry needs a new relationship with investors [UPDATED]

Prolific indie film producer Ted Hope, who spent the past year as Executive Director of the San Francisco Film Society, recently posted “Towards A Sustainable Investor Class: Accessing Quality Projects” as a call to build a healthy independent filmmaking industry. As always, he makes an astute and excellent comment about the big picture of indie filmmaking. We engaged in a conversation, and here’s my comment about the industry and investors: Continue reading

“Profit Participation” at the Hollywood Studios is impossible. Not so for small indie producers.

“Profit Participation” at the Hollywood Studios is impossible. (See “STUDIO SHAME! Even Harry Potter Pic Loses Money Because Of Warner Bros’ Phony Baloney Net Profit Accounting”) They are incestuous. Each of their stand-alone divisions siphons off all the money generated by each movie, deliberately leaving none for the Profit Participants.

I have worked in the studios, both as part of the studio divisions, and as part of individual movies. It is clear and simple how a studio demands a movie’s production buy everything from the very expensive in-studio divisions, whether snacks, sign making, props, construction, casting, studio space, trucks, crew, marketing, distribution, or whatever. Every division must show its own profit/loss, to feed into the overall studio, and every movie is obligated to make all purchases from the very expensive studio divisions. There are no bargains to be found on a movie studio lot.

That’s inevitable for the STUDIOS, which are huge corporate conglomerates.

BIG DIFFERENCE: It is NOT true for small independent producers.

It is not true, because I can go to a dollar store to buy snacks, I can go to a friend and borrow a truck, I can go to an up-and-coming talent to hire for advertising. And, I have no studio overhead, no fancy lot in Los Angeles, no fancy headquarters building in New York City. That’s a huge difference, and that’s reality.

A one million dollar indie movie that makes ‘only’ three million dollars from every market (box office, TV, online, etc.) could return more to an investor than a major studio blockbuster would return to a “Net Profit Participant.”

My Bumpy Road Through “Hollywood” — CROWDFUNDING SUCKS.


In the past two days, I’ve had some conversations that remind me that there is no “fun” in crowdfund. It is a necessary evil, borne of the collapse of the economy, possibly the only chance for the art of filmmaking to continue. That’s versus the marketing channel that is the current Hollywood studio approach, where a “movie” is whatever can be marketed.
A crowdfund campaign is all work, a harsh referendum on the person, spiritually debilitating and, of course, a death knell for a movie project more often than enabling. (Literally.) There is no fun in crowdfunding. It overtakes one’s life for a month or two.


Continue reading


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