James Fair On The 72-Hour Movie Project – Getting Funded (Pt. 2 of 5)

This entry was originally published at Hope For Film

Fourteen months ago at the Galway Film Fleadh in Ireland, my producer Gary Hoctor and I sat opposite Ted Hope. We were pitching our 72 Hour Movie project and Ted was listening intently. The majority of the producers and financiers we met in the large hall that day listened intently, but unfortunately none could offer us money. Admittedly, Ted helped us a great deal by giving a few pointers, along with fellow American Richard Abramowitz; many of the Europeans only offered tea and sympathy. A year later our 72 Hour Movie project ‘The Ballad of Des & Mo’ was in the audience top ten at the Melbourne International Film Festival (MIFF). So how did we get from the rejection in Galway to Melbourne in those twelve months?

The project we pitched in Galway was a unique package. Gary Hoctor’s company Hello Camera had been invited to shoot, edit and screen a feature-length movie in three days at MIFF 2010, one of the largest film festivals in the southern hemisphere. The screening at the festival was guaranteed. We had a few key partnerships lined up. We had developed a proposal and treatment. All we needed was some cash to get the project going. But the ‘unique selling points’ of the project were also the sticking points for potential investors. “We don’t want to finance a process, we want to finance a product” was a common complaint. “We can’t really commit without a script” was another. This was all understandable. We were approaching companies with something that did not fit neatly into their core business. Whilst our innovative project got us a slot at the festival, our non-existent business plan didn’t indicate how people would buy into it.

Describing the 72 Hour Movie project as innovative has become a nice way of saying that ‘it isn’t usually the way we do business’. In a market that is currently risk averse, financiers are looking for sure-shots not belly flops. Despite the 72-project being offered a guaranteed slot at a major festival; that is never the start point of a traditional deal, whereas it might be a possible end-point. The financiers always ask the same questions which are based upon their experience of potential markets and previous successes. If your project doesn’t fit into that model – forget it. If you are being truly innovative, then all traditional avenues are most likely closed to you. You are rewriting the rulebook and you are on your own. Whilst our project wasn’t so unique that it was incomprehensible, it was different enough for most funding streams to walk away. Therefore we had to become innovative in all areas to succeed. What began as a project for innovative production workflow in a tight timeframe became an innovative project in production finance also.

We worked out a strategy of who would be interested in our project. What were our assets? We have a platform for exposure. So who wants to advertise on this platform? Who would want to be associated with film, digital technology, innovation and workflow? We developed lists upon lists of potential sponsors. We developed a matrix of what we could offer them, from the whole deal to the sponsorship of a crew meal. We went about organising meetings and pitches. This took up most of our time in 12 months before production and we only found one third of what we had originally intended. But we got enough from a gamut of sources to make it happen, from research grants and corporate sponsorship through to private contributions from our Facebook supporters.

But let’s go back to why a lot of people couldn’t see what the point of our project was. “So what if you can film a feature in three days?” “If the story is shit then there isn’t a product. Furthermore, if it were a good script, I’d rather raise more cash and see you film it properly than rush it.” These arguments seem valid from the traditional perspective. The major cost problem within film and television tends to come from two particular elements – the writing and the star performer, and both are seen as ‘must-haves’ if the film is to succeed. The cost of actual production isn’t the greatest headache, so the three days seems pointless.

However, this is a very linear approach to thinking about filmmaking. It is based around the dilemma of the production triangle, a concept whereby we all live with our wants and needs challenged by the parameters of time, quality and cost. If you want something fast and cheap, it won’t be good quality. If you want something cheap and quality, you’ll have to wait. If you want something quality and fast, it won’t be cheap. You can only ever have two sides of the triangle.

It would therefore seem inconcievable that you could make something of quality that quickly and cheaply. But like I said in yesterday’s post – the problem is that the creators cannot determine the quality, the audience dictates quality. Just because you spend $100million on a movie, it doesn’t mean it will be any good. We asked investors to believe that we could break that triangle, shooting quickly and cheaply yet still making something of quality. Common sense would suggest that it isn’t possible, but there is no common sense in a paradigm shift, all traditional ways of thinking are challenged!

Whilst it is valid to use the quality of a script as an indicator of financial feasibility of a project, it should not be the deciding factor. Firstly, placing too higher emphasis on the script is what drives up the price of writers! Secondly, and this was the case in the 72, the script won’t always be the starting point of the process in future. Technology enables us to make films cheaper and quicker than ever before, and it is that immediacy and transparency of process that created quality, not the script. The process is the product. With the 72, followers could invest as much or as little time and attention in our process as they would like. They could engage and discuss story ideas, suggest locations and put forward their music or their acting resume. There was a sense of ownership and growth in the process that meant people had an invested interest in seeing it succeed. The idea that we can engage and collectively share an event only moments after it was made has the same level of appeal that audiences had 100 years ago seeing the places they recognised on the silent screen. The process can be magical too… but more importantly, the script was dictated by the process; not vice versa, as I will explain further tomorrow.

James Fair is a lecturer in Film Technology at Staffordshire University, UK. He has directed two features in 72 hours. The first film, ‘Watching & Waiting’, was shot in Galway, Ireland, as part of the 20^th Film Fleadh in July 2008. The second film, ‘The Ballad of Des & Mo’, was shot in Melbourne, Australia, as part of the 59^th International Film Festival in 2010.