KANAKA is an experimental documentary feature that will be filmed on location, mostly in Honolulu--the most isolated big city and also one of the most culturally and ethnically diverse spots on earth--and the Big Island (aka Hawaii)--the ancestral and spiritual home of the Native Hawaiians and one of the most awe-inspiring natural wonders of the world.

Sound design update for the film KANAKA 

As the title of the film makes it obvious, this project is about people. It's not about achieving fame or wealth. As one of our cinematic heroes John Cassavetes once stated, "There are many other ways to make money than making movies. If you need to make money, please find some other way to do it. You make movies to lose your money. That is the purpose of making a movie—to put your life into something—not get something out of it."

The Story

“October” is based on the true story of Olga Romanova. 

On the 24th of October, 2002, Olga put her life at risk by confronting 41 Chechen terrorists at the Dubrovka Theater in Moscow, in order to help 900 people, including more than a 100 children, who were held hostage at the auditorium.

Why this film?

When I heard about Olga Romanova and what she did, I knew I had to tell her story.A person who willingly confronts 41 terrorists, who puts her life at risk in order to save many others...Was she a hero? Was she crazy? Is this the story of an irresponsible person or was she a fearless idealist?It's been 5 months of intense research. And we have also interviewed Olga's mother and her best friend.Now, I know that I'm able to present accurately Olga and what happened that night, and then let the audience decide who Olga Romanova was.

Who are we?

We're a group of young filmmakers, with more than 4 years of professional experience, who have been working every dayfor the last 5 months to make this film happen.

Gonzalo Caride is the Writer and Director. He studied at the New York Film Academy, is an award winner cinematographer and in the last 4 years he has been working in more than 50 professional projects in the US, UK and Spain.

Kuba Gogolewski is our Producer. He has 6 years of professional experience, working in more than 40 projects in 8 different countries. Actually, he's also studying at the Polish National Film and Television School (PWFSTviT) in Łódź.

Oleksander Podznyakov is theCinematographer. After working for "New Materials" and "Reuters", he enrolled in the PWSFTviT in 2009. Since then, he has proved himself as an outstanding cinematographer, shooting more than 15 projects in 35mm.

Kamila Pściuk-Gogolewska is our Art Director and Set Designer. Since 2003 she's been involved in the production of more than 60 films, working with people as Ewa Braun (Academy Award Winner for "The Schnidler's List"), John Kent Harrison and Wojciech Marczewski, among many others.

So far, we’ve been able to assemble a crew of more than 40 professional filmmakers.And the list keeps on getting longer!

Where's your money going?

These are the prices for the 3 shooting days on location.

Renting the Equipment - RED EPIC, Lenses, Lights, Sound (you know how it works) | $2,400

Wages - For the Electricians and Drivers (they never work for free, do they?) | $800

Set Design - Dressing the auditorium, the apartment, and all other locations (it's going to look like the real thing) | $600

Production Costs - Food, Travel Expenses & Insurance (yes, we do have to feed the crew) | $1,700

Renting the Theater - For the films' last scene where she confronts the terrorists | $1,500

We will add it up for you: $7,000

We need your help

For the last 3 months, we have gotten in contact with many different companies and institutions that were interested in helping us finance this project. Many of them haven't made their final decision yet. The others, although interested in the project told us that they are "not comfortable backing up a film that deals with such a controversial subject matter".

We want to tell the story of a woman not to give any political statement or to talk about ideologies. We are not explaining what happened before or after Olga got in the Theater. Those are very important historical facts, but they don't belong to our film.

That's why we think that you, as an individual, not as a business organization with commercial or political interests can make a big difference.

Other ways you can help?

You don't have money? Well, welcome to the club!

But we all have friends, family, we know somebody who knows somebody who maybe knows "that" person. Exactly!

Let them know about our project!

Send them the link to this page!

Every dollar counts!

Check out our Official Website:

http://octoberthefilm.weebly.com

And also our Facebook Fan Page:

http://www.facebook.com/Octoberthefilm

Well, we've had a couple of days to review our crowdfunding campaign and consider a good many factors as to why we raised what we did and why we did not manage to secure the full 10k. But first here are the final numbers from our Indiegogo page, Website, and Facebook Fan page:

Taking a look at the overall peaks and valleys of the campaign it appears that our highest traffic volume through all sites was at about the halfway mark of the campaign, a steady build across the first two weeks that then fell off almost completely in the next two weeks. Donations however remained steady and evenly spread out across the campaign and were the result of direct referrals to the site and not a one from a web surfing good soul just happening upon the campaign which brings me to one conclusion: our facebook ads campaign, and the ipad promotional giveaway or "perks for sharing" were total washouts.

Well 2011 is coming to a close and so is the Moderngrumble crowdfunding campaign. These last few hours I have much to reflect upon. 2011 started with me and a profoundly weird script and the following goals:

• 1)      Incorporate Lotushead Productions.
• 2)      Secure my core visual team; passionate and knowlegable magicians in the roles of Director of Photography, Production Designer, and Special Effects Supervisor who were all willing to take this journey with me  despite how long it might actually take to find funding.
• 3)      Write a thorough Business Plan that reflected the uniqueness of the project including a Shooting Schedule, Budget, and Offering Memorandum.
• 4)      Secure as many locations as possible for the shooting of a teaser trailer, at the very least securing our central Farmhouse location.
• 5)       Find an actor or model that embodied the duality of Boy’s nature.
• 6)      Launch a successful Crowdfunding Campaign.
• 7)      Shoot the teaser trailer.
• 8)      Create a Power Point presentation encapsulating our pitch, including the Business Plan, Financial Projections, Excerpts from the Script, Storyboard, and scenes from the work of the participating crew.
• 9)      Create a 3 minute narrarated video overview of everything in #8 to send out to potential investors.
• 10)  Raise the feautre budget and begin shooting Moderngrumble by the beginning of 2012.

Looking back now I have to say I may have been a bit ambitious in my goals and expectations. However # 1-5 have been accomplished to a greater degree of success than I could have hoped for. #6 is wrapping itself up now and while we have come very close to reaching our $10,000.00 goal we are still floundering around the 6k mark. Regardless of the outcome of our crowdfunding campaign Lotushead Productions will carry on with the remainder of our goals in the New Year. I am setting a 6 month goal on reaching #10 and armed with the hindsight of this last year and the wonderful crew and supporters I have found during this journey I believe we can do it. Of course my success or failure will be published right here for all to see. I hope those of you reading this find something of value here, whether it be insight, inspiration or even entertainment. As always I welcome suggestions, criticism and support in any form it comes. Thank you for taking the time to follow this journey and if you haven’t already SUPPORT MODERNGRUMBLE anyway that you can and let’s close out this year together!

There is nothing new under the sun. Moderngrumble grew slowly, over many years in response to this fact. As a screenwriter it drove me nuts on a regular basis that I could not escape the structure, archetypes and rhythms of conventional storytelling without veering into experimental, un-readable at least by industry standards, territory. At the time, I was already expressing myself through numerous experiments with film and did not wish to explore or otherwise transfer these ideas to the screenplay format. Such an exercise would have been pointless as much of what I was exploring with film was of the moment and not plotted or designed. There appeared to be no middle ground, at least for me and my capabilities at the time. I could only produce, at best, a new context or perspective on a story already told. Add to this, the fact that this particular period in cultural history, that of the dreaded post modernism, makes it virtually impossible to create a non-self conscious take on such a story especially a genre story. That very realization being the root of the entire problem. Genre Revisionism was not the answer.

Then I read it again and began to see a bigger picture: 1) Yes, it was intensely derivative but it was and is a story realized almost entirely un-self consciously. 2) As a Rorschach of my own soul it was bound to resonate with others of a similar dis-position. Both artistically and emotionally, it was honest. 3) The structure and archetypes of Story are all very present, and not just a few but damn near all of them. It is a ready-made. Because of it's ambiguous design and honesty anyone could apply their own ideas about what the story is about and they would be right. It can be read as a road movie, a coming of age tale, a horror story, a philosophical treatise on modern art, a cultural and political metaphor and even a very dark romantic comedy. It is all these things and more. 4) It was pretty damn entertaining and could be enjoyed on a purely visceral level.

As such, Moderngrumble, when complete was at once everything I had tried to escape as a writer/filmmaker; self indulgence, navel gazing, derivative and everything I had wanted to achieve; a universal truth about the human condition laid bare, an honest rendering of my own soul's journey no matter how dark the recesses, and an original love song to the genre and art films that formed my early years, and not an homage.

In the year since I finished the script, my mind has been occupied with the nuts and bolts of the business of filmmaking and the visual design of the film. I have accepted that there is nothing new under the sun but my own interpretation. I have embraced that realization and it has freed me as a writer and artist from my own self-imposed restrictions and expectations. And as the script makes it's way into the world, I continue to be amazed and thankful how many of my fellow movie lovers and madmen see it for what it is.

I was speaking with a friend recently. He had just finished reading the script for Moderngrumble and was compelled to call and speak with me about what it meant to him. He then proceeded to tell me that he couldn't put into words what he felt but that he had connected with it deeply. This is not just another zombie movie. In fact this appears to be a common experience with Moderngrumble. Most people don't give it a second look, it's too weird, too esoteric, too something . . . but those who do take a few moments to peek into our world, let alone read the script, have almost all become passionate supporters of the project. As I have discussed in previous posts regarding my own problem with defining something meant to be indefinable, receiving that kind of compliment; sincere, informed and from someone you respect makes a huge impact on any creative endeavor and I have been blessed as of late with a very many artists I respect giving me similar encouragments. It has meant the world and two weeks into this campaign, I have to say, I am happier than I have been in quite some time and we haven't even raised a $1,000.00 yet!

You see, Moderngrumble is about as personal a film as you can make. Wait a second, we're talking about a monster movie, right? A horror film, albeit of stange breeding? Yes, but I have to say that in many ways it is autobiographical. Not plot-wise of course, but emotionally and philosphically speaking, it is my story. I even look quite a bit like the character 'Boy' you see in the Moderngrumble logos and in a very real way it is an expelling of old, personal demons and the rendering of new ones. As such the entire process of writing the script, working on the storyboards and graphic novel with Michael Duggan, writing a business plan, making a budget, location scouting, talking to actors and now going public with the project has been a ripping off of the band-aid so to speak, a baring of my soul to those who would judge. The fact that something I thought to be so off the beaten track, so strange by mainstream standards has been embraced by not only my friends but other artists and filmmakers whom I respect is ultimately the best thing that could have happened with this campaign. Don't get me wrong, we want and we will raise our budget, whether through Indiegogo or other channels but the connections I am making, the insights I am receiving and the support I have been given is truly the best part of this entire process. Thank you to all of Moderngrumble's friends and fans!

Toby Venable is a writer and filmmaker with Lotushead Productions, Inc., an independent production company based in Arkansas with a core focus on connecting regional filmmakers with national and international talent. Modengrumble will be his first feature film.

Last Saturday marked the launch of Thirsty Girl Films' second crowd-funding campaign to complete our documentary, Gwapa (Beautiful). This is the first feature length documentary dedicated to bringing awareness to the high number of children born with cleft deformities in the Philippines and the great need for free reconstructive surgeries in poor countries. This stunning and remarkable film will draw you into a powerful tale of strength, love, determination, and hope. Gwapa, meaning beautiful in Visayan, is the fitting title of this vibrant, real-life story that follows two Filipino families and their struggle for a healthy future. Every year, 4,000 - 5,000 Filipino children are born with cleft lip, cleft palate, or both. Cleft lip and palate are two the most common and curable of birth defects. Sadly, most clefts go unrepaired in developing countries. Just one surgery can change a child's life forever. Gwapa (Beautiful) will serve as an educational resource to help perpetuate local, national, and international discussions pertaining to cleft issues in developing countries like the Philippines. Since many people in wealthy countries aren’t aware of the problem, this documentary will shed light on a culture hardly explored and how its poorest deal with personal strife. Not only will this film spread awareness to other countries, but it will act as a tool for families affected by cleft deformities in developing areas. The main cause of clefting starts with lack of information and medical care. This film will serve as a beacon of hope and a positive resource for achieving a healthy future for all families affected by cleft deformities.

Gwapa (Beautiful) is a story that needs to be told because every child deserves the chance at a beautiful and healthy future. In honor of our generous donors, we've secured amazing perks from companies like Dyson, SodaStream and Crosley, and even a Carnival cruise for two! Stay tuned as we release these perks over course of the campaign! Ultimately, we hope this project will reach people who care about issues like this and  who want to help change lives for many generations of Filipino kids to come. To help make this film a reality, please visit www.indiegogo.com/gwapa-film.  Please consider liking our Facebook Fanpage and sharing it with your friends. Join the conversation on Twitter by using #GwapaFilm hashtag. Please be sure to spread the word about this campaign on all our favorite social sites. Together, we can make a difference!

Come on, come on... we are ready. Take your places. Let's see... you, the one on the font row, get down, we can't see the ones behind you. Come on, come on, let's go. Let me take a look....hmmm, you, the one on the back to the left, stick out a little, you're not in!. Let's see....Ok, very well. Now everyone smile: One, two....

Click!

Garage is pleased to present FILM COURAGE with Karen Worden and David Branin......

 Filmmaker Nick Lewis on LA Talk Radio’s Film Courage (Ep. #136)

Crowdfunding is a new trend in independent film financing where filmmakers offer perks/rewards in exchange for cash donations.  The legal hurdles of an investment-based system are avoided as long as donors are not promised any ownership of the film.

The two prominent crowdfunding websites are IndieGoGo and Kickstarter.  They both charge a percentage of what you raise and require filmmakers to set a deadline.  However, there is one key difference: Kickstarter imposes an all-or-nothing policy where one must meet their monetary goal or receive nothing, whereas IndieGoGo will allow you to keep whatever you raise but charge you more if you come up short.

Most successful campaigns seem to feature niche content.  English Bulldog owners and mariachi fans will get really excited about a film featuring their unique interest.  Another common factor for crowdfunding success is teamwork.  Campaigns with multiple team members working together generally raise more.  Four people will exponentially reach more individuals than a one-man show.

Nonetheless, even if you are a team of 10 people with a movie about juggling monks, crowdfunding thousands of dollars is extremely difficult, plain-and-simple.  To begin with, most people don’t care about your project by default.  Let’s be honest: who are you and what is your film in comparison to the recession, natural disasters and the next Will Farrell movie?  “Nothing.”  As a result, most people who contribute to your campaign will either have a personal interest in you or your content, which is why you must connect with such people.

It took me many days to prepare an IndieGoGo campaign for my feature film, Girlfriend 19.  Both sites provide a campaign page enabling you to post a pitch video supplemented with text.  I took this very seriously: Who is my target audience?  What will my video include?  And what will be its overall mood and feel?  In the end, I chose a mood that reflects my film itself while targeting a professional crowd.  You must make a choice and, in the end, there will be people who dislike your video and not donate as a result.  This definitely happened to me and it’s simply how it goes as with all marketing.

Girlfriend 19 is a unique feature film you can help produce! Check out this video to learn more about the film and our crowdfunding campaign on Girlfriend19

Girlfriend 19 is fiscally sponsored, so all donations are eligible for a 100% tax-deduction!

Now that you have created your campaign, you must now connect with and continually ask people to give.  Since the launch of my campaign, I have spent countless hours sending emails, updating my blog, posting on Facebook, and Tweeting.  They say crowdfunding is a full-time job and I completely agree.  Again, I’m not cynical; it’s simple a fact that people generally don’t care and need to be inspired to give.

But that’s just the easy part.  The emotional ups and downs have been the hardest aspect by far.  They say crowdfunding campaigns start strong, slow down, and finally finish strong.  My campaign start was awful.  I merely raised $57 on Day One!  Imagine how discouraged I was.  And to top things off, my film is fiscally sponsored by Fractured Atlas, an arts service organization that has teamed up with IndieGoGo.  This means donors can receive a 100% tax-deduction for their contribution.  I was sure a tax break would lead to immediate results, but I was totally was wrong.

Then, the miracle happened!  About two weeks into my campaign, I received an email from someone wanting to set-up a $2,500 match fund.  This meant that all donations over the course of one week would be matched/doubled up to $2,500.  This sparked new life in me, so I immediately sent out 113 personalized emails to people I believed cared about me and my film.  The response was huge!  Within a week, I raised well over $2,500 and my campaign total became $7,211, including the match fund itself.

All hardships aside, there is one primary reason I recommend crowdfunding: it gives friends, family and strangers the opportunity to contribute to your film and bless you with their kindness.  In the end, crowdfunding is not only about you.  There are many folks that want to support those pursuing their passion.  It simply feels good to be a part of someone’s dream.  Sure, most people may not want to help, but for those that do, you have given them the option.

Please visit my campaign site on IndieGoGo.  Take a look at what I’ve done.  Maybe you’ll like some things and not others.  Hopefully my campaign will inspire you to launch your own if you haven’t already done so.  In fact, my campaign is currently a “Featured” project on the site!  And if you have any questions, ask away…

-Christopher J. Boghosian

Christopher J. Boghosian is an independent filmmaker in Los Angeles, California.  He regularly contributes Production Notes regarding the making of his feature film, Girlfriend 19, which you can check out at FollowMyFilm.com.