Poster with tagline "This Movie Will Eat Your Planet" showing a mech robot and the characters of Project London.Project London is  a feature-length, science-fiction, action-adventure movie with 774 visual effects made by over 250 volunteers. They've also tried just about every form of fundraising there is, from raising money on their own site to running a campaign on IndieGoGo and now with a Kickstarter Campaign.

We talk with Project London about zero budget film making and promotion, the differences between the various crowdfunding platforms, working with volunteers and more.

In the interview Ian, Phil and Jen from Project London talk about:

  • Zero budget film making
  • The single key behind successfully recruiting high quality volunteers
  • Giving people a sense of ownership
  • Whether you need to protect your idea that's being Kickstarted
  • Drawing on larger demands than your project alone
  • What to put in your campaign video
  • Making your campaign entertainment
  • Zero budget marketing
  • Expanding from your original property into other product lines


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Mentioned in the Podcast:

"Risks and Challenges" example
Project London Homepage
Project London Kickstarter
Half Acre Day, the band doing the soundtrack

Transcript:

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Announcer: Welcome to Kickstarter Tips. Kickstarter’s leading, unaffiliated podcast for news, advice, and strategies on getting your projects successfully launched and funded. Now, on with the show!

Piers: In this episode, Kickstarter numbers break new ground again. Learn how to turn the risks and challenges section of your project into something that boosts your backers and we talk with veteran crowdfunders for Project London about their experience coming to Kickstarter all in this episode of Kickstarter Tips.

Announcer: This is the Kickstarter news.

Piers: And the Kickstarter juggernaut just keeps on rolling with announcements that there has now been over $100 million pledged to Kickstarter’s film category alone. As of January 1st, nearly 900,000 people have pledged to one of 8,567 independent films with more than $102 million pledged to date. Even more impressive, more than 60% of that has been in the last 12 months alone. In fact, 10% of all the films of the last Sundance Film Festival were Kickstarter funded. On the back of this announcement, Kickstarter has released their 2012 Retrospective titled "The Best of 2012". Some highlights included that in 2012 $319 million was pledged to 18,109 projects by people from 90% of the world’s countries. Music had the largest number of funded projects with over 5,000, and games took in the most money overall with $83 million. With that said art, film, publishing, and theater each had more than a thousand projects funded. There ended up being 17 projects funded to the tune of over a million dollars each with some like the Pebble Watch drawing as much as $10 million in a single project.

One of those million dollar games was Elite: Dangerous, which we talked about in our last podcast and has since taken the record for the highest ever Kickstarter goal to be successfully funded. Elite raised £1.5 million or around $2 million with around £330,000 or $530,000 in the last two days alone. Elite is also a textbook case of how the rewards that tend to get the most pledges tend to include either a copy of what you are kickstarting, a vanity reward, or a physical, limited edition item. To that end, their most popular rewards were at £20 with almost 10,000 backers pledging for a copy of the game, at £40 with 2,000 backers pledging for their name to be used, and at £90 with 1,300 backers pledging for a limited edition box version of Elite. And that is all the news for this episode.

If you are interested in hearing more Kickstarter news as it happens, consider following us over on Twitter, Google Plus, or Facebook as Crowdfunding Dojo, where we update the news throughout the week.

Announcer: Time for a Kickstarter Quick Tip.

Piers: The risks and challenges section is often the most feared part of any project founder and usually it is the most poorly done. Consider that the start and the end of any webpage are usually the parts that get read the most. Given that risks and challenges is the last thing potential backers see before being forced into the decision of whether to back you or not, this is the one area you need to get right. Far too many projects write something vague along the lines of, “Oh, I guess there could be challenges. But I am sure we will fix them along the way!” Look, if someone has read all the way to the bottom of your project, then they are interested, but something has stopped them from pushing the pledge button beforehand. This means they still have a doubt. Those doubts won’t go away if they were ignored. Instead their pledges will. So how do you a risks and challenges section right?

Find out what people’s real concerns are and address them head on.

Get people in your target market to read the rest of your pitch without the risks and challenges section filled in. Let them know why you're asking for their feedback, so they'll feel more comfortable voicing concerns. Often it can help to avoid asking them what the problems are directly as most people want to be nice and will say that everything looks great. Instead, consider asking what they think the concerns of "people in general" or "other people" might be. Once you’ve got an idea of the most common concerns, go through and address each and every point you can clearly. At the end, ask people to send you a message if their concern isn’t listed above. Then restate any proof you have of why you can and will get the job done whether it is years of experience, credentials, previous projects, or similar, and then finally, finish off with a short direct request to pledge while reminding them of what they will get.

Now, usually you want to avoid the word pledge itself, but basically asking them to do something like help support whatever it is that you are doing. Now, if you would like to see what all of these looks like put together take a look at our example over at CrowdfundingDojo.com/downloads. You will see it listed under Episode 5. After you have written the risks and challenges section using this quick tip, do let us know on Twitter, Google Plus, or Facebook with the short link through to your project. We will be sharing any that we think are particularly well done. Until then, this is being today’s Quick Tip.

Announcer: If you are listening to this on your mobile device, laptop, or computer, and you still need to subscribe to receive the latest Kickstarter research and strategies, do that right now by typing in CrowdfundingDojo.com/updates into your browser’s address bar, and then enter your main email below. As well as this podcast, you're getting the latest research tips and strategies all helping you to start and succeed with that Kickstarter project you have been dreaming of.

And now it is time for Talk with the Leaders, where you get to learn from one of Kickstarter’s leading project founders, exactly how they did it.

Piers: Today, we are talking with Project London, the no-budget, sci-fi action film with over 774 visual effects made by over 250 volunteers. We are talking today with Ian Hubert, the director, Phil, producer, and Jen, one of the lead actors in the film. So let’s get straight into it. Can you tell us a bit about what Project London is and how it came to be?

Phil McCoy: Well, ???? are.

Ian Hubert: Well, Jen is fantastic you know.

Jen Page: [Laughs] Oh, my god! I can’t remember it, but it is kind of what it looked like. The Project London, the story was it takes place in parallel present, where the Nalardians coming from their planet which was destroyed and they pay rent on planet earth by sharing their tech, and so there is the joint government formed with the aliens and the human race called Joint Command. And it is a kind of a social film with lots of great sci-fi, where the Nalardians paid rent by giving us their tech and there is an underground movement that is fighting to have secrets revealed.

Ian Hubert: It's a crazy, indie, sci-fi movie. It has kind of expanded as we have gone along. There is a prequel novel now and a Graphic Novel and a soundtrack that is obvious ???? expanding in the world.

Jen Page: It's a one big explosion.

Piers: So basically, sci-fi indie madness?

Phil McCoy: Yes.

Piers: So, can you tell us a bit about the actual world of Project London itself and how you went about kind of crafting that? Especially given, that it was such an involved community kind of project, was the story all crafted beforehand or was this something that you got a lot of feedback from the community on?

Phil McCoy: So we started development of the concept for the story in the summer of 2006, Ian and I would meet for coffee ???? there was creative cave and come back with ideas. After a while, he went in for a very long time and did I think about 20 drafts of the script. I saw it at draft 21 and got pretty excited. We were looking for a popcorn movie and that is what we got. Three drafts later, we had our shooting script and as you say, you asked about, you know, what is the story, when did the story come into focus – Well, that was the first time it came into focus. We found the story again as we shot it. We found the story again as we went into post production. A couple of years later after the bulk of the visual effects were done, we were able to assemble and look at the film with a couple of audiences to just test it and it showed us some things about our story and we had to retool it a bit. So it has been an evolution and the movie we showed just a couple of weeks ago for the cast and crew was the one that is being released and we are pretty pumped about it.

Piers: How do you think that the film's story is different for being something that was crowd funded at multiple levels versus if you just go on you know, the traditional route and gotten funding by other means?

Ian Hubert: I think so. I mean, in a lot of ways. Like the very initial concept of the kind of this ultimate present where the aliens ???? some in the past was all about being able to maximize what we had worked with, which was Seattle. And we knew we could do some visual effects, but we couldn’t recreate everything. We couldn’t create an entire world, but we could augment the one we already kind of lived in, so I mean, that is right there beside the core event story being able to maximize our assets on that. And one of the other things that has been just like that is that, I am looking at everything, and going “What do we have and how can we make the most out of that?” with the company being a fantastic example of that and all the work we have gotten from volunteers, people whose different strengths came into that. And so, yeah, sometimes the end result of the movie was actually changed because somebody had just a fantastic skill set ???? where they are able to lift up something that we had thought would maybe ????. So it is a very organic, kind of interactive, very social, and can work well, ????. I have loaded energy and fund to ????.

Piers: And Jen, for you ????, I am kind of interested... as an actor, have you found this process at all different? Like did you find you are being drawn into different roles as often crowd funding is very promotion heavy straight to the fans? I am wondering what your experience has been through this.

Jen Page: It is really interesting to see how indie film has changed since we started filming in 2007. Because when they did proceed to cast Project London, I answered a regular casting call, and it was before Kickstarter was everywhere. At least, it wasn’t on my radar at all. And crowd funding really wasn’t a concept for indie film making back then and I auditioned for the role like any other actress would and got the part. I am severely jazzed by this and it's let me see over the years how the landscape has changed. Because since then, I have been involved with a lot of different projects and a lot of different Kickstarters to the point where when we had the Kickstarter for Project London, it isn't surprising now as it was when we first filmed. So it is interesting and I never thought of myself as that being something that it could actually be valuable on your resume. Now, it is this new thing like how you know, “Jen Page has been involved with some pretty successful Kickstarters. Perhaps, she is an actress to call.” It is just, it is a whole new world in than that aspect of indie film making and acting is kind of concerned.

Crowdfunding Dojo: Do you think that you are being called to like sell the film that you are in more than if it wasn’t a crowd funded film?

Jen Page: Oh, yeah. But I would think that any acting choice that the production need, they are making that in mind what is going to appeal to the audience ???? have any talent or what so what, blah-blah-blah. So it is just another aspect of that, that I really walked on then and it is just reality.

Crowdfunding Dojo: Okay. So let’s talk about the actual making of the film itself. You build it very famously as an almost no-budget action film with a crazy number of special effect shots. How do you go about making a film that is that special effect heavy, that sci-fi on almost zero budget?

Phil McCoy: Well, to answer with that answer I can tell you you have to meet someone like me and Hubert. It is the ability to have the reputation with the Blender Institute and folks would use Blender, and back in it was a real in networking.

Crowdfunding Dojo: Sorry, just for the people who don’t know the Blender Institute and Blender?

Ian Hubert: Blender is this kind of community supported open source 3D program that can do a whole bunch of stuff from modeling, rendering, motion tracking, compositing, and has that whole new effects right one. And that is what we implemented for the 3D video effects in Project London.

Crowdfunding Dojo: Okay. So you sent them?

Phil McCoy: Yeah. So tapping into that network, it was our ground floor if you will to find artists who would want to help with visual effects with the level we were working at. Actually, I forgot the rest to your question.

Crowdfunding Dojo: Well, really it was about how you go about making what would usually be a very big budget film for next to nothing. Now, obviously, you are saying you are involved with the Blender Community, which helped you find our skilled artists, who are able to provide special effects and what have you for free. But, what about even just the more prosaic stuff like going around and getting locations? Like how did you approached Jen with no budget and say, “Hey, would you like to do this whole thing for free? It is going to take however many years of your life and you will be on Kickstarter?”

Jen Page: I am a big sci-fi fan. And to me, the joy of working on this project and being able to be a part of it is incredibly rewarding. And I think that no cost the board with other talents that people who have TGI skills, people who have sound skills, people who you know, have a location. You know, you just have to search around for the people who are really passionate about what you are trying to do and just enjoying and helping with that and being a part of something. And then when you see it on the screen, it just blows your mind. There are other ways to be rewarded other than monetarily.

Phil McCoy: You know, just following that what Jen was saying, if that was, what Jen saying is pretty much everyone’s story who came to the project. We just were aggressively about recruiting folks who wanted to join the project with kind of these ground rules that we were going to be very ambitious. We had access through the networks we were working with and you know, you mentioned location scouring. We had about seven volunteers and a manager taking over location scouring and scouring the Northwest around Seattle for everything that we needed, folks who were happy to help and threw their heart and soul into it. It was the networking that was challenging in finding folks.

Ian Hubert: With all that said, I talked with a lot of people who have done and kind of similar projects. We’ve kind of have the questions like, “How do you go about doing something like that?” and the big thing is a lot of these people want to kind of have the idea and have other people do it. And just at its core you have to be a little bit insane and just ready to just kind of obsess into your life –

Jen Page: Yeah, drive it. Yeah.

Ian Hubert: Into this thing for a long time because all that drive definitely has to come from somewhere. I think there has to be a certain level of you have to ready to do everything like on your own and then just other people will get on the train and kind of be able to help out. But people aren’t going to assemble train cars for you to push that in analogy “I’m a bit too far.”

Jen Page: Yes.

Crowdfunding Dojo: Well, it is like analogies?

Phil McCoy: Yeah.

Crowdfunding Dojo: So you said that drive has to come from somewhere and where do you find that drive?

Phil McCoy: I don’t know man. We are all going to die someday so why not make the possible sci-fi movie with friends.

Jen Page: I agree with that mentality. You see.

Crowdfunding Dojo: It sounded right, right there.

Phil McCoy: Yeah. I mean a lot of it. And especially we are working with volunteers via email and everything. All they are really getting out of it is the feeling they are involved in something kind of bond, and so they are actually getting something out of that. And we were at the different paces of seeing a lot of productivity and kind of website productivity. And I think there was kind of this correlation to how much time we were able to spend directly emailing with the people who were helping us out to kind of give them feedback and make them feel as if they were directly connected and most importantly, have ownership with something that they can be proud off because that is just what everybody wants to be.

Crowdfunding Dojo: And how do you give people that sense of ownership if they are coming into the project maybe just for a short amount of time you know, volunteering with one model or one shot?

Ian Hubert: It is a lot more adapting I think than just kind of being able to pay people in that regard. It is because there was kind of this process of you know, talking with them and finding out what they are interested in, what they are kind of expecting to get out of it, and your ???? is then kind of trying to fix something. Some people really want to design their own models you know from the 3D video effects perspective. They wanted to design their own models so they are like, “This is my thing.” Other people feel uncomfortable with that and they just want you to give them a concept art. And so a lot of, like what I was doing was trying to guide everything so that it all kind of looked like it could be in the same movie. The end result being though that it doesn’t you know, everything in the film, it doesn’t looked like it was designed by ???? whatever. More like a one-concept designer. It actually looks like a world where there are lots of different people designing these different types of things, which confidently it made me feel…

Jen Page: ????.

Ian Hubert: Disjointed. I think it actually adds a lot to the visions of the film.

Phil McCoy: It is more authentic, more realism.

Jen Page: You are claiming that.

Crowdfunding Dojo: So in your actual Kickstarter campaign like you obviously got a whole film of footage to work with here and you have been through a couple of campaigns. How did you decide what was actually going to go into your actual Kickstarter campaign video? Like for example, you don’t see too many Kickstarter campaign videos who will just go, “Hey, now here is a whole music video. Enjoy it!”

[Laughter]

Phil McCoy: Yeah. Oh, yeah. Good question.

Ian Hubert: First and foremost we kept our you know, it is the internet. And so in the entertainment for people who have a million other things to be in and just trying to get a click on. So short and sweet and you know, and to the point and the music video is a great song, made of great hooks, and just a bunch of great eye-candy. So you know keep keeping that internet platform in mind I think is very important.

Jen Page: Yeah, the song was written for specific report movie and it showcases so many different special effects. It was the just the nice thing to really draw people in and say this was kind of divided the film and this is what you are going to be paying for.

Ian Hubert: The Pythagoras Switch by Half Acre Day which they wrote in the movie.

Crowdfunding Dojo: A quick plug. Link to iTunes down below.

Phil McCoy: Halfacreday.com.

Crowdfunding Dojo: Okay. Like once again, coming back to the no-budget thing, you talked about making it kind of eye-candy, making it entertainment with the internet. I am sure I must have heard the reference to the cats playing pianos in there somewhere, but how did you actually go about generating interest without any budget to draw back on?

Phil McCoy: You know, when we launched the project, we created a couple of clips. One clip in particular a 6-second test of the Arizona ???? and we put that up on Youtube and folks started getting excited because it kind of glimpsed of what kind of quality and what kind of imagination we were going to bring to bear. And since that day, so many years ago, we have steadily built our audience on Facebook and on our blog site Projectlondonmovie.com, so that when we got to the place when we are ready to launch the Kickstarter campaign, we already had a backlog of interest in the project. So you show up with a finish movie on Kickstarter, it’s got some advantages. You are not going to wait a year for that movie to get then. We are talking about releasing the movie with Kickstarter help, so your disc is coming to you very quickly. I mean, do you follow what our thinking?

Jen Page: You can’t wait until you are ready to roll out your campaign. You didn’t have to start from the beginning now and just be mindful of social media like that. Did you start your Facebook page four or five years ago?

Phil McCoy: Oh, yeah as soon as we could.

Jen Page: Yeah, easily. And so that audience was already there and I have really learned the value of not waiting and surprising people with stuff. If you want to talk about it beforehand, you don’t just say, “Surprise! It is here, you have 12 days.” You know, I would much rather believe nowadays that it is like, “We got a Kickstarter coming. Pretty soon it is coming up. Please, watch for newsfeed and feedback.” that sort of thing and so that people already kind of know about it when we launched. So that way when you do launch there is not that catch-up time of, “What? What is this? What is going on? What am I suppose to do?” they already know and they are waiting for it.

Crowdfunding Dojo: I know we have a lot of project founders who are very cagy about talking about their ideas early on for a fear that you know, someone is going to copy it, or someone it is going to steal it, or they are going to bring out their competing movie with the exact same idea beforehand, so this wasn’t a concern for you?

Phil McCoy: It really wasn’t. We feel like we have an original piece of entertainment.

Jen Page: Yeah, ????.

Phil McCoy: Yeah.

Jen Page: It is not going to be exactly the same.

Phil McCoy: No. Yeah. Yeah. I don’t think there is anything new under the sun frankly. So I just don’t have this idea that we are going to get stolen from or somebody is going to pull the carpet from us. What we will bring is the movie and they don’t have that.

Jen Page: ???? out there people will be like, “Wait. Isn’t that project London? Isn’t that with Project ?????” so you know, why keep it under that.

Crowdfunding Dojo: So when you went to that kind of creating this initial grounds well of interest like you wouldn’t have had any viewers presumably on your Youtube when you uploaded that first clip, how did you go about generating that initial interest? And then when you have the actual Kickstarter campaign roughly how many media outlets do you think you would have contacted to kind of drum up more interest outside of the fan base you already had?

Ian Hubert: Well, gosh. We did simple things like tag the videos we posted so that they would drop into animation and Blender channels and folks who cared about those kinds of things, sci-fi. So you know Jen touched on it earlier, folks are hungry for sci-fi.

Jen Page: Yeah.

Ian Hubert: It has a natural appeal. Combined sci-fi with the open source community that is Blender and we really built up a fan base fast.

Crowdfunding Dojo: Okay. So really you are tapping into larger demands that already existed even before Project London came along?

Ian Hubert: True.

Crowdfunding Dojo: So you had some crowd sourcing sort of on your website originally. And then you had a campaign for a couple of specific parts of the film on Indiegogo and now you are during a campaign to actually release the DVDs and the soundtrack on Kickstarter. Why did you come to Kickstarter this time when you already one on Indiegogo and how do you feel the experience of the two compared?

Phil McCoy: Well, we ???? how each site operated and made the selection based on that. When we did Indiegogo.com, we set a budget target that we hope we could get and unfortunately, we didn’t. And so we had the scale, our expectations to what did achieve and use that money to finish the film and we were able too. With where we are right now, we actually need to achieve our budget or we can’t do it. That’s why Kickstarter made a lot of sense to us. It is all or nothing right now and we can’t – if we only got a part of the money, we couldn’t go out you know, master, author, and replicated DVDs, Blu-rays, and the soundtrack CDs. We need the button before budgeting out. Does that make sense?

Crowdfunding Dojo: What is the actual experience being like crowd funding with Indiegogo versus Kickstarter like? Are you finding that the all or nothing model is kind of making it more stressful? Are you finding that it is a very different experience of the two sites to actually use? Are you finding much difference in the actual communities and the kind of backers that you are getting?

Phil McCoy: You know, I don’t find much difference among the backers. I think they are all very supportive and we are very grateful for them. In terms of the site use, I think Kickstarter is much more wealthy and much more stratified and well thought out. It is a great experience of how that site is set up to help. And just the fact that you can have unlimited rewards is pretty cool and in fact we started crafting additional rewards as the campaign unfolded because of the demand we got.

Jen Page: With the responses.

Phil McCoy: Yeah, and just the dialogue that we had with backers is helping us refine and then you know we get to dialogue right back with them of course and it is all good.

Crowdfunding Dojo: So what was some of the key useful things that you have actually learned as you have gone through this process of doing your Kickstarter campaign?

Phil McCoy: Show it to people before you bring it wide. What else?

Crowdfunding Dojo: Like what surprised you? What would you do differently next time?

Jen Page: You know, there has been such a ???? campaign.

Phil McCoy: It has. You know, I posted it on December 3rd, within a couple of days we already reached $4,000.

Jen Page: Yeah.

Phil McCoy: And I don’t think I had done anything more than post it on Facebook. It was astounding to me.

Crowdfunding Dojo: Did you find that kind of response happened when you are launching on Indiegogo?

Ian Hubert: There were two very different campaigns.

Jen Page: Right.

Ian Hubert: Because people like to ???? with projects, but I think what they like even more is like being able to feel like they are helping out and also be getting something. So with Indiegogo that was, we had some perks, but that was mostly a can you help us get this movie done type of thing and some ????. With the current Kickstarter one, the perks are effectively just buying the movie.

Jen Page: Yeah.

Ian Hubert: And so that is I think more palpable to just kind of the average person browsing through.

Jen Page: Yeah. You know, what is great about this campaign and that I have set up before is that the movie is done. You know, you are pledging to the campaign and you get the DVD, you get the Blu-ray, and you get the soundtrack. It is not give us your money and then wait until we are done with the script and then we film it and then we edit it and appears later after you have forgotten all about it. You might see the movie and buy it again. You know that sort of thing. So it is really nice to have that. I think it is one of the reasons why it has been such a successful campaign is that there is just that gratification of when you hit that button and you hit that DVD and that is you can get to support a film when you get the film. I mean, it is not like, “Well, someday my money will pay off.” and it is a complete pay off right there so it is going to be really, really great.

Crowdfunding Dojo: Do you think there would have been a similar response with the kind of the digital download with the film?

Phil McCoy: You know, I don’t know. There has been a lot of interest in that and I made a chance to hold off on offering that, but we really sorted out a plan for it. But it certainly probably would have added a little more to our sales. I just can’t say how much. I just don’t know.

Ian Hubert: It is tricky. There are a lot of hard numbers for stuff like this and probably it is kind of trading ???? in stuff that is applicable in one month you know, just as the social climate and like just people’s awareness of Kickstarter changes mean all that data is you know, pretty quickly relevant.

Crowdfunding Dojo: Yeah. We actually run something on the million dollar Kickstarters and it has been 15 this year coming up 16. Last year there had been zero.

Jen Page: Yeah, and I think it is probably the awareness of…

Crowdfunding Dojo: Sorry. We are getting the low volume again.

Jen Page: I think it is just public awareness about the system and how it works and it is becoming more accustomed to the people with daily routine and there is more people filming Kickstarter and some fun arranging. Right? So it is just more a part of coming culture now.

Crowdfunding Dojo: Uh-huh. ????.

Phil McCoy: We are saying a lot more quality projects in our Kickstarter.

Crowdfunding Dojo: Are you finding that that has raised the level of competition?

Phil McCoy: You know, I just did not felt competition. I don’t feel like I am competing with my fellow Kickstarters. I really feel like we are out here with our wears and we are finding our audience. It is I just don’t have that sense that you know I am looking all over my shoulder and who else is on the side. We have a unique property and I defy you to find a similar project.

Jen Page: Yeah.

Crowdfunding Dojo: Absolutely. It is certainly unique. So, out of this project it seems that there has been quite a few other opportunities that have come out like I know you mentioned Project Manhattan and the Graphic Novel that I actually wasn’t aware of and you are involved with Tears of Steel, which I am sure Project London had to have had at least some part of getting you into. Can you talk a bit more about what kind of opportunities you seen come out of these kind of process of making a Kickstarter or crowd source film and how these opportunities ended up finding you and coming back to you?

Jen Page: I am very excited for when the movie comes out and people start being able to see it. And with any acting choice I make, I always you know, have higher hopes that it will open up new opportunities for me as an actress just to keep that exposure out there. So I am really looking forward to sharing Project London with the world next year.

Phil McCoy: You know, one of our visual effects artist Nathan Taylor for instance was able to leverage some of the work that he have done on Project London to get some work and that was very gratified for us. You know, you mentioned the Project Manhattan and the Graphic Novel, the people who helped us with that were connected with Project London. Caleb Wheeler, the author of Project Manhattan. He was a production assistant early on helping out with the audition process as we tried to recruit actors. I am friends with his dad and I found out that he is an aspiring writer. He had 60 manuscripts on the shelf before he ever attempted Project Manhattan. And so it is really cool that could happen and that is a quarter of a read. It is actually is the prequel to the movie and such a stage for the story you see on screen. The Graphic Novel is a darker retelling of the story that is in the movie with its own characters and it is own pathway through the story. We gave a complete license to the author who just happens to be the actor who starred as Jerry, the guy wearing the gas mask all the time, and he developed that book well at Western Washington University. He is an art and design student who since graduated, very talented guy and you can preview both of these books on our website Projectlondonmovie.com so you can get a flavor for them and see if you are interested in picking them up.

Crowdfunding Dojo: Beautiful. We will put a link down below. So now, the film is wrapping up you’ve got the DVDs pretty certain to go out now and I believe you are only about gosh, about $1,000 away from your goal. What is the next project and where is the best place for people to follow what you guys are up to after this?

Phil McCoy: Well, for me 2013 is going to be about what giving Project London a chance to find an even greater audience and that means putting them out the festivals who might welcome this movie and visiting conventions that would also welcome this movie. And the best place to keep track of what happens with Project London is to put your email address in our newsletter list right there at Projectlondonmovie.com and you can stay in touch with us.

Crowdfunding Dojo: Fantastic! Well, it has been a fascinating interview, so thank you so much all of you, for coming on today. I really enjoyed it. Any final words for our audience before you go?

Jen Page: Watch out for the movie and good luck with ????.

Phil McCoy: Yeah. Good luck everyone and thank you very much.

Crowdfunding Dojo: Project London and thanks for joining us.

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