Candler Checklist
I
have already shot my film and am no longer living in the same part of the
country as my subject(s) or location(s). It is possible that some relevant
steps of Candler’s checklist will have to be omitted, require remote management
of on-site volunteers, or necessitate special travel to achieve. In the
interest of feasibility, I am only going to discuss items that I can complete
or mostly complete from my current location. Please note that I use the terms “documentary” and
“non-fiction film” interchangeably throughout this entry.
Pre-Production
Drafting a Synopsis
Candler suggests drafting a synopsis in several lengths for
festival submissions, websites, press kit, etc. Since my film has changed since
I pitched it, I am not sure my original synopsis accurately describes what my
project has become. No matter what kind of project you are making, it is
important to be able to describe it clearly and concisely—I can’t tell you how
many times I have either chosen to watch or not watch a film based on its synopsis.
A synopsis becomes even more important if a film doesn’t have positive reviews
or recommendations from viewers whose opinions I trust! While the film
ultimately must maintain my interest or I will stop watching it, the synopsis
is what motivates me to press play or keep searching for something else to
watch. For my particular film, a
non-fiction film about the late Harry Wise, it will be crucial that I provide
an accurate and intriguing synopsis—a lot of people either hate documentaries
or have very specific expectations of a documentary and won’t watch a
non-fiction film that isn’t set up like an episode of Dateline NBC or 48 Hours.
While I enjoy watching both of those shows, I don’t subscribe to the belief
that documentaries must follow a broadcast news format. I want my synopsis to
convey what my film is and isn’t so that viewers who would like it will watch
it and viewers who would probably hate it will steer clear of it. I don’t want
to waste anyone’s time. I plan to draft a synopsis by focusing on what the key
points and elements of my film are and mentioning any similar works in an
attempt to appeal to fans of those similar works.
Brainstorming Creative
Ideas for Film Branding
Candler advises partnering with a graphic designer to
brainstorm ideas for branding early on in the marketing process. I am not sure
what “branding” my film will entail, but want it to reflect my film’s overall
aesthetic. I foresee this film as having a retro, kitschy aesthetic—my subject
was obsessed with collecting unicorn art and Halloween memorabilia, and was a
career magician whose golden era was the 1950s-1970s. He performed with 1930s-era
props, many of which appear throughout the film, and his show posters, which
also appear throughout the film, use the language of a carnival barker, promising
mind reading, nightmares for a week, and a congress of horrors! While I can’t
think of any “products” to tie in—action figures would be neat, but I don’t
have the resources for something like that—I want my key art, website, and any
promotional materials to reflect the retro, kitschy feel of the film. To that
end, I have recruited a friend and graphic designer who formerly managed image
authorization for Bettie Page’s estate. While I want to do everything myself
(regardless of how ill-advised that might be), this friend will provide
creative consulting advice to me in exchange for me providing video editing
tutelage and assistance. I feel that this friend “gets” what I am trying to do
and is knowledgeable about techniques I might wish to use. Our relationship is
the kind where we can each do as much as we feel capable of doing and then seek out the advice of the other
person, without feeling like we’ve stepped on each other’s toes. Since I am so
accustomed to doing everything myself, I find this to be the way I work best.
Choose Email Database
Program to Maintain Fan Contact List
A Google search for “email database program” turned up quite a
few contenders—I am not sure which one would be best for my needs, but at some
point soon I will decide. Candler lists this step under “pre-production,” and I
can see how it might be useful to help generate and maintain interest in the
film early on, but for me, I see this step as concurrent with launching the
website. I thought about keeping those involved in the film “in the loop,” but
I don’t want to SPAM them with unnecessary updates, so I will have to figure
out how regularly I want to use this email database to communicate with them. I
have a small enough cast and crew that I could probably use personal, individually-crafted
emails to communicate with them and then mass emails to communicate with fans,
but there’s always the danger that I will forget to update someone or that I
will find it too time-consuming to maintain two separate lines of
communication. Regardless, I will use a form on the website to gather
information for my mailing list, and will also take sign-up sheets to any
screenings or events where the film will be exhibited or otherwise represented.
Production
Write Content for
Website and Digital Press Kits
Candler places this step under “production,” but in my case,
it could probably be done at or around the same time as the synopsis. I
initially created a website with content for my semester consult, but that was
long enough ago that the project has changed in scope and scale and it is time
to revise that information. Since I plan to cross-promote my participants’
other projects and relevant interests, I will definitely want to include links
to those things in the individual cast and crew bio sections. Candler suggests
that the graphic designer be involved in the content-generation process, so I
may seek out my graphic designer friend’s advice for this process.
Complete and Launch
Website
As has been previously indicated, I created a website a long
time ago but it needs overhauled to reflect the current status and direction of
the project. This step is closely aligned with branding, content-generation and
drafting a synopsis and will also involve setting up a mailing list. If I were
to assign an order to these steps, I would probably put the synopsis first,
followed by branding and content-generation. The website launch would be a
culmination of all these steps and would include the form that would be used to
generate data for the mailing list.
Set up Google Alerts
Candler recommends setting up Google alerts for relevant
information to share with your audience on social media. This step could be
done independently of the other steps I have discussed, and would help provide
content for the website and mailing list—things I plan to follow are similar
projects, projects involving my participants, and projects involving similar
production techniques.
Post-Production
Start Utilizing Email
List
Candler suggests that you start utilizing the email list with
weekly blasts during the post-production phase. This seems applicable to my
situation since post-production brings me closer to release and enough time has
passed since pre-production and production that participants and fans will be
eager for status updates. After I have launched the website, I will begin to
utilize the email list. Since I live in a different part of the country from my
participants and locations, and want to reach fans worldwide, email will be the
primary method of communication.
Devise a Content Calendar
Candler advises
developing a schedule for regularly releasing content onto social media/the
website—she lists this step under “post-production,” presumably because the
content would include clips, teasers, and screen grabs, which would all be
generated during that phase of the project. Periodically updating the content
available on the website and social channels would help maintain viewer
interest over time, help the filmmaker and participants maintain a sense of
involvement, and help keep the project from growing stagnant. Again, since I
live so far away from my participants and locations and this is a long-term
project, it will be crucial to the project’s survival that I update the online
content as frequently as I am able.
Release
Plan and Coordinate a
Premiere Party or Event
Candler proposes planning and coordinating a premiere party or
event during the “release” phase. Since this film is a microbudget project and
no one was or will be paid for their participation in it, alternative means of
honoring their commitment to and participation in the project must be arranged.
A premiere party or event, planned far enough in advance so that the maximum
number of participants would be able to attend, would help honor everyone who
helped with the project. Most participants live in Central Florida, so
arranging a premiere party is feasible, although I no longer live there and
would probably need local help coordinating such a thing. A private premiere,
just for participants and their friends, could take place at someone’s house,
but anything open to the public might require some sort of event permit from
local government and could get complicated pretty quickly. Nonetheless, this is
the one area where I would be open to suggestion and willing to solicit help
from others. Once I am close to having a final cut of the film, I will feel
ready to start planning a premiere party or event.
Maintain Social Channels
and Website
Candler mentions maintaining social channels and the website
during the “release” phase, which I see as a way to maintain viewer interest
over time—important since this is a long-term project and a documentary at
that. I don’t want people to forget about my project, I don’t want to forget
about my project, and I don’t want those involved to think that I have
forgotten about them! I know that it will be a challenge to maintain social
channels and the website over time, but I plan to do these things myself as
long as I am able to do so—if these tasks become untenable in a year or so and
I am in a better financial situation, I will look into hiring a student to help
me. The good thing about this item is that it is technology-based and not
location-dependent. Thus, this student could be anywhere in the world, as long
as s/he had Internet access and a few hours a week to devote to this task.
Maintain Email
Communication with Fans/Influences
Candler lists this item during the “release” phase—again, this
seems to be a way to maintain viewer interest over time. While I might
eventually be willing to seek out help with maintaining the social channels and
website, I think that I definitely need to be in charge of maintaining email
communication with fans/influences. I’m sure part of that is egotistical—how
cool would it be to communicate directly with one of your favorite filmmakers?
However, my primary consideration is practical—this is a small-scale project,
very much DIY, and I don’t really trust anyone else to represent it in
communication. Perhaps my attitude on this will change once I’ve updated my
synopsis and content and have a final cut ready—maybe then I will feel like the
project is clear enough that I can entrust maintaining project-related
communication to others. For now, though, I don’t think the project has been
clearly communicated. I realize the onus is on me to do that, and I accept the
challenge.
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