With sites like Indie GoGo and Kickstarter, filmmakers can finally raise money without asking permission. And while the vast majority of filmmakers limit their crowdfunding campaigns to a few thousand dollars – some filmmakers get super ambitious.

Earlier this month Koo from NoFilmSchool decided to implement his own $115,000 crowdfunding campaign. And he stopped by Filmmaking Stuff to share his experience.

Jason Brubaker
It might help readers if you share a little about your background.

Koo
My name is Koo and I’m an independent filmmaker and writer. I run the website NoFilmSchool, which is a site for filmmakers and independent creatives. And I co-created the “urban Western” web series The West Side, which won the Webby Award for Best Drama Series.

Jason Brubaker
What are you working on now?

Koo
I’m now planning on making my first feature film, and I’m currently running a crowdfunding campaign to hopefully turn the dream into a reality.

Jason Brubaker
What made you start NoFilmSchool?

Koo
I actually started NoFilmSchool in 2005 as a personal blog, but in 2009 I told myself I should either quit wasting time with a blog and shut it down, or fully commit myself to re-launching the site as something larger. I pursued the latter with the idea that I could hopefully build an audience online by sharing as much helpful content as possible; if I was successful, it would allow me to run the site as a steady side job (while working on a screenplay), instead of jumping from project to project as a freelancer (and always putting off the screenplay, which is what I found myself doing as a freelance shooter/editor/writer/director).

Jason Brubaker
So you went for it?

Koo
Yeah. It took a year of living out of a suitcase and a lengthy detour into learning how to run a website, but eventually traffic to NoFilmSchool grew to the point where I was able to do just that – run the website, write my screenplay, and not have to seek out freelance work.

Jason Brubaker
It is great when you focus on helping other people. Good things come.

Koo
On a more basic level, NoFilmSchool is simply the website I wish I’d had to help me out in my career from the beginning. Whatever I’ve picked up along the way, I try to share it there.

Jason Brubaker
After your success with the website and also producing online content, what made you decide to make a traditional feature?

Koo
After our success with The West Side, we spent a couple of years trying to get our next idea made, and it just wasn’t happening. The economy was terrible at the time – this was 2008, when the first big crash was taking place. And our project, titled 3rd Rail, was inherently risky for film studios.

Jason Brubaker
What made it was risky for the studios?

Koo
It’s an online, interactive experience as opposed to a standard feature, and therefore established film business models don’t apply. Online content represents a great opportunity in the DIY space, but it brings with it a lot of challenges once you start seeking significant amounts of other people’s money.

Jason Brubaker
Yeah. Any time you involve money people, your responsibility increases. And you have to be ready for it.

Koo
When I co-directed The West Side I didn’t feel like I was ready to make my own feature. But once I started researching and writing Man-child, the voice of doubt that usually causes me to throw a script in the trash can was surprisingly M.I.A. The more I worked on it the more I became excited to make the project. After several months of researching and writing, I knew definitively this had to be my first feature.

Jason Brubaker
I love it when projects put you in the flow. Your current feature is focused on Basketball? How come?

Koo
I’ve played basketball all my life, so it’s a personal project to me. But just because I play basketball doesn’t mean I know a lot about the youth basketball world. I’m talking about middle schoolers, as opposed to the college and pro athletes you typically see in sports movies. The more I researched it, the more I felt it was a story I had to tell. And while it’s definitely a basketball movie, my hope is that the film will also speak to those who don’t have a particular interest in basketball or even sports, because it’s a fascinating and unique world.

Jason Brubaker
Can you speak to that a little more?

Koo
These kids are nationally ranked by the time they’re 12, and they start hearing whispers of fame and fortune very early – but usually they don’t have a whole lot in their lives at that age. This dichotomy – what they could have in a few years as opposed to what they actually have, right now – could be larger in youth basketball than anywhere else in American society.

Jason Brubaker
I noticed you are utilizing crowdfunding to finance your movie. Can you explain crowdfunding?

Koo
Instead of the traditional route of independent film finance, where a few individuals put up the bulk of a film’s investment, crowdfunding is when you ask for small amounts of money from a large number of people. If enough people believe in your film enough to pledge $10 (in the case of Man-child, this gets backers a download of the full film when it’s done), your film is enabled by a community as opposed to an individual.

Jason Brubaker
How is your experience with the campaign thus far?

Koo
Crowdfunding can be a harrowing experience, because in many cases (including that of Man-child), the campaign is all-or-nothing: if you don’t make your goal, you get $0. At the same time, it can be incredibly empowering, to see support pour in from all corners of the world. It’s like nothing I’ve ever experienced and we’re only 1/3 of the way through the campaign.

Jason Brubaker
Why did you go with Kickstarter over IndieGoGo?

Koo
I think IndieGoGo’s got a great thing going, they originally launched with a focus on film projects, and unlike Kickstarter they accept international projects. They also allow for tax-deductible contributions for projects with fiscal sponsorship. However, I went with Kickstarter because I’ve always really liked the design of their site (I was a designer at MTV for three years, so I’m probably more sensitive to this than most), and they’re a more popular site. Plus, I’ve been a serial funder of other Kickstarter projects for the past two years, so I already felt like a member of the community.

Jason Brubaker
You raised a few thousand in the first few days. What do you attribute this to?

Koo
Crowdfunding $115,000 sounds doable only because it’s been done before But when you break it down I actually have to raise a few thousand dollars not just in the first days, but every day of the campaign. The campaign is running for 38 days and that means I have to average $3k/day to make the goal. I never know where the next dollar is going to come from and so I’m constantly scrambling to come up with new ways of reaching new people.

Jason Brubaker
What are some crowdfunding tips you can share with other filmmakers?

Koo
In terms of having a big launch, my tips would be to build up your audience online long before you even think about launching a crowdfunding campaign. I’m not talking weeks or months, I’m talking years. You’ve got to have credibility and it helps a ton if you have a mailing list. In my case I’ve been giving away a free 114-page eBook on DSLR Cinematography – you know about free eBooks as much as anyone, Jason – and I have been doing this for a year.

Jason Brubaker
Yes. I think we both focus on building genuine relationships with our audience. Which, I believe all modern moviemakers must now do.

Koo
It’s by no means a quid pro quo – you don’t have to donate to my crowdfunding campaign if you read my eBook or website – but I hope that people who come back to the site often and read my newsletters would be more likely to back my project than they would be a stranger’s.

Jason Brubaker
I really like your website and the value you provide to the filmmaking community. Has this positively impacted your campaign? I mean, did you get a great response with your initial email blast?

Koo
In light of how many subscribers and website visitors NoFilmSchool gets, I have 600 backers so far. It is not a huge number. But what I have been amazed at is how generous the backers are. There are more $120 backers than there are $5 backers, and this has been an unbelievably pleasant surprise! For someone you’ve never met in person to believe in you enough to pledge $120 (or more) to help you make your movie is an eye-opening, life-changing experience. Even if my campaign doesn’t make its goal, I will have learned a lot from the campaign thanks to all of the backers and messages I’ve received.

Jason Brubaker
What advice do you have for other modern moviemakers with a goal of making a movie?

Koo
Don’t put yourself in a position where a gatekeeper can tell you no. Grab a DSLR and do it yourself on the cheap. Even if you make something bad or otherwise fail at your pursuit, you’ll have learned something. You don’t learn nearly as much by knocking on doors and hearing “no.”

Jason Brubaker
I totally agree with this philosophy. Asking permission is a waste of time. Never do it!

Koo
When taking a DIY approach, I would say that you should just try to make the best possible short you can. Someone will click on a link, find your video, and if it’s not good, within 20 seconds they’ll click away. If you’re making a “calling card” type of project, there is no value to being prolific – no one says, “wow, this guy made 30 videos.”

All that matters is whether the one they stumble upon is good. And remember, these aren’t just friends, family, and anonymous people bored at work watching. If you get any sort of buzz, producers, agents, and other filmmakers will be watching it too. Put your absolute best foot forward and the rest will follow!

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If you would like to help Koo make his movie, follow this link: Koo’s Crowdfunding Kickstarter Campaign.

Filmmakers need to manage their money Image via Wikipedia

Learning how to manage money is one of the most important traits of an independent filmmaker. Because many filmmakers are focused on a big Hollywood payday, they have decided to live paycheck to paycheck, shackled by high debt.

If you’re that person right now, you’re not alone.

It wasn’t too long ago that I lived with no savings and thousands of dollars in debt. I had no idea how to turn myself around. Luckily, I met some very successful people who set me straight.

They told me about “FU money.”

In Hollywood, when you get a bunch of money in the bank, it’s called FU money. You know you have FU money when you can enter into negotiations and walk out of the deal without the fear of starvation.

The most valuable success strategy for acquiring FU money is: “Pay Yourself First.”

When I first heard this concept, I had no idea what the heck people were talking about. But after meeting with some power players, I realized the idea is simple. Whenever you get a paycheck, before you pay any bills or fill up your gas tank, set a little money aside and never touch it. That’s all you gotta do.

I know. I know. Most independent filmmakers want to save money but feel too strapped to take action. This is because each month is filled with bills and other unexpected expenses. For this reason, most people put off saving until the end of the month. The problem is, by that time, there is nothing left to save.

And please let me remind you, as a general disclaimer, since I’m a filmmaker and not a qualified legal, tax or financial professional, even if the following strategy provided me with a bunch of FU money, this stuff may not be right for you. So, please talk to a qualified professional first.

One day, I decided to follow a successful friend’s advice. And while it took me a long time, I eventually dug myself out of debt and lifted that financial weight off my back. Here is what I did:

1. I wrote down all monthly income, including paycheck, extra jobs, etc.
2. I wrote down all monthly expenses, including bills, groceries, gas, etc.
3. I subtracted the expenses from the income.
4. I had some money left, so I figured out how much to save.
5. I opened a high-interest online savings account.
6. I set up automatic withdraws each payday and pretended it was a bill.
7. No matter what, for one year I didn’t touch the money!
8. After one year, I paid off my credit card debt.
9. After another year, I spoke to a financial adviser and started investing.
10. After another year, I built up an emergency fund.

After saving, I not only had enough money to get out of debt, I had also developed the valuable life-long habit of always paying myself first. FU!

Learning how to manage your own money will give you confidence when you begin managing your movie projects. Thankfully, there are many financial software programs and online services to help you stay on top of your finances.

Since 2001 (when I was making about 10K a year – I wish I was kidding), I have been using one of the popular accounting software programs. Since that time, I have migrated into the free version of Quicken online. Other friends use Yodlee. And some of my other friends still use a spreadsheet. All of these programs will give you a daily snapshot of your net worth, your spending habits, your bank accounts and your credit card accounts. Most will also chart your investment activity. Some of the more advanced programs allow you to work out a budget and offer debt elimination tools.

The reason why becoming a good money manger is essential to filmmaking is because most prospective investors will sense how you feel about money.

If you liked this sort of unique filmmaking advice, you’ll love the independent producers guide to movie finance.

Image via Wikipedia

I love Kevin Smith’s attitude towards modern movie distribution. If you’re like most independent filmmakers, what Kevin was able to accomplish from his days of Clerks has been amazing. Back then, he not only dreamed the Sundance Dream, but he realized the dream.

The Sundance dream is the idea that you will make your movie, get into Sundance, sell your movie and live happily ever after. As I have been telling you all along, the demise of DVD sales channels, replaced by ever evolving VOD marketplaces are impacting Filmmakers everywhere.

These days, if you are going to make movies and profit, you must now view your independent movie business in ways akin to how any business owner handles their business. You must source and grow your own audience list.

In the following video Kevin Smith shares his perspective on modern movie distribution and how the brave new world is impacting indie filmmakers.

http://www.youtube.com/watch?v=90pcHCF2h44

Please feel free to comment.

Now, nearly six years later, I’m still cashing checks. In the following video, I provide my 7 step sell your movie system and I also reveal the five most important questions any independent filmmaker should answer before making their movie.

I hope you enjoy the video. Also, if you would like more information on how to sell your movie without the middleman, check out www.HowToSellYourMovie.com

This week’s guest post comes from  Sheri Candler. Sheri is an inbound marketing strategist who helps independent filmmakers build identities for themselves and their films. Sheri stopped by Filmmaking Stuff to tell us about a new service for filmmakers called the Distributor ReportCard™.

The Key to Choosing the Best Distributor? Research

We’ve all heard many horror stories from filmmakers who were thrilled to find a distributor for their film only to find the film was mishandled, shelved or the company went under with no recourse for the filmmaker to claim their rights back. There are also distributors so coveted for their professionalism and skill at finding the right audiences for their titles that everyone wants to work with them.

How to separate the wheat from the chaff?

There is a new tool being developed to help independent filmmakers research backgrounds, complaints and recommendations before choosing a distribution partner. The Film Collaborative (TFC) has aggregated all of the information you will need to inform your decisions before you sign agreements and they have called this free resource the Distributor ReportCard™ (DRC). It is an open source wiki anyone can use to voice opinions, experiences, questions and recommendations for both filmmakers and distributors.

The DRC is meant to be an online guide much like Yelp is for restaurants and shops.  TFC founder Orly Ravid says, “For the same reason people really find YELP useful before choosing where to go to dinner, we know that feedback from filmmakers who have worked with distributors will be useful to other filmmakers. We always advise filmmakers to get and check references before signing on with a distributor and this is just an even more unbiased way to get feedback.”

At present, the DRC’s list was pulled together by TFC, but they want that to change. “We had to start somewhere so we listed distributors that we have either worked with or know about. It will take some time before it’s completely thorough and contains plenty of feedback. The more filmmakers and distributors we reach to encourage company submissions and feedback, the faster it will done,” said Ravid. Distributors representing all forms of distribution are included as well as some international sales companies and digital distribution platforms. The list is human edited and vetted regularly to provide the most up to date information on currently operating distributors.

Experiences both negative and positive are encouraged. “The more information and perspectives the better. Just as people rely on Consumer Reports and Yelp and Blue Book to make informed decisions, the DRC is meant to help filmmakers by having information all in one place and rated according to their colleagues’ experiences.” Distributors are also encouraged to participate by answering any questions, misunderstandings or concerns on their respective pages.

The instructions for using the DRC are as follows:

1. Log into/create a wikispacesaccount, The site utilizes wikispaces so you should use a unique username and password. If you are already a member of The Collaborators site (www.thefilmcollaborators.org), you’ll need a different username and password than your Collaborators membership. If you are creating an account, a Wikispaces MY ACCOUNT page will appear.

2. Go to MY WIKI (near upper right-hand corner) and type in FILM DISTRIBUTOR GUIDE. A small window will pop-up underneath with FILM DISTRIBUTION GUIDE. (You can later add this to your favorite wikis and not have to type in the name each time you log in.  You will still need to go to MY WIKI link to select it. Click on FILM DISTRIBUTION GUIDE. The DRC front page will come up.

3. On the far LEFT-HAND SIDE column, select the DISTRIBUTOR you wish look up or to comment on.

4. Once you are on the chosen distributor’s page, click on the DISCUSSION tab.

5. Click the NEW POST button (located just under the distributor’s name, upper left side) if you wish to comment.

6. A NEW POST window will pop-up.

7.  Fill-in your SUBJECT and type your MESSAGE in the pop-up window.

8.  If you want to receive an email when others respond to your post, click the box  “MONITOR THIS TOPIC”.  If not, proceed to #8.

9.  When you are finished entering your missive, click POST.

10.  Your post is complete!

TFC encourages factual and constructive information attributed to named individuals. Acknowledging that some filmmakers may not feel comfortable registering complaints or low opinions of their past or current distribution partners, Ravid said there is an option to post anonymously. “We have a user handle for anyone who wants to use the DRC anonymously and also we are happy to post the comments on anyone’s behalf. You’ll just need to contact the site administrator with your details. We will post that the person making the comment wishes to remain anonymous so those who are doing research can take this into consideration.”

To access Distributor ReportCard, please visit the site

www.distributorreportcard.com

About The Film Collaborative

The Film Collaborative (TFC) — the first non-profit devoted to distribution education and facilitation for independent film. We offer a full range of affordable educational, distribution and marketing services to independent filmmakers looking for distribution sustainability and to reach traditionally underserved audiences. Launched in early 2010 TFC has already provided its services to more than 75 independent films such as Sundance Award Winners We Live in Public, GasLand and Undertow, and SXSW Award Winners Made in China and Weekend.

About Distributor ReportCard™:

Distributor ReportCard™ gives filmmakers and producers a chance to SCHOOL THE DISTRIBUTORS. Write reviews, share your experiences and learn from other filmmakers’ successes or mistakes.

Simply click on one of the distributors and you’ll be taken to the info page for that distributor. All information is gathered from their respective website and is not based on a TFC review.

Speak your mind. Create or join a discussion about a specific distributor.

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Did you like this article? If so, you might also want to grab your free modern moviemaking toolkit by clicking here    >>

Image via Wikipedia

Some of my independent filmmaker friends consider independent film to be sacred and they avoid the studios like the devil. Other friends think studio movies are the ONLY movies that count. And they discount indies as a passing fad or a calling card to simply get noticed by the studios. But for me, I don’t care if my movie is produced by my team of indie producers or a studio – as long as my movie gets made.

Let me tell you a story: A few years back, long before I lived in LA and before I produced my first feature – I had written a screenplay with my friend Jared Tweedie. It was this coming of age comedy about bowling called Seven-Ten-Split. I was still living back east at the time. Anyway, after writing the script, I sent it to my actor buddy Jimmi in Los Angeles.

Weeks went by and I didn’t hear anything.

Then one day I got this call. It was Jimmi. He read the script. Loved it. Jimmi offered to get a bunch of his actor friends together for a reading. Asked if I would like to visit Los Angeles. (Twist my arm.)

So the next thing you know I was flying across the country. At the time, it was only my 2nd time in LA and I was super excited. And on the day of the reading, Jared and I walked into a room full of “known” actors we had only formerly seen on TV. (Jimmi is one of the most talented actors I know – and he’s in a lot of movies and TV shows.) Anyway, to say it was a surreal moment would be an understatement.

As these actors read the script and acted out the characters who had (up until this point) only existed in my and Jared’s imaginations – Well, during that time I was transported to a world full of possibilities… A world where my work meant something and had merit with people I respected. I envisioned myself flying all around the world to watch screenings of our movie. I envisioned flashbulbs and fame and fortune… (Come on, you’ve had these thoughts too. Admit it!)

Having someone appreciate your work is a drug. Having some “known” Hollywood players appreciate your work is a better drug, offering a higher high. And when this happens, intense idealized imaginings of success can be your biggest addiction. That was 2003. And I was hooked on getting my movie made.

So what happened to the project?

Nothing.

The truth is, I was too inexperienced. I had a business plan and a private placement memorandum. I had an initial breakdown and a budget… I was even good enough to cold call rich people and get meetings. At the time, I was trying to raise a mere 250K – and my prospective investors kept asking me the same question:

“How do you plan to recoup our money?”

I didn’t have an answer. Back then, the only distribution strategy I could offer was something like this: “My friends are actors on well known TV shows. When we make this movie, we will take it to festivals and because we have name actors, our probability of garnering a distribution deal is pretty good. If we get into festivals and create buzz and get noticed by a distributor, we might have a chance at recouping the investment.”

So why have I decided to share both the good and the not-so-good?

Because, unlike 2003, thanks in part to companies like iTunes and Amazon, you can now incorporate both a marketing plan and a solid VOD distribution plan into your movie business planning. You do not need festivals, name talent or some 3rd party distributor to give you permission.  You can make your movie now! And just as importantly, you can sell your movie now, too.

Does this mean your movie is guaranteed to sell? NO WAY! But it does mean you can finally have a solid business conversation with a prospective investor – in his or her language.

Does this new era of filmmaking mean filmmakers are now responsible for their own marketing, distribution and sales? Yes it does. And while this extra responsibility adds another heavy hat for most of us, it is also extremely liberating to the entrepreneurial filmmaker inside of you.

Think about it – if you can create a plan and answer the “how are you going to recoup my money” without depending on traditional distribution, then talking the talk just got easier. And that should be super inspiring. Because under all the glamor and promise of fame and fortune, the most important part of this process for all of us is the work. And speaking from experience, making movies is a lot more fun than talking about making movies.

And just in case you’re wondering – every-so-often I pick up Seven Ten Split, read a few words and once again experience the “high.” And that is all the motivation I need to pick up the phone, make another call, get another meeting and cultivate another relationship.

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Jason Brubaker is a Los Angeles based indie producer and an expert in Video On Demand Distribution. If you like his articles, you’ll love his book – which you can grab for free by going to www.FreeFilmmakingBook.com

A new website is being launched today that will help take filmmaking out of Hollywood, and put it into the hands of everyday, creative people so that they can combine their life’s ambition of being a filmmaker with owning their own business.

makeyourmovienow.com is the brain child of Jason Brubaker, a Los Angeles-based independent filmmaker and an expert in Video On Demand distribution. He has hosted another filmmaking website, Filmmakingstuff.com for years and is taking his experience to the next level.

“makeyourmovienow.com is focused on helping YOU make, market and sell movies more easily,” he says. “The ways movies finally make it to market has changed. makeyourmovienow.com is specifically designed to help grow your fan base, build “buzz” and create community around your title.

“If you want to make a living making movies, you need to realize that your library and the subsequent audience you source (over your career) are your major assets. And, as a result, your most important filmmaking focus (aside from doing good work) is to acquire and keep a customer,” he emphasizes.

For filmmakers in need, makeyourmovienow.com covers the four key areas of film production: screenwriting, film financing, filmmaking and distribution.

Tell your filmmaking friends!

Do you remember when you first got the idea for your movie? Do you remember Your first day of production? Do you remember your first screening and how well everyone loved your work?

That happened to me with my first feature. Like you, I thought our movie would get into Sundance, play well, build buzz and if we were really lucky, we had hoped the movie would garner us a 3 picture deal. But that didn’t happen.

Sure, we got some offers, but they were not “deals.” (A deal actually pays money!)

So instead of exchanging our movie for an empty promise, we decided to try selling our movie on the internet. Little did I know, this one decision has changed the course of my movie making life. That was five years ago…

And since that time, the internet as evolved. If you’re a filmmaker with a movie, you need to get it selling in all the popular internet marketplaces, including Amazon and iTunes.

You don’t need a middle-man to make this profitable. I am going to show you my internet marketing secrets…

You can check out my “How To Sell Your Movie” system by visiting the website here.

Image via Wikipedia

As a filmmaker, you are expected to make a product (your movie). The money invested to create your product should be less than the eventual sales of your product. If you can not figure out how to achieve this goal, you do not have a business. You instead have an expensive hobby and probably a good demo reel.

There are a lot of filmmakers who attempt to raise money without first considering how their movie will recoup the initial investment. These filmmakers say things like “I have a vision” or “I’m going to make this for the love of filmmaking. Then I’ll get into festivals, get noticed and garner a great distribution deal!” And while it is true that passion, tenacity and blind optimism play an important role in getting your movie produced and seen and hopefully sold, this alone is not enough to drive the masses to your screenings.

This happens in Hollywood all the time. A filmmaker creates a typical business plan that focuses on film festivals as the most viable distribution strategy. And played out, the filmmaker gets the money, hires a crew, makes a movie and then enters the festivals. But months after wrap, well into the festival circuit, these filmmakers realize that the market has changed. The days of awesome DVD acquisitions deals and huge upfront advances are over. And when the last frame flickers off the silver screen, these filmmakers take their dashed-dreams back to their day job.

The veterans of the industry tell us that all this distribution deal disappointment is a result of improved technology. They optimistically tell us that our lost DVD revenues will be recouped by Video On Demand. Some refer to this as simply a market correction, implying that someday, somewhere, someone will figure out how to once again pay the big bucks for movies. But this is a pipe-dream.

Here is the flaw. Most filmmakers depend on DVD distribution for a return on investment. And with deteriorating DVD sales channels, filmmakers are currently left with iTunes, NetFlix and Amazon as the most prominent VOD sales options. My question is this. Who on earth is going to pay a major advance to get your movie into a marketplace that YOU can easily access without the middle man?

This approach to the marketplace changes everything. Your business is no longer dependent on production and capital gains. Nope. These days, the focus for the filmmaker lies in creating multiple streams of movie income over the long term. And if you want to make a living making movies, you need to realize that your libary and the subsequent auidence you source (over your career)  are your major assets. And as a result, your most important filmmaking focus (aside from doing good work) is to acquire and keep a customer.

Like it or lump it, filmmaking has become a small business. The same rules now apply.

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Jason Brubaker is a Los Angles based independent filmmaker and an expert in Video On Demand distribution. If you are one of the many filmmakers seeking movie distribution, you might want to check out The Independent Producer’s Guide To Distribution.

Here are 5 filmmaking tips to help you push forward:

1. Remember Perspective – you’re not performing brain surgery. You’re attempting to make a movie. This is a fun business. This is a privilege.
2. Facing Rejection – Always ask WHY? Sometimes your pitch is perfect, but your audience is wrong. Make sure you’re talking to people who are actually interested in your type of project.
3. Break down BIG goals – Setting out to make your version of impossible, possible can be overwhelming. It is important to break all of your goals into smaller, more manageable tasks
4. Missing Personal Deadlines – It happens. Sometimes people cry. I suggest you simply change your deadline.
5. Your Peer Group – If you surround yourself with negative losers, you lose. Make it an ongoing habit to always surround yourself with winners.

I know 2011 is right around the corner. Do yourself a favor – make this your year. No more excuses. Grab a camera and start capturing stuff.

Happy Filmmaking!