Is Today’s Independent Filmmaker Tomorrow’s Hollywood Success Story? Bet on it.

At ZoomTilt, we love working with independent filmmakers. Why? Because we believe that opportunity is the only difference between our filmmakers and today’s major motion picture director. Why do we feel this way? Take a look at history.

Easy Rider paved the way for independent film success

After the 1967 success of Warren Beatty’s Bonnie and Clyde, Hollywood studios began to relinquish creative control to a new group of filmmakers who would form the New Hollywood movement. This line of thinking would lead Columbia Pictures to distribute Dennis Hopper’s counter-culture classic Easy Rider, the first independent feature to be distributed by a major studio. Easy Rider went on to become the third highest grossing film of 1969, grossing over $41 million while costing a paltry $360,000.

The film production aide who turned a $12,000 opportunity into a $4 billion entertainment empire

Fresh off box office success Finian’s Rainbow, Francis Ford Coppola was not an independent film director by the time he started work on 1969’s The Rain People. However, Coppola did dedicate the film’s $12,000 still photography budget to a 25 year-old production aide to produce a documentary about the making of The Rain People. Humbly titled Filmmaker, the aide’s work was later praised by Coppola, who reflected that the documentary “may be better than [The Rain People].”

Sadly, the aide never made another documentary. He did however remain active in the film industry, working on some of the most successful and beloved film franchises of all time. That humble aide’s name? George Walton Lucas, Jr., who recently sold his studio, LucasFilm for $4 Billion dollars.

Today’s biggest names in film started as independents

Name some of today’s big time Hollywood directors. For me, Peter Jackson, Sam Raimi, and James Cameron immediately come to mind. What do these successful filmmakers have in common? All three started as independent film directors.

Jackson’s first feature film, Bad Taste, was completed after four years of weekend filming in his hometown of Pukerua Bay, New Zealand. In 1987, Jackson brought Bad Taste to Cannes, where rights to the film sold to twelve countries. While you may have never seen Bad Taste (I haven’t), Jackson was able to leverage this early success to become the director of The Lord of the Rings trilogy, grossing $2.92 billion to date.

Before Raimi’s Spiderman trilogy grossed over $2.49 Billion worldwide, he was best known as the creator and director of another trilogy, the American Horror film franchise The Evil Dead. The first Evil Dead film was produced with an estimated budget of $375,000 and has a box office gross of $29.4 Million (as of 2008).

After seeing 1977’s Star Wars, Cameron decided to quit his job as a truck driver to pursue work in the film industry. While ill with food poisoning, Cameron had a nightmare about a robot sent from the future to kill him. Expanding this idea into a screenplay, Cameron found studios were interested in the concept but not a director with little prior experience. Eventully, Cameron found a partner in Hemdale Studios, who bought the script to The Terminator for one dollar. Not a bad price for a movie that grossed $78 Million in theaters, and became a hugely popular entertainment franchise.

The former script reader who turned three days of writing into an Academy Award

A long time script reader, Michael Arndt decided to take the plunge into screenwriting in May 2000. In three days, he had written a script following the journey of a motley family on a road trip from Maryland to Florida (later changed to New Mexico to California). Over five years and 100 revisions later, Arndt’s Little Miss Sunshine debuted at the 2006 Sundance film festival, where it inspired a bidding war for the distribution rights. Little Miss Sunshine went on to gross over $100 million at the box office, and Arndt won the 2007 Academy Award for Best Original Screenplay for his efforts. Since Sunshine, Arndt wrote the screenplay for Toy Story 3 (2010) and was just named the writer for the upcoming Star Wars: Episode VII (2015).

Where is the next George Lucas / Peter Jackson / Michael Arndt?

That is an easy question to answer! They are in ZoomTIlt’s network amazing filmmakers, whose numbers have surpassed 300 as of this writing. Our filmmakers are as unique as they are talented, are full of ideas and ready to pitch!

Are you a brand interested in original web entertainment to tell your brand’s unique story? Drop us a line here. Are you a filmmaker looking to embrace your creativity while embracing ? Sign up to pitch on our homepage!

Bryan Ryczek is the Director of Sales at ZoomTilt, and wants to help your brand create top notch online branded entertainment.

New Web Series Episode: Why You Never Set Your Friend Up on a Blind Date in Boston

A new episode from Boston comedy dating web series “617: The Series”

The Medium is the Message for Web Series

The first advertiser-supported web series was Scott Zakarin’s The Spot, way back in 1995. The fictional Real World-style show took full advantage of the Internet’s ability to draw in viewers on several platforms. The characters blogged before there were blogs, posted photos and videos, and e-mailed with viewers, who would discuss the show and give feedback on thespot.com.

With ZoomTilt heading to SXSW as one of eight Entertainment tech startups, it’s clear that the world of web entertainment is expanding. So much so, that most web series sink in the sea of series. How can viewers like you find content like ours?

Sure, there are The Streamys, The Webbys, and all kinds of Fests; but how do we find the shows of our dreams? With the Internet comes a wide array of niche audiences. Web series must break away from the streamlined Hollywood plots of preexisting TV shows by getting creative and getting weird. The key is to do what you can’t do on TV, by avoiding overdone plots and also taking advantage of the world that entertainment now lives in. Whether people are watching it from a mobile device, their computer, or their plain old tube, a web series will succeed when it is coupled with strong viewer engagement by offering “extras.”

This is a huge part of what makes web entertainment so enticing – the immediacy and interactivity of it all. People want it how they want it, when they want it. What if you didn’t have to wait and tune in next week ever again? Netflix has decided to see what happens when they release their own entire web series at once. This may work for Netflix, but for most independent filmmakers and small production companies, maintaining an engaged audience over time and spreading a series to several different social networking sites is crucial to the success of a new show.

It’s one thing when companies like Netflix and Intel launch online TV, but the bulk of web series are being created on a tight budget. Despite the cheap and quick nature of the Internet, a web series will only take off with an original and well-developed story line. Getting original ideas in motion is necessary. ZoomTilt reaches into the pool of independent filmmakers to produce fresh content for brands. Another collaborative website, The Republic, hosts the Reddit Comedy Project, allowing the audience to crowdsource the premises and rank the pitches.

RedditComedy

In the words of media mogul Marshall McLuhan, “the medium is the message.” Sure, you can take a TV show and distribute it on the Internet, or take a web series and slap it on the television; but the success of web series today relies on originality, quality, and maximizing the interactivity of the Internet.

New Filmmaker Opportunity: Vistaprint Independent Business Owner Web Series Competition

Vistaprint Independent Business Owner Web Series Competition

Today, we’re thrilled to announce the launch of our newest filmmaker opportunity in partnership with Vistaprint: the Reality or Fiction? Independent Business Owner Web Series Competition.  Vistaprint, a global leader in affordable, high-quality products for small and emerging businesses, is looking for both narrative and reality show web series that will captivate viewers with the unique emotional highs and lows of being a small business owner or entrepreneur.

Starting today through February 24, pitches are being accepted at ZoomTilt.com. Interested filmmakers can pitch to Vistaprint’s narrative brief, reality show brief or both – best of all there’s no limit to the number of times you pitch!  Multiple finalists will be selected and funded to produce pilot episodes of their series, and if Vistaprint (not to mention your audience) loves your pilot, you could win a $15,000 per episode web series deal!  For more information, visit ZoomTilt.com - and feel free to forward this opportunity to friends and colleagues if you think you can handle the extra competition.

Good luck – and may the best filmmaker win!

All Five Web Series Finalists Now Live

Overcoming hurricanes, floods, location cancels, equipment malfunctions and more (although, admittedly, some projects did a better job of overcoming than others), all five TV Reset Project web series finalists’ pilots have now arrived on ZoomTilt TV.

The five finalist pilot episodes are presented below in alphabetical order. Remember, all five shows are competing in our first web TV competition, so go check them all out and, most importantly, share the shows you like with your friends and social media followers. Your share is your vote!
 

“Cool Justice” by Todd Rulapaugh and Brian Groh


 

“Not So Super” by Christophor Rick


 

“The Pickup Chicks” by Stacie Capone and Small Media Extra Large


 

“Shining City” by Douglas Stark


 

“Spycology” by Tenth Gate Productions


 

Thanks again to all of our entrants, semi-finalists and finalists for all their hard work and dedication through the entire competition. Now everybody go view, vote and share!

New ZoomTilt Web TV Pilots Showcase the Rising Quality and Influence of Webseries

Web series aren’t just a guy/gal with a camera, a couch and a vlog talk show anymore, and audiences and advertisers are taking notice.  With brands like Ford, Ikea, Target, Yahoo and Intel spending millions annually creating original web entertainment on top of YouTube’s own premium content buys from Hollywood and networks like Machinima, demand for compelling, original entertainment is rising rapidly, and content creators are rising to the occasion.

This week, ZoomTilt debuts three new made-for-web TV comedy pilots: “The Pickup Chicks”“Spycology”, and “Cool Justice”.  Although the three comedies are starkly different shows – with backdrops ranging from Brooklyn bars to a top-secret Spy Academy to a 1970′s L.A. drug bust – they all have several qualities in common: memorable, unique characters, top-quality professional cinematography and studio-caliber story arc development.  Following on the tradition established by recent web series standouts like “The Beauty Inside,” Warner Premiere’s “H+: The Digital Series” and “Dating Rules for My Future Self,” ZoomTilt’s first three shows coming out of the TV Reset Project webseries competition demonstrate that creative, compelling storytelling and community-building trumps big budgets in generating earned media and audience engagement.

The first new ZoomTilt pilot is romantic comedy “The Pickup Chicks” by Stacie Capone, which follows a trio of Brooklyn roomates-turned-entrepreneurs dealing with the unexpected success of their dating service for hopeless single guys:

The second show is “Cool Justice” by Todd Rulapaugh and Brian Groh, who play two larger-than-life 1970′s cops transported to modern day Los Angeles to help a beautiful heiress recover her missing inheritance:

The third show is “Spycology” by Tenth Gate Productions, where slacker spy Jack gets jolted by the threat of expulsion from Spy College and the arrival of an enigmatic new female transfer student.  Can Jack harness his inner Bond before time runs out on his diploma hopes or his best buddy Tim’s hostage situation?

As both production equipment and video hosting costs continue to drop, knowledge transfer of production and editing expertise is accelerated through lightning fast internet data transfer and digital video demand continues to grow rapidly, traditional TV and “digital TV” will continue to converge and overlap, creating exciting new opportunities and avenues for content creators, advertisers, audiences and digital networks alike.

Filmmaker Highlight: Bridget Stokes

Writer, director, producer and screenwriting adjunct professor Bridget Stokes has been working towards being a filmmaker since her freshman year of college at Brown.  She began her career in film distribution at IFC Films, where she says she learned a lot about what not to do when filmmaking.

Photo: Connecticut Post

Stokes began her career in film distribution where she met her current business partner Vicky Wight. Stokes and Wight began making films and after producing two shorts together, they agreed that one of them would finally finish a script for a feature. They produced their first feature that Bridget wrote in 2010. “It was a great learning process, raising money, making a feature, and making sacrifices.” The team continues to work on scripts and even a novel. With 5-7 viable projects on their plate at any given time, they are enthusiastic about seeing each one through to completion.

“I’m madly in love with movies. I have to make the movies I want to watch.” Stokes builds relationships with other filmmakers and remains open to working on producing their work as well. “We want to help people tell stories that we believe in, not just our own.”

Stokes wrote and directed the feature film, Herman & Shelly, which she produced with her business partner Vicky Wight with Instant Pictures. The two have also produced short films including Coffee, an official selection at 2008’s SXSW Film Festival. Bridget most recently produced the feature film, The Volunteer, written, directed and produced by Wight. In the film, after quitting her stable but soul-crushing job, Leigh fills the void by volunteering at a soup kitchen. Her world is turned upside down as she becomes involved with a homeless man. Starring Aunjanue Ellis, Ebon Moss-Bachrach, Hill Harper and Scott Wolf.

TV Reset Project Web Series Finalists Race to the Finish

With the Thanksgiving holiday almost upon us, the filmmaker finalists in ZoomTilt’s first TV Reset Project web series competition are racing to complete final edits on their pilots.  With some submissions already in and some completing the final phases of post-production, ZoomTilt is looking forward to an exciting and diverse set of new web TV releases.

Series creators Brian Groh and Todd Rulapaugh play two larger-than-life 1970′s cops transported to modern-day Los Angeles in new comedy “Cool Justice”

ZoomTilt’s Amy DePaola recently sat down with one of the TV Reset Project’s finalist production teams – James Poirier and Travis Tyler of Boston’s Tenth Gate productions – about the inspiration and excitement around their show, action-comedy “Spycology,” a story about a group of students attending a top secret Spy Academy:

YouTube’s “TrueView” video ad revenue ties TV

YouTube reports that TrueView ads now make as much revenue per hour in the US as television/cable ads.

You didn’t think that watching less TV on TV would leave you with less ads, did you?  The average American sees 3,000 ads a day. Just like every other side of a bus or white wall, the web is the new and ultimate blank space for advertising.

But YouTube’s latest announcement provides a further proof-point that the economics of digital television is fundamentally starting to change.  Although typical accessible RPM rates in the $2.00 to $7.00 range still dramatically favor low cost-per-minute user-generated content creators and Maker Studios-style skits and digital talk shows, ad spend allocation to digital video rising much faster than allocation to tradition TV, topping $3 billion globally in 2012 and on pace to reach $5 billion in only a few years.  At a viewer run-rate of 1,000,000 per video, lower budget digital series and webisodes start to look economically-viable, one of the reasons why two critical factors will decide the fate of content creators not subsidized by YouTube: (1) audience-building and (2) network economics.  By identifying and engaging a core audience, then scaling co-marketing/co-branding, cross-promotion and content library building, the next generation of digital TV creator networks will not only survive but thrive even at current YouTube economics, even if that means a whole host of TrueView inventory to click through to get to the content.

Outlined by YouTube’s TrueView page, brands want engaged viewers. They say, “Engage your viewers by giving them choice.”

Ultimately, as the traditional television network model breaks down, digital content is clearly stepping up. According to a 2012 Nielson study, the percent of people worldwide who have watched a video on their computer in the last month (84%) has recently surpassed the percent of people who have watched television in the last month (83%).

In particular, ZoomTilt is really stepping up its content game this Thanksgiving with five fresh-off-the-press premiere digital episodes from our five TV Reset Project finalists, just in time for Cyber Monday.  Make sure you subscribe to our YouTube Channel to catch all the great new entertainment coming to ZoomTilt!