Project London är ett otroligt ambitiöst filmprojekt som visar på öppna modeller för skapande. En del av vad de arbetar med är att de använder sig av Blender, ett öppet källkodsprojekt för att skapa 3D-animationer, samt att de interagerar väldigt mycket med öppna format och deltagare i sitt arbete. XtremeCreator:s Andreas Rönnqvist frågade gänget “Vad håller ni på med egentligen?”

Innan vi sparkar igång delar vi med oss av deras senaste trailer

Project London: Multiply Teaser from Phil McCoy on Vimeo.

IAN = Ian Hubert, Writer Director Project London

NATE = Nathan McCoy, Executive Producer Project London

PHIL = Phil McCoy, Executive Producer Spiral Productions LLC

Q: Before we get into the meat of the interview, what is Project London?

PHIL: Project London is pretty much a no-budget (almost nothing compared to the average Hollywood release) science fiction, action adventure, effects film. It was written and directed by Ian Hubert. My brother Nathan and I are producing it. Project London is also the focal point of my desire to launch an entertainment company built on a new business model that does not require us to rely on traditional filmmaking and distribution methods and models to succeed.

Q: Care to share a little about what the movie is about? Plot, major characters, you know the drill by now I take it?

PHIL: It’s the coming of age story of a young man who must deal with the loss of his father, decide if he will help the government and rat out his father’s associates or join their cause and work to put an end to “Project London,” a secret initiative sponsored by the military wing of the government. The young man’s name is Nebraska Higgins and his journey begins with the discovery of his own “potential”, a psychokinetic power innate in all Nalardians—a race of aliens that now share the planet Earth with humans. Filled with questions and fears about how to learn about and control the ever increasingly dangerous manifestations of his potential, he connects with Jerry, a sometimes welcome mentor and former colleague of his father. It turns out that Jerry was a victim of Project London and must constantly wear a gas mask and keep all of his skin covered at all times in order to contain his own massive levels of potential. Nebraska’s study of potential is barely started when a threat to the earth from across the galaxy begins communicating with him. The story is propelled toward a battle royale between the military, resistance forces and the nemesis of the Nalardian home world, the outcome of which will determine the future of Earth’s existence.

NATE:  The action takes place in Seattle and the timeframe is more or less “now”, but the setting is one universe over.  The scenery is recognizable but there will be notable and interesting differences.

Q: Whose idea was Project London from the start?

PHIL: Ian developed the story and created the script for Project London. I only recently learned that he had written about 20 drafts before he showed me what I consider to be the first draft.

IAN: But the idea to make a film was solely Phil’s. He called out of the blue sometime around when I graduated from high school with the proposal that we try to make a feature film to help launch his dream of creating an entertainment company. I was in the middle of the doldrums of trying to decide ‘what to do with my life’, and figured making an actual film could be a great alternative to… anything.

Q: What caught your attention with the movie?

PHIL: When I sat down to read the script for the first time, I couldn’t put it down. The energy in the story grabbed me in the first act and pulled me through to the end. I was delighted with it and immediately felt we had a “barn burner” of a story, a real popcorn film that would delight its audience.

NATE:  I had a similar experience reading the script for the first time.  It’s a fun story, it really moves along and the characters are engaging.  I really enjoyed how information was progressively revealed about the universe and the difficulties in which our main character is enmeshed.

Q: How many people have worked on the film? How many were volunteers?

PHIL: You can see on our production blog, that around 250 people have worked on the film. Everyone is a volunteer to date, which continues to amaze me. Plus, we are still in post-production as of this writing and more people are joining the team almost weekly to help finish and market the film.

Q: One could say this was, at least partially, a community project. What were the biggest benefits of this approach? The biggest hurdles or problems?

PHIL: There is no way we could have hoped to make such an ambitious movie, a complex story with heavy visual effects and almost no money, unless a community of artists had joined the cause. Key elements like the tools available to us through the Internet and Blender’s open-source animation software have allowed us to manage the film (Google Groups, Live Mesh) and work with artists from around the world. The only real challenge to working with volunteers is that most everyone still has to make a living, so securing commitments for coordinated activities and deliverables could become quite challenging. People would often join the project, do a little bit of work, and then move on, which we completely understood.

NATE:  The biggest benefit of working with volunteers is that we could actually make the movie. Our funding is limited and without volunteers it would have been a non-starter. I’ve been consistently impressed with the quality of the work. I’m amazed at how much people have given of themselves. I really think it’s a tribute to the story and the visuals that Ian has created and its power to inspire. As Phil says, planning and project management have been difficult with an all-volunteer crew.  Because of this, the post-production timeline has been long. We are closing in on completion now, due to the perseverance of many wonderful people.

Q: Did you know before the start that this movie would get as much traction with the Blender community? If not, why take on a science-fiction movie with over 650 special effects shots?

IAN: No, none of us knew. Never having really counted, I kind of assumed there’d be a couple dozen VFX shots, and based on past experience I estimated it should only take 3 months or so. When the number kept shooting up and up, and the end-date estimation point kept moving further and further out, it was kind of mind-numbing for a while. I think the biggest reason we did this was because we looked at it and realized we could, and couldn’t think of enough reasons not to. It’s an asset we knew we had in the bag from the start, so we decided to tap it to raise the visible production values in a way that didn’t really cost as much (apart from time investment).

NATE:  I think it would have given us pause if we had truly realized what we were getting ourselves into.  At the same time, I don’t think there has ever been such an ambitious, ultra-low-budget effects film. I think it will absolutely blow people away that it was created with volunteers and a healthy dose of open source software. I also think that we will motivate many, many people to say, “Hey, I could do that” – which will spur even more people to take a look at Blender.

Q: From an Open Source perspective, what will the Blender community” get back” from Project London? Will the models used in the movie be shared with the community?

PHIL: I admire how the Blender Institute operates and believe that we have a significant responsibility to contribute to the Blender community in the same way that they have freely invested in the success of Project London. So yes, we are planning to release the robots (exosuits), space ships (lifters), and creature models and rigs created for Project London to the Blender community and others for free. This has to be a first; has any other film studio done something like this? Can you imagine how cool it would be if Hollywood studios gave away models and rigs to their blockbusters like Transformers! There would likely be a wonderful explosion of fan films with more people learning that they can create art and entertainment that people actually want to see.

NATE:  I agree – I’m pretty pumped that we’re going to release the Project London models under a Creative Commons license.  It’s very much in the spirit of the volunteer effort to make the film – we’re really building a community around this movie.  We think that this will play into our future effort as well – where we create, work with and give back to a community of people that are interested in the work that we do.  Rather than mass market movie distribution, it’s community oriented and distributed on the internet.  Our connection to Blender is all about that and I’m psyched to see it continue.

IAN: I hope people have as much fun experimenting and working with the models as we did. And also; maybe more fun?

Q: How have you been marketing the movie? How do you intend to market it in the future? Would you do something different if you would do it all again?

PHIL: Serious self-distribution in the movie business is a largely uncharted realm. We are constantly looking for ideas and studying what others are doing and adapting our plans. We are going to apply the same no-budget approach to marketing that we applied to the making the film. In North America, we are primarily going to market the film through social media (FaceBook and YouTube, etc.). We will be ramping up these efforts with a series of press releases and trailers. Culminating in a pre-sale opportunity where fans can get a credit in the film if they place an advance order for a disk. In just a few weeks, we plan to announce an opportunity for fans to help spread news about Project London and earn a special credit in the film. Right now we are working on our first press release to entertainment news organizations and a new 90 second teaser clip. We will also be working to place Project London on NetFlix and iTunes. We will add to and modify our plans through the process of releasing it. Many people have given us terrific ideas like, identifying the top sci-fi bloggers and showing them the film if they’ll write about it. Are you a top sci-fi blogger? I would love to hear from you. This is our first time marketing a film, so you can bet on our next film, we’ll be able to work smarter and more efficiently.

NATE:  Some people will be happy with a streaming rental from iTunes.  Others will want to order a physical DVD.  We’re looking into connecting with people any way we can that is outside of the current distribution system and allows us to manage it ourselves.  We’re also going to look into opportunities to sell various packages that will connect with different groups within our community.  For example, there are going to be people that get inspired to make their own sci-fi movie.  We want to create a package for them that include various revisions of the script, various edits of the movie, draft and finished graphic novel, Blender models, sound effects and more.  A “producers package” if you will.  Artifacts that will help guide you in your own efforts to go after something ambitious and amazing.

IAN: I think the results of our marketing efforts will be one of the most interesting revelations of the entire process. It’s true, there are very few case studies we can draw on to get an idea of how many people we can reach, and what percentage of the people we do reach will actually buy the movie–it’s the ultimate mystery we’ve had to live with for the past three years, and all our projects beyond this hinges on it.

Q: What are the biggest challenges smaller and/or independent film-makers face today? How did you meet them?

PHIL:  There has never been a better time for filmmakers than right now. The basic ingredients of filmmaking are story, talent and tools. Today, all three can be found in abundance thanks to digital technology in the form of filmmaking tools (acquisition, editing and delivery) and the tools on the Internet that facilitate networking and collaboration with other artists. Hollywood is going to change, in some ways, like the music industry whether they like it or not. With only about 300 films a year being distributed to screens in North America, there is a huge opportunity to drive innovation and create more opportunities for self-distributed films ultimately rewarding the artists who actually create the work. I think that the biggest challenge filmmakers face in such a land of opportunity, are the roadblocks they setup in their own minds. Filmmaking is hard work, developing an attitude and practice of finding a new pathway to your goal each time something trips or stops you is key.

NATE:  A big challenge for smaller and independent film makers is how to connect with your audience.  It’s hard enough to make a film, let alone get it seen by a ton of people.  We’re taking the community approach – getting people personally interested in helping us get the word out about this film to people who will love it (but just don’t know that yet).  This is still a work in progress, but we have a lot of confidence that this is the right way to go.

Q: How are you intending to distribute Project London? Any new ways of spreading the movie?

PHIL: We are going to focus on North America to start off. If we can make enough noise with our self-distribution efforts to attract mainstream news media coverage, we are hopeful to attract partners who can help us bring the film to other places on the planet. In terms of spreading our story, we are developing concepts for viral videos to be made by affiliated filmmakers and fans. We are partnering with some great musical artists who are contributing songs to the film. Some of these songs may be turned into music videos and released back to their fan base (via YouTube) to introduce them to Project London and our fans to their music.

Q: How much did the movie cost to make? Mind sharing a spread of where that money was spent? (the idea here is to give future film-makers an honest grip on what costs money in independent moviemaking)

PHIL: Even though everyone has volunteered so far, we have spent money on significant items necessary to make the film. About twenty five thousand (USD) was spent on an edit system. We spent about ten thousand on costumes, props, makeup, locations and permits including a couple days on a green screen stage. A couple thousand went to miscellaneous equipment rentals. There was twenty days of production and we averaged about twenty people on set everyday and provided ample snacks (energy bars, fruit, beverages) and a meal, sometimes two. During post-production, we decided to rent a helicopter to shoot aerial footage over the city of Seattle. This cost us about two thousand dollars. We are still looking at some significant costs ahead. We might have a professional mix done (stereo and 5.1) and there will be costs for DVD and Blu-ray authoring and replication. So in some respects our budget is still fluid.

Q: As we draw to a close, how do you intend to generate profit around Project London? What venues are you exploring? Many independent creators tend to use services such as Lulu (for books) and CreateSpace (books, movies, albums) to distribute their material and get widespread coverage. Will you be looking towards these models or not? Please explain your thinking behind that decision (regardless of the focus).

PHIL: First and most importantly, a good movie sells itself. If you deliver a great movie experience, people are going to talk about it and recommend it to their friends. We are working very hard to make sure we deliver a great experience with a story our audience will really enjoy. When people love a film, they often want souvenirs, clothing and other merchandise. So, we are developing a number of collectibles and clothing some of which are available now (see the store link at www.projectlondonmovie.com). As Nate has already mentioned, we are going to create a number of premium and experience packages to sell alongside the film including dinner with Ian. The filmmakers packages are likely to include copies of the shooting script, the edit script, and the as-recorded script along with burned Blu-ray disks showing an early rough cut of the film, a version mid-way through post-production and of course, the finished film and other souvenirs like one or two of the custom designed pistols used in the film. Everything will be available centrally from the official movie website. From there, depending on what you want to purchase, you will be taken to our store on Zazzle.com or Cafépress.com or PayPal. We expect to start by selling disks direct, packaging and shipping them from my home until we hit a volume level that warrants a shift to a fulfillment company.

NATE: You will also be able to see the movie (streaming) on NetFlix and on iTunes (purchase or rent). We are working on a soundtrack album that will feature some exclusive songs from some of the artists who contributed music to the film. This will be available from iTunes and on disk directly from us. An item we are exceptionally excited about is the graphic novel that is being created. It is a complete re-imagining of the Project London story for the printed page. We have just reviewed the mockup for the book and it is going to be a stunning, world class graphic novel. The graphic novel and scripts are going to be published on demand via Lulu.com. We have already done a test print on the graphic novel mockup and the quality is wonderful. In every case where we are evaluating product and merchandise options, we are looking for demand solutions first and foremost. What I mean by that is that the product is not created until the customer orders it. That way we don’t have to buy and hold any inventory. We are totally focused on the lowest possible cost of entry into the entertainment business. A philosophy we will keep if we are successful.

Q: One last question – what would be your advice to independent creators out there, making movies, writing books, creating music out there? Any words of inspiration?

PHIL: If you desire to make a living by making art, I believe you only need to look around a bit to see other artists connecting with audiences and making a living. Study how they do it. I don’t believe you need a record label or a film studio or a book publisher to legitimize your work, promote and profit from it. You can do all that yourself. Pomplamoose (check them out on YouTube) is a great example of artists presenting their art to the world and connecting with an appreciative audience who rewards them directly with purchases on iTunes. Today’s artists must be ready to navigate social media, blog and tweet, make hybrid rights management (channels) and variable copyright (Creative Commons) decisions and adapt to trends and ideas on the fly. It’s a  wild west of opportunity! Seize the day!

NATE:  We’re at a point in history where anything can happen.  You need to get out there and experiment.  Try different things.  The internet provides innumerable new ways to connect with your audience without having to go through traditional distribution.  If you want to make a living at this, you have to be aware of the fact that digital media can be copied perfectly and easily.  To generate income, you’ll need to find a way to connect with audiences and give them something more than just the digital media – whether that’s exclusive access, special packaging, personal involvement/credit or something else – the point is that you need to try different things.  You could be the one to invent the next big thing.

IAN: Keep doing it! The only difference between you and the person writing their own novel or composing their own album is that you’re not writing your own novel or composing your own album! People are so quick to list reasons they can’t do stuff, usually citing a lack of resources or time, or something else outside of their control–take that control back! Think outside the box and devise a way to create your vision on your own terms, without needing that resource. At the end of the day, even if it doesn’t all turn out how you plan, at least it was time well spent! Time spent doing what you love is never wasted. I can only experience about half of a good movie or a great song before I get so inspired I have to stop and go try to make something of my own. I don’t think I’ve played more than 10 minutes of a video game in a row in the past couple years because if it’s good enough to hold my interest, it’s good enough to get me crazy pumped about the possibilities (I’ve typed, ‘how to make a video game in blender’ into Google probably a dozen times)! Harness that excitement, and learn how to channel it from the world around you. Everything you hear in the world is a music or sound-design option waiting to happen! Everything you see is reference for your painting or a chance to better understand how the world works. It’s great! Try to live in a world like that, and when you succeed, you’ll be surprised to discover that everything becomes exciting! It’s awesome!

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