I’m very grateful for this, and excited for the opportunity to build, and engage with my audience while I am making this picture. I plan to talk more about this experience here in the coming weeks, so stay tuned. In the meantime, here is a great blog from Kickstater on the success of the project in which I answer several questions about how I ran the campaign.

Additionally, I have been invited to take part in The Conversation: Social Media, Digital Distribution & the Future of Film on March 27 in New York, to speak on a panel about new funding strategies for filmmakers. If you’re in the area I definitely recommend checking out the event, it looks to be shaping up incredibly well in both subjects covered, and the speaker roster.

Currently I have been shooting with Jens daily as we come up on this March 6 bout in Columbus, Ohio, and planning our March production in which I will be conducting a week long (incredibly in-depth) interview shoot with Jens to probe his remarkable life story up to now, his key fights, the world of mixed martial arts, and his future.

I’m very encouraged by the footage I’ve been getting, and must say it’s hard to express what I am learning about Jens, and from Jens, as I shoot this film without relying on some cliches. This guy is so completely authentic, and very much the definition of the ‘real deal’.

I believed it from day one, but it’s reinforced every day. My affinity for him and his plight just grows and grows. It’s so easy to see why he is loved, he’s everyman…a blue collar journeyman fighter, and gentleman hero who would literally give you the shirt off his back.

I don’t want to get too far ahead of myself folks, but I can feel it…this is going to be good!

Just a short 15 days ago I launched a Kickstarter.com campaign to help fund my film, JENS PULVER | DRIVEN. Since that day, I’ve been working non-stop, 24/7, to get the word out; an effort that has resulted in 225 gracious contributors pledging, to date, $13,500 toward the production of this film.

I do not take this lightly, and I am deeply grateful for every dollar pledged.

When I started the campaign, I knew time was going to be short as Jens’s fight, that provides the spine for the film, is coming up in just 6 weeks on March 6th. I also knew I would need to be capturing as much as possible up until then, and begin the process of bringing in crew, making travel arrangements, and planning the shoot in Columbus, Ohio, where the fight is to be held. As well, I had to weigh the manner in which Kickstarter works. If successfully funded, I would not receive the funds until 2 weeks after the drive closed.

Taking all this into consideration, I realized that I would have to do a campaign spanning just 20 days.

The other item I had to weigh when starting the campaign was how much should I attempt to raise. After much deliberation, and running of numbers, I landed on the figure of $25,000. A lofty goal for sure in just 20 days, but it was the number that would ensure I could follow Jens to Columbus, and shoot the entire film, come what may.

Along the way I have been asked why I am attempting to finance the film this way. The short answer is, traditional finance, which was sought out for this film, did not come through. I think Jens puts it best though. In numerous interviews, he has stated how, “everything in my career has been for the fans, and this is simply an opportunity for them to take part in the making of this film, be part of my story. And, if it goes well, then they can say I helped make that happen.”

I share his sentiment, and take it a little further. We live in a society in which many of our entertainment choices are made for us by large corporations who hard-sell us what they think we want see, hear, or consume. It’s a top-down approach, and a closed system, that does not allow for any of us to have a voice in what is being produced.

With this film, it’s the exact opposite. The $13,500 raised thus far, is not from anyone wealthy, it’s from regular people all across the country that are making a choice with their hard earned dollars to say “this is what I want to see!” And, the contribution to the film doesn’t end once the dollars have been pledged, they (you) are now part of the process of making this film. We’re in this together, rooting for Jens, and sharing in the creation that is his remarkable story on film.

We’re taking the bottom up approach with this film. There IS strength in numbers, and as witnessed by the amazing outpouring of support so far, either by the financial contributions, the incredible emails saying “thank you for telling this story!”, or the generous people out there taking it upon themselves to tell others, “hey, check this out, and get involved”, we know that we can buck the system, and come together as a community around this common goal to tell the story of an incredibly remarkable man, who has inspired so many throughout his life.

Right now, I have just over 4 days left to raise the remaining $11,500 and meet this goal. If I do not raise it, the pledges are canceled and the funding is not received. As I look at this I think back to something I read in Jens’s book “Little Evil: One Ultimate Fighter’s Rise to the Top.” In junior high, at one of Jens’s wrestling meets he was being pummeled, losing by 13 points. He basically felt like giving up, 2 more points and he was done anyway. His coach wouldn’t have it though, he told Jens that he’d better go in there and win. Which, to his own surprise, he did. He put his own doubts out of his mind, and focused on the task at hand. Winning.

It’s that spirit that I carry forth in this campaign to get this film made, and it’s the drive that Jens personifies, pushing me to make this film in the first place.

So, right now, I am asking you to stand with me, to work with me, to spread the word, and encourage others to do so with you. We absolutely can do this, especially if we go forth with the understanding that this campaign is not just about getting a single film funded, it’s about all of us coming together to tell an inspirational story that exemplifies the fight within us all, that has the potential to speak to many, and with hope, those who need to hear it most.

Thank you for all of the support.
With my Deepest Gratitude,

Gregory

Here’s a little background on my film JENS PULVER | DRIVEN, and how I came to the project.

Four months ago I met Jens Pulver. Jens is a mixed martial arts fighter, and former 3 time UFC World Champion. Now, I am quite new to MMA, I honestly haven’t watched it much, nor before my first meeting with Jens, did I know much about his career. What I did know, after that first meeting, is that Jens is a warm, casually unassuming guy, with a quick smile and big heart, that is willing to chat with anyone.

After that meeting, due to my avid curiosity, I did my research, read his book (which I highly recommend “Little Evil: One Ultimate Fighter’s Rise to the Top“), and learned that there was so much more to Jens, and his sport, than meets the eye.

If you haven’t read it, the first chapter in his autobiography begins like this:

“When I was seven years old, my father decided that he no longer wanted children. On a cloudy Seattle afternoon, he grabbed my two younger brothers and me by the collars of our shirts and hauled us into the living room. After lining us up in a little row by the fireplace, he stumbled into the kitchen to fetch his shotgun.”

I was hooked from that moment, and became engrossed in the story of an abused kid from the horse tracks in Seattle, who despite every opportunity to repeat the mistakes of his father, instead embraced athletics, and eventually rose to the height of World Champion in his sport.

His life story, coupled with his current return to the WEC, simply struck me as an amazing story to tell. So, we talked some more, I attempted to find some financing, unsuccessfully, and as 2009 came to a close I decided rather than miss out on this story as it happens I just needed to start shooting, and find other means of financing the film while I shot.

After the holidays were done, Jens and I got together and the end result was this teaser trailer: http://www.youtube.com/watch?v=dYgwLofk7j4 meant to capture the story, tone and look of what I was going for overall in the film I am making. Since releasing it on YouTube 13 days ago, it has now been viewed over 26,000 times, and prompted countless emails from fans, and friends of Jens recounting their experiences, and what an inspiration Jens has been to them personally.

All of this has helped me strengthen my resolve, and go all in on making this film happen, whatever it takes.

You see, to me, Jens and his story, reflect our collective American psyche of right now.

Many people out there are feeling beaten, bruised, and battered. They are carrying a heavy burden, feeling alone, and in many cases…are losing hope. But, across the board, deep down, there is that spark, that drive, that need to overcome, to succeed, to conquer. We are all fighting for something. Whether we’re fighting against our pasts, fighting for a better future, fighting for what is right, in our families, our communities, and our country, or fighting to simply stay alive, we share in this universal human struggle. Jens’s life story has run this entire gamut, and reflects this need to overcome adversity at all costs.

In the end, I will shape a feature documentary that follows Jens’s immediate journey back to the cage through to its end, while probing his early life, his rise as a mixed martial artists, and the art of fighting itself.

After failing to attract traditional financing, I decided in order to get DRIVEN off the ground, I needed to do something non-traditional that would invite others into the filmmaker process. And, just as I was trying to figure out exactly how to do that, I received an invite to present a project on Kickstarter.com. It seemed a perfect vehicle, as it created a strength in numbers sort of approach to financing, and in a way that was not ’something for nothing’, which I simply can’t do.

The way a Kickstarter campaign works is contributors pledge to back your project, and exchange for their gracious monetary contribution, they receive rewards. I’ve set up a number of rewards for this film, including receiving a pre-release limited edition DVD of the film signed by Jens, all the way up to the opportunity to be flown in for a private pre-release viewing of the film with Jens at his Idaho training center.

If you haven’t yet, I encourage you to visit my Kickstarter.com campaign: http://www.kickstarter.com/projects/…ilm-about-a-le where I am seeking to raise the $25,000 (of which a little over $7K is pledged thus far) needed to get through production, including following Jens to Columbus, Ohio for his March 6th bout. My deadline to complete this goal is February 1st at 3pm MST. If I don’t reach the goal, the film is not funded.

I know that there are very many pressing financial concerns out there today, that absolutely deserve our attention. And that the current economy has made a real, and devastating affect on many. So when I ask for support of this film, it is with the belief that Jens’s story is indeed worth telling, and can speak to many, as well with the hope that once completed it can carry Jens’s inspiring message to those who need it most.

Thank you for taking the time to read this. I understand that not everyone has the means to contribute, but would appreciate greatly, anyone and everyone passing this along. Every bit of help counts!

With Warm Regards,

He is determined to come out on top, and I’m determined to capture every moment on this journey.

Below is a little teaser trailer I put together this week to capture Jens’s voice, the essence of the story, and the tone of the film I am looking to make.

We’re all fighting for something…whether it’s fighting to get away from something, or to get to something new, fighting for what is right, for our families, or to simply stay alive. Jens’s life story has run this entire gamut, and reflects our basic human struggle to overcome adversity at all costs.

I feel privileged to be the one to tell it.

I am going to update the films progress here, and eventually at it’s own site.

Please, if you feel compelled, pass on this trailer. We’re currently working diligently to raise the funds needed to produce the film, and can use all the help we can get.

The art of filmmaking is an incredibly strange beast, in that those who pursue it, to a large degree, decry the idea of it actually being art. Now, it can be successfully argued that the (perceived) high cost of entry into filmmaking justifies the more business minded approach of many modern filmmakers. As well, the fact that the film industry hasn’t exactly made its copious amounts of money on selling ‘art’ films, might also explain the advent of independents discussing ROI as opposed to Fellini.

Fine points indeed, but I would argue that as we stand at the dawn of this new decade, with more tools, and opportunity than ever before, it is time that we reclaim our art, by all means necessary.

Let’s be honest, it was most likely not box office numbers that first sparked our collective interest in making films. I didn’t look up the opening weekend returns for Down by Law, after being mesmerized by its utter coolness, nor did I check the box office for 8 1/2, Mean Streets, Blue Velvet, The Last Picture Show, Europa (aka Zentropa), Junior Bonner, The Limey, Pi, The Wild Bunch, The American Astronaut or any of the other films that inspired and informed me over the years. My film library isn’t organized by studio, or box office gross, is yours?

Sure, I get that films cost varying degrees of money, and yes, it should be recouped if at all possible, and yes, I absolutely want to see filmmakers, and artists (myself included) making a sustainable living from our own work, as it is key for continued work, and growth in that work. What I am saying is, maybe it’s time to stop chasing an ‘industry’ that isn’t interested. Maybe it’s time to embrace our meager beginnings, our vast inspirations from great cinema, and instead of trying to conform to a world increasingly dominated by spectacle, carve out a wholly new space for alternative cinema.

It may be a little too utopian an ideal, I get it, I do. But, the writing seems to be on the wall. There is no golden ticket, are there are no rules. We are at a point in history where we really do have the opportunity to be an integral part in shaping this new landscape of modern cinema, so what the hell are we waiting for? An invitation? Someone to tell us what to do? Isn’t that the problem in the first place?

Here’s my 1st draft at a personal little three-part plan to get this going:

1) Double down on your personal investment in your craft, with the knowledge that in the end, better films, more engaging stories and solid craft will pay more dividends, monetary and otherwise, than any market research ever will.

2) Forget the film industry, seek out inspiration from those truly re-shaping the way in which we work, share work, share information, interact and live our day to day lives. The folks at Google, Twitter, Facebook, Apple, YouTube, and the list goes on…and on, are the ones on the cutting edge, driving the future. Not Hollywood.

3) Create. A lot. And share it. With everyone you possibly can. And encourage them to share it, by making it awesome.

So, maybe we don’t have deep pockets, or a vast rolodex, to get started in creating this new cinema. And, maybe we have to endure a little more sacrifice, maybe we have to shoot on nights and weekends on borrowed gear, or maybe we do have a budget, but it’s only $50K, or $25K, or 10K, or perhaps only $1K, but with that we create something amazing, that doesn’t sell to Hollywood, but does sell to people. And from that we can build, and continue to build, and experiment, and grow. Maybe during the next little while, we’re sharing our work for free online, and selling some DVDs here and there, some downloads here and there, and screening it live here and there, gathering fans here and there, and doing new, better, and more exciting work along the way, as we all steadily build a body of work. Work, that over time, increases in value, and increases our value.

It’s not impossible to make great cinema for little, or to make a living from our art, we just need to start doing it, and stop waiting for something to just happen. Christopher Nolan made Following for six thousand dollars over 2 years, Jonathan Caouette made Tarnation in iMovie for $300 based on footage filmed over his life and it was absolutely incredible, Shane Carruth made one of my favorite films ever, Primer, for seven thousand dollars, while teaching himself every aspect of filmmaking along the way, my friend Lovisa Inserra made her completely unrelenting look at a 3-time loser on the expressway to self destruction, Buster, on hand processed Super 8, and no budget. All of these films and artists blew me away, and I know that there are more artists like them out there, so let’s get ourselves together and do this thing.

Let’s make this our decade, let’s resolve to create a new, and sustainable alternative cinema. Starting. Right. Now.

* Above production still from Buster, a film by Lovisa Inserra.

This past year I had the great fortune to befriend Zak Forsman and co. from Sabi Pictures. Remarkable people, who do remarkable work.

For day one of 2010, Zak has written a great list of ‘resolutions’ that I would encourage all filmmakers to adopt as we enter a new decade of independent cinema.

His entire list can be found at the link below. One of my personal favorites from the list is as follows…

NO MORE APOLOGIES FOR ART – In 2010, I will not apologize for aspiring to make art. Art has somehow become a dirty word in may circles that consider it to be mutually exclusive from entertainment. Art IS my entertainment!

http://newbreed.workbookproject.com/2010/01/a-new-years-resolution/

Although the film was not what I would call a resounding success, (I eventually hacked away at it until 90 minutes turned into 22), it was truly one of the best filmmaking experiences I’ve ever had. Everyone working on it was 100% engaged in the process, and I was free to shoot for hours and hours, experimenting, changing things up, finding that first real true kernel of my voice and my style. I had graduated film school 6 years prior to shooting this, but see now that this was, in so many ways, my film education.

(if you decide to watch. yes on language, yes on violence.)

Be sure to visit makerbot.com.

I lifted this video of Henry Jenkins, former MIT, now USC Professor, and author of “Convergence Culture”, from her site. In it he talks about the new media landscape, including transmedia, cross platform and participatory storytelling. Enjoy!

When the so called ‘digital revolution’ took hold in the hearts, minds and working practice of independent filmmakers everywhere (including right here), it brought with it the promise of a new found creative liberation, wrapped in the package of low cost, high quality digital video cameras. Now some 10-12 years later, what began as a fresh and experimental cinematic movement, struggling initially to just have its quality of image taken seriously, (so much so that many early ‘digital’ films used a gimmick ala Blair Witch in order to explain away the video footage), has now, in large part, been beaten into the conformity of an accepted mode of production.

In the ‘early’ days, as it were, Lars Von Trier was using 100 video cameras to capture musical/dance sequences in Dancer in the Dark, Harmony Corrine was using everything under the sun, including small surveillance cameras to capture schizophrenia in Julien Donkey-Boy, Richard Linklater was creating a new animation platform in Waking Life, Bennett Miller was showing what one man with a camera could do in The Cruise, Anthony Dod Mantle was redefining cinematography in 28 Days Later. In short, the new medium was informing the work and encouraging experimentation, driving the art of cinema forward.

Sadly, the ensuing years, while inspiring a new wave of filmmakers, seemed to quell (in large part) that initial experimental spark. As ‘digital film’ production became an accepted norm, so did the penchant for ‘digital filmmakers’ to adhere to the Hollywood ‘way it’s always been done’ mythos. Slowly but surely, digital films began to look more like their dull predecessors*.

Enter Cory McAbee.

In 2001 Mr. McAbee debuted The American Astronaut, a film that, at the time, went completely against the trend. Trading new American realism for a fanciful, musical journey through a land of space cowboys, drawing inspiration from western serials of yore, and mixing cinema, music and art into an incredibly engaging and totally original lo-fi, musical masterpiece that was not shot digitally, but rather in lush black and white 35mm film.

Beyond my immediate love of The American Astronaut aesthetic, (I have a deep fondness for B&W cinematography, westerns and yes, musicals), I was struck by the boldness of the film, the unflinching vision and the maker’s complete commitment to it. From the set pieces, to shot design, characters, costuming, dialogue, song lyrics, casting, story structure, all of it…a truly free and uncompromising artistic expression that looked fun as hell to make.

I felt I was watching watching a filmmaker that knew exactly who they were. I was at once completely mesmerized and a bit jealous. Knowing who you are, and exactly what it is you do as an artist is such a difficult task. It requires countless hours of practicing your craft, honest self examination and the ability to be objective about your work. I think this is especially tough for those of us working in film, which is classified more as ‘industry’ than as ‘art’, leading one to (at times) respond less to what is going on within themselves and more to what is going on around them in the ‘marketplace’, and the anxiety that it induces (if you allow it).

Needless to say, after one viewing I had become a true fan. The DVD is in regular rotation around these parts, as is the soundtrack.

This year Mr. McAbee and crew have released Stingray Sam, an incredibly entertaining 6 part sci-fi, western serial that follows the exploits of Stingray Sam (McAbee) and the Quasar Kid (Crugie) as they earn their freedom in exchange for the rescue of a young girl who is being held captive by the genetically designed figurehead of a very wealthy planet.

Working digitally this time, McAbee still opts to buck the ‘way in which things are done’ across the board. Instead of a standard feature length film he has created the picture specifically as a serial (6 approximately 10 minute episodes) which he presents in a 4×3 TV style format, lush with 2D planetary landscapes created via photoshop collages made from paintings and photographs; the cast, other than McAbee and the narration of David Hyde Pierce, is not recognizable, the story is simple, sweet and whimsical, carrying forth the cheeky tone of dialogue and song from The American Astronaut, and then there is the release.

Stingray Sam has been released in a myriad of formats direct to audience via www.corymcabee.com. No middle man, and as far as I can tell, never any intention of having one. Building on the ‘true fan’ base of The American Astronaut, McAbee has created a cottage industry for his very specific flavor of cinema exploits. At the site you can download the series immediately, order a DVD, or do what I did, get the $49 Deluxe Edition that includes multiple download formats of the series and soundtrack as well as the DVD, the CD soundtrack, autographed booklet and a T-Shirt.

So why is Cory McAbee my hero? Very simple. Before the rest of us figured out that all you need to do is: do what you do, do it well, keep control of your work, and never be afraid to experiment…he was already doing it.

Going forth, I hope to be as bold.

* brief program note: Obviously there are many innovative films and filmmakers working digitally or otherwise,  progressing both the form and function of cinema. My greater point is that, like the first wave of ‘the new independents’ in the late 80’s and 90’s, the creative and experimental spark that initially attracted the attention to the work was quickly co-opted and to one degree or another commercialized. Causing many of those that followed to work within what was already established as accepted form, instead of continuing the experimentation.