Crowdfunding or not, it seems to me that this is where the marketing of films has been going and will continue to go. Even with a traditionally funded film such as “The Interrupters,” it would have been impossible for that film to have its continuing impact without the Internet and social media – especially given the miniscule amount of money we had to spend on marketing. Crowdfunding seems like an outgrowth of that community-building trend. We looked at all the sites and picked Indiegogo because it seemed to have a broad reach and we’d get to keep the money we raised even if we didn’t make our goal. It will all help!

Generation Food poster

Crowdfunding isn’t without its drawbacks. It’s been a learning curve. We’re finding that a tremendous amount of work goes into mounting a campaign, putting the perks together and getting the word out. It’s a labor-intensive undertaking, and I’m very thankful that my partners have taken the lead on it. There’s also no guarantee of success, just like any other type of fundraising. I’ve had my share of films for which finding funding has been extremely painful. You don’t escape that. But with crowdfunding you’re at least more in control of your fate.

Another potential drawback is that it probably doesn’t work for every type of story — it just wouldn’t have been right for “Stevie,” for example. He’s the kind of main subject that most people, I think, would have a hard time being inspired enough by to make a donation. However, in hindsight, I think “The Interrupters” would have been a success if early on we had put together a video featuring one interrupter that showed what he was doing. We’ve found that people feel very strongly about the issue, even though back when we were making the film we often wondered, “Who is actually going to want to see this movie?” But that’s hindsight.

So crowdfunding should not be viewed as the savior of documentary filmmaking. You need other opportunities for filmmakers to tell stories that aren’t necessarily issue-oriented or about heroic subjects. That’s the hardest funding to get from regular means anyway, and it may be even harder this way. Plus, traditional sources of funding — foundations, broadcasters, distributors — still need to do their part. They shouldn’t be let off the hook, so to speak, in the brave new DIY world.

And that’s because, given how expensive it is to make a feature documentary, the level of support most filmmakers can muster from crowdfunding isn’t going to fully fund their film. (Yes, I know there are exceptions, but that’s precisely what they are.) Key funding early on — or on the home stretch to finishing — can truly save a film.  When I was starting out and banging my head against the wall trying to secure initial funding, crowdfunding would have been a godsend. 

So overall, I think it’s a great avenue. I can’t imagine a better film for this approach than this one, especially at this key phase. This project will be community-based in how it is delivered. Raj Patel has contacts around the world, and he has a tremendous network helping this get off the ground. Raj and team member Meredith Palmer, in particular, have been absolutely inspired in their efforts to seek out support and draw attention to the project. Recently, Raj was even able to get a couple of generous donors to put up matching grants that really gave the campaign a second wind. With this support, we hope to find the kinds of compelling stories that will put us in a much stronger position to go to traditional funding sources when it comes to financing the actual production.