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who’s been willing to accept that unpredictability and live without frills.

We’ve interviewed musicians who now self- release their own work. Lynn Myles stated “the music industry is eating itself,” while Glen Phillips said “the music biz doesn’t know what it is anymore.” Is self-release the future of cinema?

Like the music industry, the film business is and will be in a state of fluctuation for the next few years. The problem that’s persisted in both industries for years is dishonesty. Labels and distributors are notorious for ripping off artists and it seems to have only gotten worse more recently. Now that artists can self-release much easier, they’re avoiding the middlemen entirely and thus the labels and distributors are swimming. In addition, disk sales are turning into downloads and streaming and profit margins haven’t been as high so a lot of people are panicking.

The model is inevitably changing, but into what exactly I don’t know. I suspect that studio films will be made with less money, but will likely be more unique and creative than current studio films and I think indie films will primarily be self-distributed.

Though we’ve self-distributed Ink, I certainly don’t want to see the indie distributor disappear, just the bad ones. It’s wonderful that we musicians and filmmakers can now be our own distributors and marketers if we want, but I don’t think it’s ideal. Filmmakers should be making films and musicians should


be writing songs. We all want partners, people to help, we just don’t want to be ripped off and lied to.

We’ll see how it all works out, but I think both the music industry and film industry will stabilize in the next few years, we all just have to be willing to think differently.

When your film was leaked online, you seemed to embrace it as added exposure. Still, as an independent artist, didn’t that sting a little? We really were thrilled about the Bittorrent because it turned our tiny little film into a worldwide hit in about 24 hours. We knew by this point that we weren’t going to have any sort of distribution backing or big marketing dollars, so the exposure that the torrent gave us was huge. For us, it was an extremely good thing and we never saw it as anything else.

One of the major reasons we found you was through your trailer, which spread through Facebook, etc. like wildfire. How did you approach marketing? Did

you know, while shooting the film, what images would lend themselves well to the film?

I did think about the trailer throughout the process primarily because I really love trailers, but I didn’t have it all figured out in advance. We would be shooting and one of us would say, “That’s a trailer shot” and usually it was.

We knew that the only type of advertising we could do was online. We had absolutely no money, but we also knew that our YouTube trailers were going to be the most effective advertising anyhow. So we put all our emphasis on passing around those trailers. Fortunately we had a tight fan base in advance so a lot of our fans and our cast went crazy and posted it everywhere they could. It spread really fast and started getting on various big film sites.

Kiowa designed our website and really started pushing Facebook and Twitter. A lot of fans really reached out and helped us and that was the key to the audience we have today.

How difficult is it to juggle multiple roles (writer, composer, editor, etc.)? What creative processes/ approaches do you have for each role? I really love and hate every step of the process. I learned to do everything because I started so young and never had any help with those jobs. No one was sending me scripts when I was 13. The advantage is that I really see every aspect together when I work. I’ve developed the habit of writing music while I write the script and then edit to that music once the film is shot. It’s a little different way of working, but a lot of fun. The downside is that you can only be so prolific when

you’re doing half the jobs.

What’s next? Kiowa and I are preparing the next film. It’s still hush-hush for the moment, but we’ll start talking about it a little more in a couple months. We’re making a lot of choices right now about how we’re going to produce it and how to maintain creative control while potentially using a larger budget than we’ve used in the past.

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