A diary of my
arduous process to develop, finance,
produce and distribute a totally independent, digital, feature film (DREAMS
AWAKE). Come along for the
ride, comment if you like, and maybe we’ll learn something, and of course have a little fun.
Originally I gave myself from March 15, 2005 to September 15, 2006 to turn
my dream and vision into reality, with only my imagination to
guide me. Since we all know film development can be
unpredictable and full of unanticipated obstacles, a self-imposed
deadline should not jeopardize the project's quality. My new
timeline was more flexible and production finally commenced
in July, 2007 when the script was where it needed to be in order to tell an
engaging and original story. Check in
regularly for the ongoing progress. We wrapped in September 2007, and
in early 2010
finished up from a prolonged post-production period. We are
looking forward to a 2010 release ... Jerry Alden Deal
Our
film just begins the conversation, one only you can finish ...
I've been
working on the new website a lot lately, and am realizing why it's
taking more time and effort than I ever thought it would to put
this all together. First, I have at least a half
dozen other little projects going on that are associated with
getting this film out into the world. My attention has been
split way too much, and maybe my multi-tasking skills aren't up to
snuff. Oh well, tough, guess what, I have to do it anyway
...
Second,
this website is going to be more than just a common film website.
It will be serving three functions, and getting all those to work
harmoniously and completely is going to a quite a challenge.
What three functions? Number one, it will have the
typical elements a site for a film does; info about the
production, the cast, the story, the filmmakers, with pictures and
videos, etc., except without all the fancy flash that most studio
films have. Number two, it will serve as an blog for
the film's ongoing journey, essentially replacing this blog (as
previously mentioned). So, number one, there will be static
pages and number two, there will be pages that continually change.
And not just blog pages that change, but pages with news and
screenings info, and other events that will continually be
updated. And finally, number three, and possibly the
most difficult of all, we will more fully develop the issues that
the film only touches upon. Because actually, the film was
only meant to start the conversation on these issues, to open the
door if you will. I mean seriously, the issues raised can
hardly be deeply delved into in less than 2 hours. So, it is
going to be an expanded place for people to interact and talk with
others who have seen the film. Yes, this area will only be
available for those who have seen the film. This actually
should be exciting and fun, as we'll certainly be stretching the
unconventional here. More, much more, on all that later ...
Third,
well, I think it's because I'm getting pretty worn out. This
has been quite a marathon, albeit an exciting one. But
still, damn it, I'm getting tired. I don't know how many
times I've actually seen the film, either in parts or completely,
but wow. You know the saying, 'can't see the forest for the
trees.' Well, I wonder sometimes if I can even see the
trees. And no, I still don't know if they make any noise
when they fall, especially if I don't even see them? ...
No
worries, I'll be fine. No way I could ever throw in the
towel now anyway. Yes, I think there are bright bright
horizons ahead. We just have to keep on the path, even if
every once in a while we have to take a breather or forge a new
path in a fresh direction. Yes, the adventure continues.
Still along? ...
Jerry
October 22,
2009 - Onward & Onward
We're
still here, working behind the scenes...
Yes, we're
still working on the new website. Seems we probably have
more material than we need, so we're continually rethinking what
material we're using. Also, we've redone several features
here and there, and I've realized that we had to customize it
based on how we're bringing the film out. And as you may or
may not know, that continues
to change with the weather, it being an ongoing project figuring
it all out. What an adventure! ...
In the
video section of the site we've decided to have some clips of
scenes that were deleted from the final edit, features that
obviously are sometimes DVD extras. But we thought they'd be
fun to put there. And actually here is a behind-the-scenes
clip of a love scene that was completely cut from the film.
This is just a tiny snippet of a more complete scene. Just the
kiss. Over and over. Erin and Gary were marvelous here
(as well as the crew of course). But really rough work, huh? And yes, damn, we are
sorry to see it go. So, enjoy! They'll be more to come ...
Unrealized Love
Jerry
November 3,
2009 - DIY/DIWO Horizon
Do it
yourself and do it with others, distribution that is ...
We are
beginning a hard, long (and winding) road into the abyss of
self-distribution (with a hybrid option we intend to exercise when
called for). One laced with lots of pitfalls, but also
lots of opportunities. So, I thought I'd throw out some (no
a lot of) material on the subject, just in case you're interested
in all that. Anyway, read what a number of people who are
working in that world have been saying the last several months ...
I was
lucky enough recently to spend some time back up at Mt. Shasta, while
going over and planning some of our marketing and distribution
strategy. Just before that I had been informed that Joan
Lucas, who lived in the area and who had a bit part in our film,
had recently passed away. She was very involved in local
theater and dance, as well as quite a number of other activities.
In her early years Joan had danced on Broadway, in nightclubs, on
television, and yes, in the movies. Her main claim to fame
was that she had a small part as a dancer in the well-known film,
"Singing in the Rain" in the early fifties. That film starred young stars Debbie Reynolds and Donald O'Connor,
and of course established star Gene Kelly ...
Joan had
some great stories about working on that film, especially the one
about her almost getting fired by Gene Kelly because of something
she got 'caught' doing during one of their breaks. They had
just been rehearsing a steamy dance scene with Gene Kelly and Syd
Charisse. But while most everyone was on break, Joan
(playing Charisse's part) and a friend spoofed the scene they had
just seen rehearsed. Unbeknownst to them, Kelly had just
entered the stage area and saw what they were during. Fuming
about them 'mocking' him, he stormed out to talk to the person who
hired the dancers, and demanded that Joan be fired. That
person convinced him that Joan was a great gal and didn't mean
anything by it. Joan luckily dodged a bullet there ...
Another
set story. One day while shooting publicity shots, Kelly
requested that all the dancers crowd around for a shot.
Joan, standing behind and just to the right of Kelley, who was
decked out in tails and a top hat, was in a great position for the
shot. But just before they were ready to shoot, Kelly pulled
off his top hat with his right hand, raising it just enough to
block the view of Joan's face. Being the quick thinker she
was, Joan immediately pulled her head down to where in the shot
her head appears to be right on Kelly's shoulder. The shot
is great and Joan's face is very prominent in it, right next to
Kelly's ...
Anyway,
there was a great public remembrance to Joan put on by her family.
It was held at the largest theater auditorium of the College of
the Siskiyous, the local college where Joan had taught local
dancers. It seemed a large part of the town turned out for
the event. There were speakers, dancing entertainment, and a
DVD screening of her life. It was quite an affair and I was
lucky enough to be there. And plus, they asked me if we
could put together some clips of her working on the film.
And I was quite pleased to do that ...
One last
story about Joan. When we decided to cast some of the bit
parts locally in the Mt. Shasta area, we weren't sure who to
connect with in the area. A friend of mine there suggested
we talk to Joan. So the casting director and myself met with
her at the Mt. Shasta Resort one afternoon. We had a good
meeting with her and we both felt she was quite a character.
So we suggested she try out for one of the parts, which she did.
The part came with only a couple lines, but she came in character
and pulled it off easily. When we were filming here was
actually talk of possibly expanding her role in the scene, but
that just didn't work out. I do have to say, even though
it's a cliche', that she really was quite a woman. And now
you get to see a little of that yourself. As always, enjoy
...
Jerry
November 27,
2009 - The Release
A
marketing problem, not a distribution one ...
As this
year gets closer to ending and we head into the holiday season,
our attention is certainly focused on our main task at hand for
next year. Releasing our little film. Finally.
But instead of going into a lot of detail right now, I'm want to
get you thinking a bit and refer you to an article written by
DIY distribution guru Jon Reiss, which was recently in
Indiewire:
Jon Reiss: “We are in the midst of a new
world order or crisis”
(November 17, 2009)
Much has been said and written about the
current distribution crises of independent films, I am not going
to belabor the horror stories here. But just as a way of
introducing myself – I will give you a brief introduction to my
own horror story.
In 2007, I was at the Tribeca film festival
where I was trying to sell my documentary “Bomb It.” We did
everything by the old school book, kept the screeners a secret, we
spent $20,000 launching the film at the festival, with the result
of packed houses and hundreds of people turned away. After all
the excitement, what we had were a few $10,000 all rights deals
that we rejected. A week after Tribeca, our film was available
for sale on Canal Street — as a bootleg.
A number of lucky films each year will still
get overall deals that make some kind of financial sense for
them. However these deals are not available to the vast majority
of filmmakers at this time. We are in the midst of a new world
order or crisis.
Just as the digital revolution spawned a
democratization of production, it is now spawning a
democratization of distribution and marketing. This new way of
filmmaking – and I include distribution and marketing as part of
filmmaking - is about connecting filmmakers with audiences and
creating long-term relationships with them. It is about thinking
outside the box in terms of form and content. It is about
embracing the changes in our industry that are facing all of us—
and using them to spur new creativity.
Times of crises lend themselves to manifestos
and I am going to use this opportunity to propose my own. This
manifesto will speak to those filmmakers who are uncertain about
the distribution and marketing of their films and want to know
what alternatives exist to traditional forms. It will also speak
to our partners in the industry such as distribution companies,
festivals, guilds, funding entities and the like.
1. KNOW YOUR FILM/KNOW YOURSELF - EVERY FILM IS
DIFFERENT AND SHOULD BE TREATED AS SUCH
The studio model of distribution was created
because it made sense for large mass market films, and for a time
it worked for some independent films as well.
However each film is different, and many
independent films did not fair well within the studio machine –
because they were not marketed to their unique audience.
It is best to determine what distribution and
marketing path makes sense for your particular film and to do so
as early in the process as possible. This plan/strategy will
change over time and will evolve organically as your film evolves
but you need a starting place.
Going through this process will not only save
you a lot of grief, but will help you achieve success for your
film whatever that may be.
Before embarking on releasing your film you
should evaluate your film and your needs. Depending on how you
release your film, it can cost a lot of time and money.
Look yourself in the eye, take a cold hard look
at the film and determine how much time and money you are willing
to spend on the release of it. Are you going to take a year or
two of your life to devote to a full release including some form
of theatrical, DVD, digital etc.
Also determine what type of film it is, even if
it is brilliant, there might be only certain audiences that will
take to it.
The point is to match the distribution path
with the film, to balance your time releasing a film with the time
needed to create new work.
2. CHANGE YOUR ATTITUDE TOWARD MARKETING
As an iconoclastic, ex punk rock anarchist neo
Marxist who most recently made a documentary about graffiti and
the battle over visual public space, I feel that I have come about
as far as anyone could come in this embrace of marketing.
I would argue that the biggest problem facing
independent film is not one of distribution – it is one of
marketing. It is one thing to put your film out into the world,
it is another to get people to know about it, and want to watch
it.
It is not a matter of changing your work to
meet a supposed market. But to consider what kinds of audiences
might be interested in your work and seek to cultivate them.
The artificial divide between art and commerce
must be eliminated.
Most if not all filmmakers if they are truly
honest with themselves, want as many people to watch their films
as possible.
I propose that filmmakers view marketing as the
way to connect with the audience of their film that either already
exists, or should exist.
This process can be reverse engineered. Start
with an underserved niche that spends money on content and create
a product for them. This is a tried and true way that
manufacturing (and much art) has been done for thousands of
years. Are we so pure that we must be the only workers who eschew
patterns of consumption? Even Michaelangelo and DaVinci created
work for Popes and Kings – and no one accused them of selling
out. Somehow these artists managed to make this work their own.
In other words – embrace restrictions as a
mother of invention and opportunity. This is not the solution for
everyone, or every film – but it is something to consider.
3. DETERMINE YOUR AUDIENCES AND HOW TO REACH
THEM FROM INCEPTION
Many independent filmmakers for many years have
made films without thinking about who the audiences for their
films might be. Or their ideas about audiences are much too
general. Alternatively the studios have erred on the other side
and catered to a mass audience and left any form of specialty
taste behind.
But audience identification should be a
constant process of discovery during the production (and prep,
post and distribution) of your film. It is difficult to market to
your audience if you don’t know who that audience is.
How will you reach those audiences?
How do those audiences consume media?
You should provide ways for your audience to
consume media in the ways they desire.
START THE PROCESS AT INCEPTION
It can take a long time to engage your audience. As important as
developing individual audience members are connections you can
make with organizations that will help you expand your reach.
This audience engagement (aka marketing) will
be much more organic if you integrate it into the whole life cycle
of a film.
By starting during prep and production, you are
allowing your audience to be involved in the creation of your
work. This in turn invests them with the success of your film.
This can happen through crowdsourcing of various creative aspects
of the film or through crowdfunding the budget for the film.
These engaged audience members will be active core promoters
because they will feel a connection with your film.
Even if you are picked up by a distributor, any
marketing work you do in advance will not only help you during
your release, but might actually help you get stronger
distribution deals than you would have otherwise. Having a robust
email list, active Facebook, Twitter and YouTube accounts with
many friends and followers is value.
Your fans exist. You just need to find them.
The way you do that is through distribution and marketing.
4. WHEN YOU HAVE FINISHED YOUR FILM, YOU ARE
HALF DONE
Distribution and marketing can take as long and
cost as much, or more than you spent on your film. The new 50/50
is not a revenue split but the mental shift that filmmakers must
make about the filmmaking process.
Too many filmmakers have no resources for the
second half of the process once they finish their films. It is a
shame. Why make a brilliant wonderful film if you do not have the
resources to get it to its audience.
This is not a hard and fast rule, remember all
films are unique. But it is a good guideline when embarking on a
project.
- Money for distribution and marketing should
be budgeted for, raised and put into escrow. It is far better to
have $50,000 to release a $50,000 film than to make a $100,000
film with no way of getting it to an audience.
- We must create new crew positions to be
responsible for these tasks.
Just like you most likely did not make the film
on your own, you should not be distributing and marketing the film
on your own. I would argue that from now on, every film needs one
person devoted to the distribution and marketing of the film from
inception, just as they have a line producer, assistant director,
or DP. Since it always helps for a crew person to have a title I
propose the following:
The Producer of Marketing and Distribution or
PMD
This producer needs to be integrated into the
film production team itself. They are not responsible for the
physical production of the film (because if they are – you and I
know they will never do their distribution and marketing work).
5. WE MUST TAKE BACK THE THEATRICAL EXPERIENCE AND REDEFINE IT
AS LIVE EVENT/ THEATRICAL
Many people feel that the theatrical release is
dead. It is too expensive and time consuming for independent
filmmakers to engage. I believe it should be reborn.
Theatrical has come to mean a paid screening in
conventional theaters with built in sound and visual projection
that start on Friday – end Thursday with a review Friday in
venuses that all sell popcorn.
Any booking of a film into a projected
environment that does not meet the conventions outlined above
falls into a category of “non-theatrical” or “semi-theatrical”.
Given that these screenings are defined primarily in negative
terms (non-, semi-,) it is not surprising that they receive a
second-class status.
This classification of theatrical markets
wasn’t always the case. In the earliest days of motion picture
films, screenings occurred in a variety of spaces: storefronts,
tents, public parks, churches. Films often toured with vaudeville
acts or circuses or on their own.
It is time for filmmakers to reclaim the
meaning of a theatrical release so that it is inclusive of a
multitude of live-screening event scenarios.
Live Event/Theatrical should be defined as any
exhibition of a film to a live audience, following whatever formal
guidelines are intended by the filmmaker.
With “live,” I am emphasizing the communal nature of the
filmgoing experience.
I also want to emphasize the “event” nature of
the screenings: Something special is conveyed by going to a
screening at a specific time at a specific place. The more
specific that time and place is, the more it will take on the
qualities of an event. It also encourages filmmakers to think of
ways to turn their screenings into events.
Theatrical because independent filmmakers like
to say that they had a theatrical release. It’s a term that has
been in use for decades; let’s not throw it out, let’s take it
back.
Venues can and should be as diverse as:
Conventional film theaters; Community centers; Bars, cafes, and
nightclubs; College auditoriums; Churches; Parking lots; Parks;
Galleries
For a green release you might want to consider
digital transmission of your film into theaters, avoiding the
carbon footprint of print creation and shipping. You might also
champion community screenings and discourage people driving cars
to attend, encouraging transportation by foot, public transit, or
bicycle. I am not kidding.
6. CREATE PRODUCTS PEOPLE WANT TO BUY
Is it a wonder that in the digital era people
have stopped buying DVDs? For what is a DVD but a package of 0s
and 1s in a crap plastic case.
We should look to musicians who have struggled
with this conundrum for longer than we. Just as they are touring,
many of them understand the difference between a physical product
and a digital product and not only price them accordingly, but
create added value to their physical products that cannot be
replicated digitally.
Consider items that your fans and audience will
want to purchase, it will be different for every film. Consider
books of photographs that contain the DVD. Video games, Toys that
can be printed on demand with new three dimensional printers.
If you wish to have a green release you may not
want to manufacture any products at all, thereby not using scarce
resources for the production, distribution and disposal of
consumer goods.
7. DIGITAL RIGHTS ARE A MINEFIELD – BE CAREFUL
Any form of viewing media that is solely
delivered electronically as 0s and 1s falls into the realm of
digital rights, whether it is viewed on a television, computer, or
mobile device and whether it is delivered over the air or via a
cable or wire. Is there any real difference for the consumer
between a broadcast signal and wireless internet?
The television is just one viewing platform for
digital rights. Cable is just one delivery system for digital
rights. Many free streaming channels are building themselves as
television channels for the future.
There are two certainties:
1. Companies buying your rights, whether digital, cable, home
video, or domestic or foreign, will try to get as many of your
rights as they can, whether or not they have the ability to
exploit those rights.
2. Little by little, television/cable/digital
rights are competing for one another’s business.
If a company does not have the ability to sell
your rights and is not willing to offer you something for those
rights, you should push hard not to give them up.
But one ever so slight misstep in this process
can blow up in your face: deals cancelled, people pissed off,
money down the drain. But you can survive. Perhaps you’ll lose a
finger or hand but make it through alive).
In keeping with the minefield metaphor. You
should:
Hire a Bomb Squad: Get a consultant, digital
distributor, or lawyer, who knows the digital landscape and will
fight to retain your rights, and more importantly strategize your
digital rights.
Keep a map of the minefield. Record all your
deals and track them, no one else will.
8. ENTERTAINMENT COMPANIES MUST MOVE BEYOND OLD WAYS OF DOING
BUSINESS
Just as filmmakers must think out side the box
in terms of the way they make and distribute and market films,
companies need to do this as well.
Everyone is hurting in the birth of this new
paradigm, so more than ever it is necessary to work together.
I believe it is important for filmmakers to
collaborate with experienced and reputable companies in getting
their work seen. Unless you are completely committed to DIY for
philosophical reasons, or because you cannot find a company to
partner with, I recommend DIY being a last resort. You will still
end up doing more work than you can imagine on a release in a
company supported split rights scenario.
In turn, companies need to embrace the split
rights world we live in and stop being so omnivorous of our
rights, if you are not going to provide monetary compensation for
those rights or have no plans to you should not demand them.
Companies need to be more transparent about
their ways of conducting business.
Companies and festivals must be open to
creative windowing strategies and not punish filmmakers for doing
the work they need to do to reach an audience and monetize their
film.
Companies should share information and
techniques with the film community so that we can learn as a
community.
Festivals should open up their communities of
audiences for new ways of collaboration with filmmakers seeking to
engage with those audiences.
Festivals should break out of traditional
models and recognize their role as as curators. They should take
this one step further and use their existing acquisition apparatus
to secure films for distribution and find creative ways to
distribute new content to their audiences and the world.
9. EXPLORE NEW WAYS TO TELL STORIES
We live in a fractured marketplace for media.
Audiences have media and consumption preferences. You can’t bend
them, you must accommodate them.
We must embrace new forms beyond the short and
the feature and recognize that a film can be one part of a larger
narrative universe that can be explored in a variety of mediums.
Think of a story that takes place via a feature
film, but extends out over mobile devices, gaming consoles, social
networks, through websites, text messages, downloadable clips, or
iPhone apps. An exciting amount of creative potential awaits
adventurous filmmakers.
Further, audiences want to participate with
culture. By allowing them to participate, filmmakers open
themselves up to a deeper relationship with their audiences.
Don’t be proprietary with your media. Give
people assets — footage, sounds, environments. Let them re-edit
your scenes.
Not all of your audience is going to engage in
this way, but a devoted core who will. It is this core that you
can turn to as advocates of your work, who by participating in the
expanded experience you provide for them will actually become your
marketing allies.
Just as we have to break down the artificial
construct between art and commerce, we need to end the divide
between creator and audience. Let them play and participate with
you. Don’t worry – you are still ultimately in control – or
perhaps it might be better to lose control.
10. WE MUST SUPPORT EACH OTHER AS A COMMUNITY
Filmmakers are lovers of film and our best
allies. We must support one another’s work. Stop asking for free
copies or trades, if you want someone’s film, offer them $15 for
it. Better than that, be there on opening weekend. Give them
$25 or $100 when they start crowdfunding. The more generous you
are – the more you will receive in return.
Similarly, if there is a film that you love –
support it in other ways. Use your newly developed social
networking skills to tell your own fans and followers why they
should see the film. They are your followers, they are interested
in your tastes and opinions, use that power to the good of the
film community.
Be transparent with your data. Help other
filmmakers learn from your experiences. I am creating a
distribution and marketing tools website that will enable
filmmakers and companies to share information about their
experiences and the resources that they provide.
The book and the website are first steps toward
keeping us as a community from reinventing the wheel each time and
to increase the rapidity of information so that instead of
shooting our selves in the foot, we can move forward and spend
more energy on creative pursuits.
SO THAT’S THE MANIFESTO - I AM OPTIMISTIC ABOUT FILM - PEOPLE
NEED TO TELL STORIES
People have been gathering around fires to tell
and listen to stories since the birth of humankind. The form and
delivery of those stories will change, but not the need. The
process of how to release and market your film in today’s digital
landscape is covered in my book released this week.
More information on Jon Reiss and his book
can be found
on his website.
Jerry
December 8,
2009 - The Release II
More
clues to chew on ...
I'm going
to give you a couple terms to do an online search for; "transmedia"
and "viral expansion loop". For some of you, these concepts
may not be new at all. They will serve as a couple keys to
our film's marketing and distribution strategy next year. A
strategy that keeps morphing into a plan which I believe will be a
very unique way for any film to be distributed ...
Now, I had
heard of transmedia before, but had never really delved into what
it had all entailed. I certainly never considered before
now that our little film could use some elements involved in that
type of media experience. But curiously enough, there were
some ideas I had for the film before we ever shot it that just
happened to fit into this 'alternative' media world. Go figure, so
it had actually been a part of our strategy before I even knew
what it was ...
Viral
expansion loop? Quite a mouthful, huh? Hell, it was
enough to know what each word meant by itself. Never mind
putting all three of them together and trying to figure out
exactly what that meant. While coming across some cutting
edge viral marketing campaigns, that term kept coming up.
And also, probably like you, I'm certainly getting tired of
hearing everyone banter around about "viral marketing". Talk
about overusing a cliche'. Sheesh. Anyway, about this
'viral expansion loop'. Seems to one of the holy grails of
marketing these days, and not an easy thing to create and keep
going. We'll certainly have our hands full with all of that
...
As a final
note, I have some (more) bad news to report here; yes another
passing of someone from our "film family". Katherine
Michelle Broderick, who was the hair and makeup person on our
film, recently passed away unexpectedly, certainly at too-young an
age. Our deep and sincere condolences go out to her family.
She left us all way before her time. Oddly enough, just
before we got the news, we had just completed this
behind-the-scenes video clip, which we recently posted on Facebook.
In the video she is working on one of her more difficult make-up
tasks, aging someone a couple decades or so ...
Jerry
December 21,
2009 - Time Off
A few
rays, a few flakes, a few more zzz's ...
As this
year closes out and a new decade starts into this new millennium,
I've decided I need to take a break from all this for a couple
weeks. And to get my batteries recharged and ready for the
last piece of this great journey our film will be taking into 2010 ...
Wow, a
five-year journey on it's last leg. We've come quite a ways
and yes, there is light at the end of this long tunnel. A
light I feel is going to be very bright. Yes, I'm an
optimist by nature, no matter what else may be going on around me.
I guess the world could be falling apart around me, and I'd nod
and smile, and think okay, tomorrow will be a better day.
And yes, I feel it's quite justified in our case that is all good.
I count my lucky stars (almost every day) that I get to do
this, that I am in this very situation in my life. Look what
I get to do, get to learn, get to experience.
How much better can it get? I guess I get
to find out ...
Also,
beginning next year we'll be talking more about the issues that
the film brings up, and attempt to expand on them and get some
conversations going about what the film really is about.
We'll mix that into the ongoing journey of getting the film out to
you, because we feel the film is just a starter. A starter
into a much longer journey, way beyond where this film could ever
go ...
Anyway,
I'll be traveling a bit to a some scenic places, taking it easy
and kicking back, enjoying the world around me and forgetting
about all this fun work ahead of me. In the meantime all of
you out there have a wonderful set of holidays, however you
celebrate them. When I'm back we look forward to serving up
a very exciting and intriguing set of experiences for you in the new
year. Be well all!! ...
And yes
it's true, the new decade in the new millennium really is about
here, but what
is this secret these people are talking about? --
http://twitter.com/SilverRoseLumin
-- And what does it have to do with our film, if at all?
Check back next year and hopefully they will let us all in on it,
so we can keep all of you in the loop. The adventure
continues ...
