To purchase Do No Harm on DVD: http://www.shop.donoharmmovie.com
Do No Harm Website: http://donoharmmovie.com
Do No Harm on Facebook: https://www.facebook.com/DoNoHarmMovie
To purchase Do No Harm on DVD: http://www.shop.donoharmmovie.com
Do No Harm Website: http://donoharmmovie.com
Do No Harm on Facebook: https://www.facebook.com/DoNoHarmMovie
Roddy Bogawa’s fascinating documentary, Taken by Storm brings us into the world of Storm Thorgerson, co-founder of Hipgnosis, the company responsible for the unique and often-startling designs of dozens of classic vinyl album covers from the late 1960’s to the 2000’s including such iconic album designs as Pink Floyd’s “Dark Side of the Moon” and Led Zeppelin’s “Presence.” In showing Mr. Thorgerson at work, Mr. Bogawa takes us into an earlier era of artistry, where physical crafting and painstaking staging of photographs were relied on as opposed to the technical shortcuts of today’s computer-generated ease. When Mr. Thorgerson set out to create the cover of Pink Floyd’s “A Momentary Lapse of Reason,” depicting dozens of hospital beds lined up in the English countryside, dozens of hospital beds it was despite the obstacles one would expect to find in arranging such a photograph including the inevitable English rain.
So, too, has filmmaker Roddy Bogawa continued to work often with 16mm film, preferring to get his hands dirty rather than clicking on a mouse. Excerpts from a recent conversation with Mr. Bogawa about Taken by Storm and his approach to film are below. Taken by Storm premiered at South By Southwest in 2011 and screened at the Museum of Modern Art in 2013 as part of Roddy Bogawa: If Films Could Smell, a mid-career retrospective.
Mike Fishman: You’ve worked a lot with 16mm film, which has a tactile nature to it as compared to digital video. Was part of what drew you to this particular subject the tactile feel of film and your interest and teenage memories of album covers, which often opened up to reveal more design elements?
Roddy Bogawa: Absolutely! I learned how to make films doing black and white photography and then super-8 (which was like trying to work with curly pasta!) and then finally 16mm film. I’ve done almost all my work in 16mm film because I love the image, the grain of the film, and the physicality of working with it – threading a film camera magazine, loading and unloading it, even having to take it to a lab to get processed. My last three feature films were all cut in 16mm on a Steenbeck six-plate editing machine which means you work with tape splicers, grease pencils, sharpie pens, and boxes and boxes of film and sound rolls. My memories of learning to work in film have to do with all of this…the editing room as an absolute mess. There used to be notes and pictures taped all over the walls, you could smoke while working, old burrito wrappers on the floor. It was a studio! Now with computer-based editing systems (and I don’t say ‘non-linear’ because cutting on a film flatbed is non-linear editing), you’ve got none of this. You sit in an air-conditioned room, calling in a sushi lunch, and staring blankly at a computer screen for hours. There’s precisely NO physicality to this other than the click of a mouse. Not only is this terrifyingly boring to me but I have a belief that the fact that with film editing you would have to move around, pull the film, look at your cutting marks, find your log sheets to locate a shot, thread and re-thread reels, creates moments when your eyes are forced to look elsewhere and your brain drifts into another space where you get ideas about editing and relationships of shots and concepts.
The act of editing should really be the physical act of articulating your thoughts, but computer-based editing pushes you to be lazy because you can always undo your last edit with a key command. Even if you are quick with a tape splicer, an edit would take a certain amount of time and thus you would think about why you were making a cut before you would do it. This for me is a huge geological shift in editing that came far too quickly. I’m not a technophobe in a cave but I do think tools affect creativity and these particular tools aren’t predisposed for thinking. It’s the same with writing. How quickly has the method of how we write changed with first the word processor and then the computer? At this moment, I’m answering your questions while typing on a laptop and editing and re-writing at the same time as punching the keys rather than trying to write out a draft and then going back and doing a re-write. I try as much as possible to not do this with writing and also editing on a computer system but it’s fighting a landslide of bad habits formed by technology.
It’s a good correlation to pose vinyl records against this parallel shift and I do think it’s possibly one of the reasons that opened the door between Storm and I. Not that we were anti-technological curmudgeons but that we intuitively felt this shift and recognized the larger social function that was getting lost in the shuffle. Vinyl records were not just physical objects but also the source of information in the pre-internet days. This is where you would read about who was the producer and engineer, what musicians played on the LP and also of course, who designed the cover and packaging. Hipgnosis was a name that popped up on many records that I had as a teenager and I was fascinated by the fact that sometimes the “company” or whatever I fantasized it was, was spelled strangely and also occasionally mis-spelled as “Hipnosis.” This was also where you studied pictures of the band to model your clothes or hair style on and when I got into Punk music, where I thought about politics, albeit naïve at the time.
Storm and Po’s covers (Aubrey “Po” Powell was the other founding member of Hipgnosis) were always never easy to pin down and did in fact have many visual puns, hidden meanings, etc. embedded in the design. This was not simply clever packaging but rather taking the notion of packaging to an entirely new realm of meaning. Storm continued this throughout his career up through StormStudios and realized that what he called his “job” was not simply to market the band but instead to create what he called a visual parallel to the music. Thus, the majority of his covers are artistic pieces in and of themselves. In a funny way, I also think this freed up the musicians in certain ways – not locking the image from a cover of one of their records to a particular look or time period thereby dating it.
MF: It’s fascinating how the images on album covers become intertwined with the music, such as the prism on “Dark Side of the Moon” or “The Lamb Lies Down on Broadway” where the cover directly supports the actual story of the album and the story Peter Gabriel wrote that appears on the inside cover. Do you think the packaging of music will ever move back to something larger or different that will somehow incorporate that experience or we inevitably moving towards only downloadable files?
RB: I really doubt that album covers will shift back to that kind of interplay with the music and in that way, Storm was a true pioneer and genius. He, of course, was not the only one working like this and there is a handful of other designers I quite admire but I have to say Storm was one of a kind for his dogged dedication to exploring imagery in relation to music. That the “Dark Side of the Moon” cover developed from the iconic prism and refracted light graphic to images of pyramids and triangles and such, symbolizing ambition and madness, is emblematic of how Storm’s imagery was expansive in meaning.
The other cover you mention, “The Lamb Lies Down on Broadway” really is kind of a perfect match to some of what I think was Storm’s strategy in numerous designs. I told him once that one of the overarching interpretations I got from looking hard at the bulk of his design work was that they resembled film stills or still images from a scene caught mid-action which was what always made me curious about what had just happened prior to the image or what was just about to happen. He grinned at me and that was the moment he told me he had studied filmmaking at the Royal College of Art. In fact, Po, his partner, also studied filmmaking at college and after Hipgnosis folded went on to direct numerous music related projects and documentaries as well as commercials. “The Lamb Lies Down on Broadway” by Genesis and “Deloused in the Comatorium” by The Mars Volta decades later are both concept albums that are visually evocative so these are cases where the music is moving more into his terrain of expertise. And most of all in something like “The Lamb Lies Down on Broadway,” Storm got to do more than one picture for the album! He must have loved that.
While making the film over three years and spending a lot of time with Storm I decided the medium that might have worked best for him was one that got abandoned pretty quickly – the CDRom. In the architecture of a CDRom, he could have had multiple entries and exits to the imagery. It was really the epitome of a rhyzomatic form and Storm’s mind worked in those associative methodologies. I don’t think you can have the same type of pathways of information in an ebook or website with hidden buttons, etc.
In terms of the move from vinyl to CD to mp3, it’s terribly sad, not just for the music industry as it suffers financially but also how we all have lost a real social element that was in my mind very significant. The notion of sitting your friends down after dinner and spinning a record or loaning an LP to someone is completely lost with digital files and how music is now “shared.” We’ve given up what was a bonding tribal ritual for supposed convenience and consumption and moved from music unifying groups of people to the “I-Pod” and “I-phone.” Me. Me. Me. It’s the same with physical photo albums. My grandparents’ photo albums still exist and are on the shelf to pick up and look at, pictures that are 75 years old, but will the same hold true for all those hundreds of thousands of digital photos we’ve got on our hard drives? Unfortunately, I think not.
Above, from left to right: editor Karen Skloss, filmmaker Roddy Bogawa, Storm Thorgerson, and StormStudios photographer Rupert Truman at South by Southwest Film Festival, 2011. Photo courtesy of Rupert Truman.
MF: This may be an impossible question to answer but taking an album like “Dark Side of the Moon,” how much do you think the cover added to the mystique of the album? Do you think the album might have had a different reception if the cover had featured, say, a simple shot of the band on it? And by that I mean not an interesting shot like on Pink Floyd’s “UmmaGumma,” but just a plain still image of the band?
RB: Pink Floyd, by the time they hit “Dark Side of the Moon,” had really abandoned the idea of an image of a band as its identifiable symbol so the graphic of the prism fit perfectly to this arc, and then certainly after the success of the record, it solidified this feeling. Their concerts had already taken on a larger than life aspect with the light show, quadraphonic sound, inflatable balloons and an octopus, so they were moving towards another type of spectacle in their live shows. Maybe it was the advent of “prog rock” that also influenced this shift, that the bands didn’t jump about much as they had to play rather complex riffs and runs, or their desire for people to listen to them live as if visiting a play or theater setting rather than a typical rock concert but any type of portrait is literally gone from the covers after “Piper at the Gates of Dawn” and “UmmaGumma.”
It’s hard to reconcile just why the prism is so perfect for the music contained in the record, or is it that it’s been ingrained in our collective consciousness to the point that we simply can’t separate the two? My memory is that it seemed very futuristic and I always thought of the prism as the monolith from Stanley Kubrick’s “2001: A Space Odyssey,” hence the black background of outer space, which was also re-enforced by the infra-red images of the pyramids in green looking like Mars. Our inability to immediately decode the prism in relation to the music is testament to its lasting impression in a way and it clearly looks absolutely fantastic on a t-shirt! I can’t say for sure if the reception of the album would have been different with an image of the band on the cover but I do think it would have tagged the lyrics about the music industry and madness too close to the band if there had been this type of design. With this reduced graphic, people can interpret the content more freely and associate some of the songs to Syd Barrett or the snippets of dialogue about violence and death from anyone, even the listener (Editor’s note: see also Storm Thorgerson’s design for Pink Floyd’s follow-up album to “Dark Side of the Moon,” “Wish You Were Here”). The cover also feels out of time and I do think this is one reason that the album has found its place over and over again with new generations of music lovers.
MF: What’s the status of Taken by Storm and where can people look forward to seeing it in the future?
RB: At the moment, I’m dealing with all the clearances and hoping it gets released in the coming months. I’ve been talking with independent booking agents about doing limited theatrical runs and then it’ll be released on DVD and digitally. Storm and I had talked about screenings of the film with music shows afterwards alongside exhibitions of prints of his images (Storm with his studio, StormStudios and various galleries have made limited edition silk screens of numerous images) and crazy things like screening the film in rock concert venues. It’s time for the film to come out now that Storm is gone so music lovers along with graphic designers and even advertising people can see his process and how prolific his life and career was over the forty years he worked. I always told Storm that his influence on culture went way past just the music world and hopefully when the film is widely available this will become apparent.
For more information on Roddy Bogawa and Taken by Storm please visit: http://www.roddybogawa.com.
SEEKING FILM DIRECTORS – www.SonnetProjectNYC.com/directorsignup
NY Shakespeare Exchange seeks up to 154 film directors to participate in a groundbreaking exploration of film, theater, and mobile technology. The Sonnet Project is a massive multi-artist, internet-based interpretation of Shakespeare’s sonnets that will put these astounding poems quite literally into the pockets of people across the globe. We will bring together an adventurous group of filmmakers and actors to create film versions of all 154 sonnets that will live on the Internet and be delivered to the public by way of a specially designed Sonnet Project mobile app.
Each sonnet video will be filmed in a unique location throughout the five boroughs of New York City, the birthplace of American cinema. From the iconic to the forgotten, we’ve chosen locations with deep cultural significance. In this way, we juxtapose the poetry of the city with the poetry of the Bard, and find a deep contemporary relevance for Shakespeare’s sometimes elusive language.
The project launched in 2013 on Shakespeare’s 449th birthday and culminates in 2014 on his 450th. Throughout the year we release a new sonnet video every 2-3 days. The videos and all supporting materials will be available free of charge to anyone in any sector of the population and foster an unprecedented level of access to Shakespearean performance.
Creative Parameters for The Sonnet Project
• The “starring roles” in each video are Shakespeare’s language, the specific NYC location, and the director’s interpretation (teams of film makers are welcome to submit – please choose one person to serve as the primary contact on the submission form. www.SonnetProjectNYC.com/directorsignup).
• Director is responsible for equipment needs.
• New York Shakespeare Exchange will assign the sonnet location.
• Highly skilled classical actors from the files of NYSX will be cast based on each particular sonnet. Director requests for basic actor types (e.g., gender, age-range, etc.) will be taken into consideration when possible. Requests to work with specific actors will be taken on a case-by-case basis.
• An NYSX text coach will work with each actor on interpreting the language, and will be present “on set” to assist with rhetorical technique and clarity of Shakespearean thought. The text coach will also be available to the director for any textual analysis questions.
• Video length must be 120 seconds or less.
• Submitted footage must be fully edited and in an “audience ready” form. NY Shakespeare Exchange will provide logos and specifications for titles and credits.
• The delivery format is 1080 HD 23.98P with sync sound.
• Video must be delivered no later than March 31.
*Once a director has submitted one video, he/she may submit to take on a second, third, even fourth. For all secondary videos the deadline is July 31.
Within these constraints, we challenge each filmmaker to express a personal cinematic style.
Take a look at the video we’ve been using for our pitches: http://vimeo.com/40493664.
WHAT WILL YOUR SONNET LOOK LIKE?
Because NYSX is a nonprofit organization and this program will be free to all audiences, we are looking for contributions of time and talent. There is no pay for involvement. Directors will be fully credited for their work.
Tee’d Off is a independent B&W short about what it takes to hold down a horrible survival job while you pursue your dreams. The characters have some unique ways of dealing with both their friendship and the challenges of being a starving artist in NYC.
Tee’d Off won the audience choice award at the Lake Placid Film Forum and screened at Tribeca Cinemas as part of the Big Apple Film Festival. It’s currently screening as Film Festival Flix National Short film Competition Winner and will be screening at the Landmark theater in Denver CO on DEc 18th.
Watch the trailer here: http://vimeo.com/52335805
Visit the Facebook page: https://www.facebook.com/pages/Teed-Off/382606175100560
A long time ago… In the summer of 1981…
A tragedy of epic proportions sends five friends on an epic adventure. All they have to do is follow The Stream and back. What could possibly go wrong? Encountering bullies, a nasty storm and mystical creatures, the friends will need the force of friendship to prevail.
The Stream is a completed film. It has its red carpet premieres in Union Square, NYC on Oct. 15th, and at LA Live, LA on Oct. 16th. The movie premieres in select Regal Cinemas nationwide on Oct. 18th.
Twitter: https://twitter.com/Jacob_Williams8 or @dream_tree
Movie Theaters Showing the Film :
UA Kaufman Astoria Cinemas 14 & RPX
35-30 38th St., Astoria NY 11101
Regal New Roc Stadium 18 & IMAX
33 Le Count Place, New Rochelle NY 10801
Regal City North 14
2600 N. Western Ave, Chicago, IL
Regal Cantera Stadium 17 & RPX
28250 Diehl Road, Warrenville IL 60555
UA Riverview Plaza Stadium 17
1400 S. Columbus Blvd., Philadelphia PA 19147
UA Washington Township 14
121 Tuckahoe Rd, Sewell, NJ 08080
Regal Peoples Plaza Stadium 17
1100 Peoples Plz, Newark, DE 19702
Regal Solomon Pond Stadium 15
591 Donald Lynch Boulevard, Marlborough MA 01752
LOS ANGELES & ORANGE CO.
Edwards Long Beach Stadium 26 & IMAX
7501 Carson Blvd Long Beach, CA 90808
Edwards Irvine Spectrum 21 IMAX & RPX
65 Fortune Dr.,Irvine,CA,92618
SAN FRANCISCO / OAKLAND:
UA Emery Bay Stadium 10
6330 Christie Ave Emeryville, CA 94608
Regal Parkway Plaza Stadium 18 & IMAX
405 Parkway Plaza, El Cajon CA 92020
WASHINGTON DC / BALTIMORE / VA:
Regal Majestic Stadium 20 & IMAX
900 Ellsworth Drive Silver Spring, MD 20910
UA Snowden Square Stadium 14
9161 Commerce Center Drive, Columbia MD 21046
Regal Hollywood Stadium 24 @ North I-85
3265 NE Expressway Access Rd, Chamblee GA
Regal Atlantic Station 16 IMAX & RPX
261 19th Street NW, Atlanta GA 30363
Regal Brooklyn Center Stadium 20
6420 Camden Ave North, Minneapolis MN 55430
UA Colorado Mills Stadium 16 & IMAX
14500 West Colfax Ave., Lakewood CO 80401
DALLAS / FT. WORTH:
UA Grand Prairie 10
510 Westchester Pkwy, Grand Prairie TX 75052
AWARD WINNING BROOKLYN BASED PRODUCTION COMPANY BRINGS ITS MOST RECENT FILM TO SAN FRANCISCO
The FilmGym, an independent film production company based in Brooklyn, New York, will have its second west coast screening next month of the award winning film Chance of Rain, at The San Francisco Festival of Short Films. The film debuted and took home the award for Best Short Film at the prestigious Sonoma International Film Festival in April.
Chance of Rain is directed by Philipp Wolter and stars Wolter and his wife, Michelle Glick, who are the driving force behind FilmGym. As succinctly described by Roger Ebert writer Anath White, “they possess the sort of beauty which could easily inspire envy in others, yet they’re also down-to-earth and instantly likable. Their moody, atmospheric film takes us into a world we’d willingly spend more time exploring with its intriguing characters. When it wins Best Narrative Short (at Sonoma), the applause is heartfelt.”
Chance of Rain is a dramatic love story, beautifully shot by cinematographer Eun-ah Lee. “I saw this piece as a play several years ago,” says Wolter, “and the story always stayed with me. So I contacted the writer, Chisa Hutchinson, and we collaborated on a screenplay version of her story.” Chance of Rain is FilmGym’s follow up to The Bridge, another short film that played at Sonoma in 2011, winning the festival’s Audience Award and later going on to qualify for an Oscar.
“The Audience Award really meant a lot to us,” says Wolter, “because we didn’t know a soul in the audience, and Sonoma has packed out screenings, even if you have an early morning time slot, the crowds really show up for the films.”
Since 2004 FilmGym has been based in Brooklyn, and grown from an arena for actors and filmmakers to collaborate and work on their craft into a production house boasting films and commercials that have won awards at both the local and international level. In addition to building an impressive portfolio of work, the duo hosts International short film screenings, a monthly screenplay reading series and have become accomplished actors in their own right. Wolter will be seen later this year in Blood Ties, starring Clive Owen, Marion Cotillard and Mila Kunis; and Glick continues to tour with her autobiographical one woman show, Asian Belle.
“We feel incredibly fortunate to bring our work to San Francisco,” says Glick. “We look forward to sharing our stories with festival audiences and beyond.”
Contact: Sarah Baskin
Synopsis: Double Victory: Two Warriors in the Fight for Civil Rights During WWII, a feature-length documentary, tells the story of the struggles black Americans faced in trying to obtain their rights as citizens during this pivotal war. Through footage from the U.S. National Archives, newspaper articles, photographs, and interviews, this piece of history and its political challenges is explored. Locations cover the Pacific and European war fronts, as well as Chicago, Ohio, and South Africa. Interviewees include the official historian of the African Methodist Episcopal Church, former U.S. Ambassador to Australia, the former Civilian Aide to the Secretary of War during WWII, Australian Red Cross volunteers, a WWII vet, historians, and professors.
Bishop John A. Gregg, and military escort Chaplain (Major) John A. DeVeaux are the men chosen to take a worldwide tour on behalf of FDR, to check and report on the status of black American soldiers. This takes place in 1943 and 1944. Gregg and DeVeaux continue the work they began with the tour, as well as their friendship. The bishop personally makes a full report to the President.
Lastly, a recap of the progress of black Americans, other minorities included, in the military is presented, spotlighting General Colin Powell and current Commander-in-Chief President Barack Obama. Wrap-up comments from interviewees which connect the work of Gregg and DeVeaux to the present day bring the story full circle.
Current state of development: This film is in post-production. We are currently raising funds to complete post-production at: http://www.fracturedatlas.org/site/fiscal/profile?id=8759
Short bio: Faith DeVeaux has produced three shorts, The Visit, Backstage Craft, and Life and Time. She has training from AFI and UCLA Extension, and has worked in the music industry, an animation company, and a film distributor, in addition to crewing on various films. She is a member of IDA, Film Independent, and Women in Film and Video.
Facebook page: http://www.facebook.com/DoubleVictory?ref=hl
Hauntings of the Heart (http://independentfilmnow.com/?p=490) is a new costume drama that’s breaking all the rules.
Hauntings of the Heart is a scintillating and modern new costume drama currently in development. Crystal Nicole Marcano, the writer/producer of the film, wants to make a costume drama that appeals to today’s audience and strives to defy the conventions of the classic period movie.
“I want to challenge the idea that costume dramas are stuffy and boring. I want to vamp it up, make it more modern and exciting, while still saying true to the integrity of the costume drama genre. It’s a glimpse into the Victorian era, but we’re loosening the corsets so to speak.”
The film also intends to portray strong female characters – “that aren’t necessarily well-behaved or sexually repressed or needy or weak. The strength and complexity of a woman is universal, but also something that is rarely portrayed in modern films much less in period dramas.”
Hauntings of the Heart is a film about love, lies, and scandal all within the context of a murder mystery. It’s been described as a “love story, and a ghost story.” It is also the coming-of-age story of a young woman named Emily caught in a whirlwind of scandals and secrets in Victorian era society. But though the story is centered on this character, she isn’t necessarily the protagonist.
“Without giving too much away, the character Emily is the centerpiece of the film being that the story is told through her point of view, so she’s the protagonist in that sense. But she is also unwittingly the cause of the conflicts that kickstart and drive the plot, and in that sense she is also an antagonist. The story is just as much hers as it is Victor Worthington’s, who is at first glance a villain but also an antihero. So really, the story has two protagonists. I’m pretty much breaking all the rules with this film.”
What do you want audiences to take away from the film?
“Hauntings of the Heart is a love letter to the classic costume drama, but it’s also unconventional in every way. It’s smart, it’s sexy, and it’s a lot of fun. We’re incorporating the Steampunk trend into the film, especially with the costumes. It’s also got the elements of gothic horror and the classic ‘whodunnit’ murder mystery, very Sherlock Holmes style. And of course, at the center of it all is a love story. I’m hoping the film definitely keeps viewers on their toes and challenges their expectations and preconceptions of what the costume drama is, and can be.”
You can find out more and stay up-to-date on updates on Hauntings of the Heart at hauntingsoftheheartmovie.com.
Synopsis: Eddie is at the end of his rope. His girlfriend is pregnant, and he’s retreated into binge drinking after he discovers that his mother conceived him with an anonymous sperm donation. He commits to tracking the donor down, succeeds, and in desperation ventures out to meet him.
He’s an incredibly rich recluse, Lawrence Watkins. Thinking Eddie has been sent to kill him, he takes Eddie hostage.
During the subsequent interrogation, Eddie discovers his biological father is not only insane but that he’s also suffering from a rare disease: fatal familial insomnia. There’s no cure, and those whom it afflicts lose the ability to sleep, then lose their minds before eventually dying. A battle of wills between the two men follows, and the trajectory of both lives is permanently altered.
Eddie – Donovan Patton
Lawrence – Chris Kerson
Maria – Cristina Doikos
Mother – Karen Giordano
Cinematographer – Wayne Arnold
Editor – Dan Simon
Music – Tom Ashton
Awake was developed at “The Indies Lab,” www.GeorgeKatt.com
Special screening of Cartoon College coming up in NYC at the Society of Illustrators on July 23: http://www.societyillustrators.org/Events-and-Programs/Films/2013/Cartoon-College/Cartoon-College.aspx
We’re pleased to announce that at long last Cartoon College (http://independentfilmnow.com/?p=406) is available everywhere! FilmBuff has released the movie on all leading VOD platforms including iTunes, Xbox, Amazon Instant Video, Cinema Now, Playstation, and Vudu… Here it is on iTunes!
Furthermore, the Cartoon College DVD is available now for pre-order! The region-free DVD, which includes exclusive bonus features not found anywhere else, comes in an amazing artfully designed digipack by the great Gabby Schulz (who also appears in the film for about ten seconds)! The first one-hundred pre-orders also include Joe Lambert’s incredible 11×17 Cartoon College poster, absolutely free. Orders will be shipped out on July 9. Click here to see the cover art and place your order!
We are beyond excited to finally share the film with everyone, BUT WE NEED YOUR HELP! We humbly ask you to help us get the word out…
How can you help? Simple:
-Share the news on your social media with links to the film’s webpage or iTunes page
-Send an e-blast
-Request a local screening through Tugg
-Include a link on your website or blog
-Write nice reviews
-Tell your friends
-And of course…watch the movie yourself!
Please, please share the movie and help make it a success!
To learn more about the film, visit cartooncollegemovie.com and connect on Facebook and @Cartoon_College. If you have any additional questions, feel free to email us at firstname.lastname@example.org. We’d love to hear from you!
Josh & Tara