Client portrait: How Tarek Mounib is building bridges in FREE TRIP TO EGYPT – and why we all need to listen
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Or, how we went from 'impact producing' to 'impact computing', helping a tiny bit in the fight against COVID-19. Will you join us?
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In the world of independent documentary filmmaking, it’s not every day that you get to compete with major blockbuster titles. Remarkably, this is something that a project powered by Film & Campaign has now achieved.
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In the second part of our mini-series looking at the largest campaign we’ve ever worked on, we look at the challenge of building Germany’s first ever cinema-on-demand campaign from the ground up.
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This is the first in a three-part series about our biggest campaign to date, around German documentary DIE KINDER DER UTOPIE (Children of Utopia). Over the coming weeks, we’ll be providing behind-the-scenes insights into a campaign that we’re excited, proud, and even a little nervous about.
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How do we get more people to watch documentaries on the big screen, especially given that regular theatrical releases of docs mostly fail to reach the right audiences? Moving Docs proves that 'event cinema' is the answer – but how can I participate when I'm stuck at home?
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Client portrait: How the people behind Cycling Films Ltd. started audience build-up five years ahead of the IDFA premiere of TIME TRIAL
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How Tricia Finneran and I came up with 'Amplifier', a proposal for using "good data for great causes"
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Two weeks ago, I found myself visiting a cemetery in Crawley, near Gatwick Airport. It was Chagos Day, a day to mark the ongoing fight of deported islanders against the UK government.
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It's good to see the Germans getting their heads around the importance of outreach campaigns for documentaries. Here's a talk and discussion recorded at a Filmfest event in Hamburg.
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This morning around 6am, after a sleepless night and with tears in my eyes, I found myself applying to join a political party – something I had never done in my entire life. I would like to share how this came about.
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It's nearly been six years since the concept of a dedicated 'producer of marketing and distribution' was introduced by Jon Reiss. Having been one of the first-ever PMDs, I'm keeping a close eye on how this concept is evolving. What's needed for it to catch on across the film industry?
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