A Pledge to Listen: FREE TRIP TO EGYPT
Client portrait: How Tarek Mounib is building bridges in FREE TRIP TO EGYPT – and why we all need to listen
Why Film & Campaign is 'folding'
Or, how we went from 'impact producing' to 'impact computing', helping a tiny bit in the fight against COVID-19. Will you join us?
Our own Cinema-on-Demand (pt 2)
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.
Our Biggest Campaign Yet (pt 1)
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.
Can event cinema happen online?
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?
Racing through the years: TIME TRIAL
Client portrait: How the people behind Cycling Films Ltd. started audience build-up five years ahead of the IDFA premiere of TIME TRIAL
Feeling Propelled and Amplified
How Tricia Finneran and I came up with 'Amplifier', a proposal for using "good data for great causes"
Here's my 'Impulsvortrag'
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.
A European Story from Scotland
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.
I was a PMD
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?