Independent crowdfunding is an increasingly large part of even major festivals like Cannes, with Critics’ Week hit Krisha funded on Kickstarter and around 10% of films at Sundance part-funded via a mixture of different crowd-funded platforms. We asked Miranda Fleming, UK Film & Creative for Indiegogo, formerly head of production at Screen South, about her Cannes experience.
Can you describe a typical day at Cannes for us?
Nights are long in Cannes so meetings tend to start at 10am. It’s sunny this year so a lounge meeting in the terrace is a nice way to start – I often start my day meeting an international producer with a specific film in mind to crowdfund – I help them take a look at the project and start developing a strategy for the campaign.
Then it’s off to the International village – meeting with international festivals to discuss workshops and panels for future events. The UK is my main market, so I pop into a UK specific event like Film London. I’m also interested in European filmmaker networks in the main Cannes festival and join a documentary brunch on one of the Plages restaurants – today it was the Documentary brunch with selected documentary makers from across the world.
The afternoon is full of more meetings with mix of filmmakers/international film festivals and funds. I also attend the Croisette front offices to see a couple of Sales Agents who are internationally selling a film which is crowdfunding or might be launching a campaign for one of their films which they are financing.
The evening is a dinner with US filmmakers from partnerships such as IFC in New York and a great way to introduce and network them to some similar minded UK filmmakers.
What are Indiegogo’s general aims at a festival like Cannes and how do they relate to Indiegogo’s general objectives?
Our objective is to speak with all international filmmakers – UK, US, but particularly from countries where we don’t have offices (yet) like India, Japan and Europe. The latter is key at Cannes as Europe is a fantastic central focus here. European funds are crucial to our work here, as they have direct access to filmmaker networks. I also meet with the European Association of European Regional funds, Cine Regio, whose members accounted for 30% of the films playing at Cannes.
It’s important for us to measure the trends via these networks – they know more than anyone what their film industry is discussing – it’s imperative we join that conversation as crowdfunding takes a hold internationally.
And what do you most enjoy about Cannes?
Filmmaker networks, particularly meeting filmmakers from all corners of the world – having just one fantastic spontaneous introduction each day – be it through a scheduled meeting, an encounter in a queue waiting for a film or taxi, is what makes Cannes such a special festival. The sunshine helps put a spring in everyone’s step – there’s an optimistic feeling of good things to come.