INTERVIEW: CrowdFunding Campaign for Herrings Season 3

After much success with Season 1 & 2, Herrings is excited to be coming back for Season 3. The independent web series that has gain recognition nationally and internationally and is now looking to you for some support, DIBS chatted with creator Keith Chamberlain…

Keith Chamberlain is an award-winning filmmaker currently living in southern New Jersey. Keith strives to tell meaningful stories that capture the truth of the human condition as well as challenges society’s views and beliefs. He has written and directed several short films that have played in various film festivals. Keith’s award winning films have been screened at festivals around the world, including Golden Door International Film Festival, Pittsburgh Uncut Film Festival, Seoul Web Fest, NJ Web Fest and Hang Onto Your Short Film Festival among other venues.

Why is it important to raise money for independent filmmaking?

Independent film offers visual artists more authorship and promotes new and exciting approaches to storytelling in cinema. That’s what we as filmmakers and content creators are trying to do here: tell stories. However, for that to happen, we first need a team of skilled professionals working diligently in the trenches from a multitude of angles, who are not only willing but happy to pour their blood, sweat, and tears into making projects like Herrings, a reality. So, it's only not only fair but ethical that those professionals to be paid for their work.

Why should people donate to Herrings?

A lot of times our cast and crew are working on a film below their normal rate because it serves as a passion project for the whole team. Your money will go towards paying the cast and crew what they deserve to be paid, and ultimately providing the financial means to help each and every one of us give it our all to make Herrings, the narratively compelling series we know it can be.

What will people get when they donate?

Well, it can range from receiving a social media shout-out from a member of the cast to t-shirts, signed posters, screenplays, receiving a producer credit or even having a walk-on role on the show!
 
Where could people watch this?

People can check out Seasons 1 & 2 of Herrings at www.herringsseries.com

How much does one have to compromise as a filmmaker because of financial restrictions?

You ever heard of the expression, "Mo' money, mo problems"? Well, in film-making, it's "mo money, less problems" because when you're dealing with an ultra-low budget production like this one you have to make a lot of sacrifices. In the case of Herrings, I would have to say locations and schedules have been the biggest compromises thus far. For example, I had a scene in the first episode of season two that was supposed to be set in a high-price fancy restaurant with a dozen extras but because of my budget none of them would accommodate an ultra-low price production like mine, I ended up shooting the scene in a much smaller restaurant/lounge outside of Philadelphia with only four extras and two of them were crew members!

So often we hear about the lack of original stories. That we’ve all “seen it before.” How do you stay fresh in the face of an idea like that?

Well for starters,  I avoid a lot of television during my writing process because that's one surefire way to end up with something that people have seen before. The other and for me, this is huge, is you'll hear a lot of experienced filmmakers say "film what you know" and I don't follow that advice at all. In fact, that expression may be one of the biggest reasons you're seeing a lot of the "same 'ole, same 'ole", that you're talking about. So, for Herrings, I went the opposite direction. This is a show about a subject I didn't know or personally experienced and as such, a lot of research went into making sure I get my facts right. This is also a show that is not just outside the viewers' comfort zone but my own as well, which is why think it has resonated with some many people.

What does independent filmmaking bring to a local community?

Well, I know people who, because of the show, have visited the bookstore where we filmed our first episode (The Book Asylum in Blackwood, NJ) and then ended up purchasing books while there were there. Independent filmmaking can be a boon to a small business trying to survive in this post Amazon-Starbucks-Walmart world.

What could viewers expect for Herrings Season 3?

In our second season the stakes are higher with the introduction of new characters and the unexpected return of some old ones. Revealing anything more would be a spoiler but what I can say is, everything is connected...

How long is this crowdfunding going to go on for?

Our current crowdfunding campaign will run until February 6, 2020. After that, there may be a Phase 2, but that all depends on how much we raise this go around.

What are some other ways in which people can support Herrings?

The best way to support Herrings is by making a contribution to our Indiegogo campaign. However, we understand that circumstances may prevent people from donating money to our campaign. However, if they're as invested in the idea as we are, then they can help by passing our campaign along to their network via a quick Facebook status or maybe wrap it up in a Tweet. More eyes means more opportunity for us to share this wonderful project and for us that's a big win.

And if anyone has a business (tattoo parlors, cafes, bars, office space, restaurants) in the Lehigh Valley area, they'd like featured in an episode, please me via email at herringsshow@gmail.com, at your earliest convenience.

Looking to show some support by donating? click HERE to head over to the INDIEGOGO Campaign!

Here are just a few of the awards and nominations HERRINGS has picked up over the last few years.

INTERVIEW: Meet the Filmmaker Samantha Paradise for Homewreckers

Samantha Paradise, a candy-corn-binge-eating, giggling-at-poop-jokes, writer and filmmaker from the Philadelphia area focuses on strong, nontraditional female characters with her production company, FrankNBeans Films.

 Their most recent film, Homewreckers (a short), is currently in post-production.

DIBS: Could you describe the Independent Filmmakers of or in Philadelphia. Is there a scene? Do local filmmakers hang out together? 

SAM: The great hub of the Philadelphia film scene is our very supportive film office (film.org). This is where filmmakers, actors, crew all find each other and can also keep up to date on what’s going on (festivals, productions, etc). While our film scene may be smaller than NYC, the size really does allow for knowing one another. I’ve met some really great people!

All filmmakers are different, but I love hanging out with other film folks. Great people who help one another out. 

DIBS: What’s harder: Getting started or being able to keep going?

SAM: I think most filmmakers would agree that keeping things moving is the biggest challenge. Making a movie is a lengthy process with various elements. It’s easy to want to quit if you’re knee deep in a part of the process that you don’t enjoy.

Lots of folks have great ideas and start the conversation about storyline, production, etc. However, it can be tough to weather through all the small projects that need to happen prior to shoot day (script planning, storyboarding, shot lists, casting, budgeting, etc). 

DIBS: That is true, there is a lot of planning, staying organized and communicating efficiently that happens in filmmaking. The audience only sees the final product but don’t realize or know about the amount of work that actually goes into it, the behind the scenes.

How much do you think commerce affects your art? And how much do you have to compromise as a filmmaker because of financial restrictions or business?

SAM: I'd rather be an independent filmmaker with zero creative restrictions (although there are financial ones) than a fully funded Hollywood director who is only allowed to make what will sell. Like all independent artists, I have hurdles when it comes to finances. My biggest frustration is usually that I'd like to be able to pay the cast and crew what they truly deserve, but that just isn't feasible without funding. 

A small, silver lining of having financial restrictions is the ability to flex a certain kind of creativity. It can be rewarding to figure out things like "how do I find a creepy house to shoot in for under $100?  Can I make my house look a certain way? Can I shoot in something abandoned? Do I know anyone?" It's a fun challenge.

DIBS: I would have to agree with you, I think there is a sense of resourcefulness or critical thinking that comes out when you have to work with what you got and or can afford. You expand your brain a bit, stretch it out and find solutions in places you might never have known until you were limited. You had to find another way to get what you were looking for and every once in a while, in most case when you do, you find a better solution.

What is the one mistake most filmmakers make, regardless of experience?

SAM:  You can never plan enough! We started pre-production on Homewreckers over a year ago, and despite my OCD databases and a phenomenal Assistant Director (such a blessing!), we still ran into some serious snags. Two production assistants canceled on the day of a shoot, a script supervisor ducked out the day before and the weather created a last minute schedule change. 

Back up plans are a must. 

DIBS: Do you think there are few women in filmmaking and, if so, why?

SAM: There are plenty of women in filmmaking, but very few of them end up directing (or in positions where they're calling the shots, like the Dir. of Photography). I love this question. In fact, I've answered it so often that I wrote an article about it (Unicorns with Baseball Hats: The Mythological Female Filmmaker). 

It always baffles me that I've seen male directors be completely unorganized on set, but the crew will only label them as being "eccentric" or "just really artsy." Any female director who has a rough shoot is "emotional" or a total mess.

Unfortunately, I've had male crew members direct over me every shoot because they don't trust me to handle the actors. Those are the moments I personally want to quit and fade into the background. I think this is why there's so many women in the "background" jobs (screenwriting, editing, makeup, etc.) 

DIBS: What do you mean by “can’t handle the actors” is there a way to “handle the actors?”

SAM:  Ahh, I suppose I should clarify. Direct them. The main job of the director is to focus on the actors to ensure they’re delivering the story & character correctly.

I’ve always been a fan of “not overdirecting.” I don’t direct just to hear my own voice, so if an actor is nailing it, let them keep going! Talented people don’t need to be micromanaged or you’ll kill their spirit.

I think this silence is when others may try and jump in. Almost as if they’re concerned I forgot to direct. That’s silly.

DIBS: Do you think any story can be told in a film? Is there a certain element of the storytelling that film does better?

SAM: I think the best films are the ones that were specifically written for film. Filmmakers focus on imagery and we want to tell you a story with colors, costumes, special effects and lighting we see in our heads. 

Sure, some books adapt nicely. But writers are gifted at weaving together words and you miss their magic by adapting it into a movie. 

DIBS: Does this Homewreckers say something about the world that we live in? and how or why.

SAM:  I'm hope it does. Although Homewreckers is short and fairly "light" in terms of content, I'd love to start a dialogue about the modern workplace. It's very broken. 

DIBS: So does art imitate life or does life imitate art?

SAM: I feel like I need to drink a nice whisky or smoke a cigar before answering this.

Don’t want to give away too much, so lets just say I hope no one experiences (or imitates) a Homewreckers scenario in real life. 

DIBS: So often we hear about the lack of original stories. That we’ve all “seen it before.” How do you stay fresh in the face of an idea like that? Or do you think its okay to tell a story that might have already been told but in a different setting or perspective?

SAM:  There is a ton of original content out there. Unfortunately, main stream media only funds movies that are remakes or based on superheroes. 

DIBS: Is it okay to produce stuff that isn’t that good? Or at the time might have been unexperienced.

SAM: Absolutely. No ones first film is going to be great. The important part is finishing the movie. You’ll learn from the process and be able to make a better one next time.

DIBS: Does how much money a film make, defines its success?

Success to me is if I made someone (even if it was just one person) feel something. Ideally the feeling of “Me too” or “I’m not alone.” My third flick, Conscious aimed for this and when anyone told me that movie helped them or impacted them, it was priceless. 

Homewreckers is targeting anyone in the working world. If you’ve ever felt like “shit, this isn’t fair” at work. Well, this one is for you.

...did I mention my day job is in Human Resources?

DIBS: What does independent filmmaking bring to a local community?

SAM:  New perspective, fresh ideas. We live in an era of unlimited access to entertainment, so if you’re bored with the mainstream, this would solve that problem.

Image by Cristina Byrne

Filmmaker and Director Samantha Paradise on the set of Homewreckers.