I know that ALEC PETERS cannot post anything publicly about AXANAR crowd-funding, but I can!
So here’s the BIG NEWS for today…
Axanar is now just $4,133 away from reaching its first crowd-funding goal (which was just lowered from $60K to $50K because $10K was actually bridge set construction, and that’s an Ares Studios asset and therefore can be crowd-funded separately and publicly).
BUT!!!
A top donor has promised a dollar-for-dollar match of any Axanar donations for a limited time. That means that Axanar is actually just $2,067 away from reaching the Phase One goal to cover the cost of the first two shoots.
So if you haven’t donated yet (or recently), NOW is the time to go to Ares Digital because every dollar you give is worth TWO dollars for a short time! Click on the link below to register/log-in to donate…
Watch the opening act credits for any Next Gen, Ds9, Voyager, Enterprise, or Discovery episode…and what do you see? There’s a seemingly endless parade of producers: executive producers, co-producers, associate producers, line producers, supervising producers, consulting producers, co-executive producers, and just plain producers.
What’s the difference?
Most of us can probably guess that the executive producer is likely the one in charge. Gene Roddenberry was executive producer on TOS. Rick Berman was the executive producer on the later Paramount Trek series. But what about all of the rest of those titles? What do they mean? What do these various people do? And why do most television shows and movies need so many producers? Does your fan film need all of these different producers, too (assuming you have a fan film)?
As I mentioned last week when the first of the four panels from AXACON 2019 was released—the director’s panel—AXANAR offers fans, supporters, and fan filmmakers a unique perspective into the creation of a top-tier fan film. Sure, not every fan film is going to have the production value and scope of an Axanar, but there’s still much to be learned from this project…and ALEC PETERS and the folks on the Axanar production team are happy to explain.
Today’s “lesson” is from the second panel—the producers’ panel—and it features Director PAUL JENKINS interviewing four different producers on the project, each with a different title: Line Producer SCOTT CONLEY, Co-Producer CRYSSTAL HUBBARD, Associate Producer DALE SIMPSON, and Executive Producer Alec himself. What did all of these people do for the production? Why does Axanar even need four different producers? (Actually, there were more, but Producer CHRIS MILLS and a few other producers weren’t able to make it for the panel.)
Just like last week, I think that this is a MUST-SEE panel…whether or not you are an Axa-fan. This isn’t a self-congratulatory “why we all love Axanar so much” panel (none of them are, to be honest). Instead, it’s a very informative panel for the lay-person to understand the producer’s role…and why there are so gosh-darn many of them!
But before I present the producers’ panel video, and since I’ve spent my last couple of blogs talking about crowd-funding campaigns, let me include brief updates on both the Ares Studios and Axanar campaigns (two separate crowd-funders).
I know a lot of people in the fan film community—friends, comrades-in-arms, friendly acquaintances, long-distance buddies—but few of them do I feel closer to than VANCE MAJOR. You might have heard of him…’cause I mention him a lot on this blog!
Last month, I posted an audio interview with Vance when he released 51 new episodes of THE CONSTAR CHRONICLES and 18 special editions of the MINARD saga of fan films. Earlier this month, I posted a blog promoting his new GoFundMe campaign for CONSTAR CONTINUES…which I hope you’ll consider donating to.
Over the coming weeks, I’ll be featuring audio interviews with two guys named Greg—GREG TEFT and GREG MITCHELL—both of whom worked on Constar with Vance in significant production roles. Vance requested that I interview them separately to give each fan filmmaker a chance to shine. And I’m happy to do it!
The reason is that I love Vance…I love him like a brother. In fact, he frequently calls me “brother”—although I think that’s just his word for “dude”—but “brother” just shows what a truly warm and loving heart he has for people.
I’ve literally lost sleep because of Vance—not because I worry about him but because he works an overnight shift and our calls frequently start after midnight my time (2am for him in Kansas) and can usually last an hour or even two! We’ve chatted about everything from fan films and fan filmmakers to Star Trek, superhero movies, politics, weather, triumphs, frustrations, and my favorite subject: our boys. Vance is a dad like me—and a damn awesome one!—and since my son is half a decade older than his, I can give him some “heads up” advice and also look back at those days gone by and silently envy Vance getting to live those wonderful moments himself.
January is a bad month for crowd-funding…or so I thought.
I usually advise people who ask (and advise them strongly) to avoid scheduling their fan film crowd-funding campaigns in December and January. Both months compete with the holidays. In December, people aren’t really paying much attention to requests to donate to fan projects. And by the time you reach January, many people’s wallets and bank accounts are recovering from holiday expenses like gifts and vacations. So if you can, wait until mid-February to launch your crowd-funder.
A good example of this was VANCE MAJOR, who kicked off his latest GoFundMe for CONSTAR CONTINUES in December. With previous Constar campaigns trying for a $500 goal, Vance had been able to cross the finish line within days. But that was in March. This time, with a goal of $1,175 for costumes and props, Vance took in just a few hundred dollars over the first few weeks, and even now, more than a month later, is only up to $675 from 17 backers (including me). He’s getting there, but it’s definitely slower this time out. Was I right about December and January?
I thought I was…which is why I scratched my head when I saw NICK COOK launch an Indiegogo campaign for STARSHIP INTREPID‘s next fan film, “Echoes.” The long-running fan series out of Dundee, Scotland is trying to raise $2,600 for:
Travel expenses
Room hire (location rental)
Food for the actors
Props and costumes
Make up
Associated consumables (such as batteries)
Post-production expenses
With a goal more than double what Vance was asking for, I contacted Nick Cook and suggested we hold off doing a crowd-funding feature/interview here on Fan Film Factor until February—expecting that he (like Vance) wouldn’t get too far over the next few weeks.
It’s only three days later, and Intrepid‘s campaign is already nearly 40% of the say to their goal with $1,036 from 28 backers (including me). Boy, was I wrong! But why was I wrong?
If you think of fan films without visual effects as being like plain chocolate bars, then there’s one person in our community who is definitely nuts!
Yes, folks, it’s time to check in once again with the elf who cobbles the CGI shoes, the beaver that builds the digital dam, Great Britain’s own SAMUEL COCKINGS. I like to joke that it’s quicker to list the fan films and series that Sam hasn’t worked on than those he has. And while that’s certainly a bit of an exaggeration, the fact is that in 2019 alone, Sam did the VFX for two episodes of DREADNOUGHT DOMINION, two episodes from the AVALON UNIVERSE, LINE OF DUTY from Aaron Vanderkley in Australia, THE FEDERATION FILES: “THE EQUINOX EFFECT”, WAR STORIES from the upcoming THE ROMULAN WAR fan film (which he’s also working on), plus his own mega fan film TEMPORAL ANOMALY. In addition to all of this, Sam releases regular weekly episodes of TREKYARDS (click here for the YouTube playlist) with STUART FOLEY plus reviews, interviews, and other special Trek and scifi features.
Considering how busy he is, it’s a wonder Sam has the time to make yet ANOTHER Star Trek fan film, but back in 2018, he crowd-funded through an Indiegogo campaign $7,385 from 114 backers for CONVERGENCE (surpassing two stretch goals)! The fan film itself is a crossover of characters, aliens, ships, and/or actors from five different fan films: INTREPID, DARK ARMADA, RENEGADES, STARSHIP REPUBLIC, and Sam’s own TEMPORAL ANOMALY.
Although one green screen shooting weekend had already brought together four of the cast members (the European ones), the Indiegogo would fund a second green screen shoot, this time also flying in actor JIM VON DOLTEREN from America to Britain. The idea was to schedule the shoot for mid-2019 and release the completed film before the end of the year.
But that didn’t happen.
So what did happen? Well, why don’t I just let Sam tell you that himself…?
Hmmmm…a lot to unpack there. With so much news about the project, Sam and I had an informative one-on-one chat to go a little deeper into the significant casting change, the last year of production, progress on the visual effects, and the timing for production in 2020 and release in early 2021. Take a look…
VICTORIA FOX and JOSHUA IRWIN didn’t think it was necessary that I write this blog. “We do this sort of thing all the time,” they told me. “It’s part of our job.” Well, maybe for work where they’re being paid professionally, but this is a FLIPPIN’ FAN FILM. And what they did this weekend meant a lot to me personally, and I want to tell you folks about it.
First though, I need to ask: what is it about INTERLUDE that invites acts of God, fate, or just Murphy? Do you remember last May when the Arkansas River flooded and trapped my composer KEVIN CROXTON on one side for days? Or the stray dog that delayed my GoFundMe rollout? Or the woodpecker trapped in the chimney? If you’ve forgotten, here’s the blog that listed everything that went wrong leading up to the launch of the Interlude crowd-funder.
Knowing our track record, I had a Star Wars-like “bad feeling” in the pit of my stomach when we scheduled the Sickbay shoot at WARP 66 Studios for the second weekend in January. It wasn’t that I was worried about bad weather in Arkansas. It’s a southern state, and at most, it’ll get four or five inches of snow over an entire winter season. And as for tornadoes, while there have been some during the winter months, those mostly come in the springtime there.
No, I was worried about Cleveland.
The fellow who is playing the wounded Admiral Ramirez in Interlude, DAVID BUTLER-AGRINSONIS (read more about him here), lives in Cleveland, OH. And when I booked his flight to Fayetteville, I had visions of a huge Noreaster or Polar Vortex hitting the northeast and upper midwest and grounding his plane. I purposefully looked for connecting flights to Fayetteville through Raleigh, NC rather than Chicago just to try to minimize the risk of winter storms screwing up our January shoot.
DAVID BUTLER-AGRINSONIS will be playing a wounded Admiral Ramirez in INTERLUDE.
Turns out that I should have been more worried about snow and tornadoes in Arkansas…
Say what you will about AXANAR. But the one inescapable fact is that, perhaps more than any other Star Trek fan film (maybe any fan film period), Axanar is teaching fans a LOT about the process filmmaking. Sure, some cynics will say, “Yeah, it taught us all not to piss off the copyright owners!” But it’s also provided fans, fan filmmakers, and those wishing to become fan filmmakers an unparalleled up-front view into the entire production process.
Granted, most fan projects aren’t nearly as elaborate or ambitious as Axanar. The majority of fan producers just make their film and put the finished product up on YouTube. A few take behind-the-scenes photos or videos while they build sets or do make-up or have their shoots, but Axanar takes all that to an entirely other level.
Through countless Axanar Podcasts and updates on Axanar Confidential, we’ve watched this production walk through the fire of the lawsuit, emerge on the other side, pick itself up, dust itself off, and get back up to speed again with a move across country, a completed bridge set, and two shoots so far (soon to be three!). Along the way, there’s been a parade of features on countless aspects of filmmaking—from VFX to set-building, make-up, costume design, budgeting, writing, pre-production, production, and post-production…and just about everything in between.
But the one thing Axanar hasn’t really done a deep-dive into yet is directing. There was some commentary from PRELUDE TO AXANAR director CHRISTIAN GOSSETT on one of the behind-the-scenes features on the Prelude Blu-ray, but not much in-depth coverage of the full process. And ROBERT MEYER BURNETT left the project before getting the chance to sink his teeth into directing actual production.
However, now that Axanar has started shooting, director and co-writer PAUL JENKINS had some very, very interesting insights to share during AXACON 2019. Unlike the first Axacon in 2018, the second Axacon didn’t take place in a hotel with convention rooms and dealers tables and membership badges. This time, “attendance” was FREE to anyone on YouTube and included four panels broadcast live from the bridge set at Ares Studios in Lawrenceville, GA.
I just finished watching the sixth and final SHORT TREKS of the second round of mini-episodes (do we call them “seasons”?). The shortest of all of the Short Treks thus far, the episode runs only 6 minutes and 47 seconds before the closing credits roll. But it’s time well-utilized!
It’s hard to know what to say first. In these editorial review blogs, I try not to just parrot what all of the other reviewers are saying because…what’s the point? Most reviewers are offering a summary of the episode. If you want that (and don’t mind the spoilers), then check out this review for a short summary or this review for a much more detailed recounting.
Many reviewers are concentrating on the kick-in-the-gut feel of the attack on Mars, and that was very obvious. This incident is going to be a paradigm shift for the Federation …just as the December 7, 1941 Japanese surprise attack on Pearl Harbor and the terrorist destruction of the World Trade Center on September 11, 2001 were for the United States and the world. Nothing would ever be the same again. After “Children of Mars,” the date that will live in infamy will be April 5—First Contact Day—and the culprits won’t be a foreign Pacific power or Middle Eastern extremists but these mysterious “Synths” (whatever they are).
A few folks are complaining that the starships at Utopia Planitia look more like movie-era or even Discovery-era designs rather than 24th century vessels. And yeah, the VFX guys probably kept things cheap and used the models they had on hand. Others complained that it was never really explained why these two girls initially hated each other (was it all just over a shoulder bump?), although I don’t think that was important for us to know. The impact of the story wasn’t why they were fighting so much as what made them stop.
So no, I’m not going to rehash any of that. Instead I am going to say something totally provocative and controversial:
I think GENE RODDENBERRY would have hated “Children of Mars” being presented as Star Trek.
The winners of the third annual IndieBOOM! film festival awards have just been announced, and three Star Trek fan filmmakers did really well. The first, GLEN L. WOLFE (along with DAN and KELLY REYNOLDS) took the FAN FAVORITE overall grand prize of $500 for their recent fan film THE EQUINOX EFFECT, filmed at WARP 66 Studios in Arkansas. You can listen to an interview with the three of them here. As a side note, Glen also won for best FAN FILM in the first IndieBOOM! film festival in 2017 with HIS NAME IS MUDD…the first of THE FEDERATION FILES anthology fan series.
The second Star Trek fan filmmaker didn’t win for a Trek fan film—even though he had one entered, as well—but he did take first place in the FAN FILM category with a 1960s BATMAN musical fan film titled THE SCHEME IS SOUND. This fellow is Emmy Award winner KEVIN CROXTON, who teaches music at Parkview Elementary School in Arkansas, and each year his 4th and 5th grade music club students produce a musical fan film in a specific genre. In 2018, it was Star Trek (THE BUNNY INCIDENT—which was also a finalist this year). Right now, Kevin and the kids are working on a JAMES BOND themed fan film for 2020.
The third Star Trek fan film to take a first place award was THE LOOKING GLASS from Neutral Zone Studios (directed by MIEK HEATH). However, even though it was entered in the FAN FILM category, TheLooking Glass actually took the first place award in the SCI-FI category, in which it was also entered.
Rounding out the eight finalists in the FAN FILM category were two films from the UK (one a Dark Knight theme and the other XBox vs. Playstation), one Halloween themed fan film from Canada, and a Lost Boys sequel from the USA. The annual IndieBOOM! film festival is one of the only competitions to offer a category open specifically to fan films.
On a personal note, I couldn’t be happier with the results. While I certainly support and celebrate ALL Star Trek fan filmmakers, Glen Wolfe and Kevin Croxton are both part of the team for my Axanar Universe fan film INTERLUDE. They’re also both residents of the state of Arkansas, along with my directors JOSHUA IRWIN and VICTORIA FOX…so a lot of Star Trek being made down there in Arkansas, folks!
A few people asked me why The Equinox Effect didn’t win the FAN FILM category as well as the overall prize. According to the rules, the film with the most views per category wins first place in that category, and the film with the most views overall wins the grand prize of $500. So if Equinox won overall, wouldn’t it have also won its category?
Last time, we began chatting with BENNY HALL, who seemed to have come out of nowhere to release a $50,000 Star Trek fan film shot at Neutral Zone Studios in Kingsland, GA, as well as at the iconic Vasquez Rocks in Southern California. That money was NOT crowd-funded, by the way. Benny paid it out of pocket…and thereby was he able to fulfill a lifelong dream of playing Captain James T. Kirk of the starship Enterprise. And isn’t that what fan films are all about: living our dreams?
Benny was accompanied on his journey—his trek, if you will—by some veterans of the much-loved fan series STAR TREK CONTINUES, including VIC MIGNOGNA, LISA HANSELL, TIM VITTETOE, and ADRIENNE WILKINSON…as well as some friends, volunteers, and a few industry professionals (and one very convincing Mugato!).
The result was an impressive production made even more so by the fact that Benny had not previously been involved with the creation of any Star Trek fan film before…
When the film was completed, and before it was released onto YouTube, Benny held a private screening at a theater in Los Angeles, inviting cast and crew and special guests to view the film on a big screen. (And yes, the fan film guidelines don’t forbid that…as long as no admission fee is charged.) He is already working hard to crowd-fund his second $50,000 Star Trek project (this time he is asking for donations), but more on that later.
When last we left off, Benny was discussing filming the Mugato scenes at Vasquez Rocks. And that led to the following question from me…
