I’m trying not to obsess about the Kickstarter campaign. Without success. It’s the nature of these things that you need to work all the time. Obsessively checking to see if the campaign is working or not. Who’s donated. Who hasn’t. Can I send out some more emails? Are the people I’m working with sending personal messages out (like they said they would) or are they just posting every once in awhile to social media?
Control freak without control. It’s an ugly thing.
Which then leads to doubts. I wonder if I misjudged the popularity of the subject. Do people see pin up girls and assume something the story is not – either that the models just pawns of male photographers (they’re not) or that the film is about only a historical subject (it’s not)? These are fascinating, complex women whose stories I’m telling. They’re not household names – but that’s the point. They’re ordinarily everyday women who choose the lifestyle.
I wonder if it would have been easier had I reached out to one of the major models: Mosh (beyond just photos), the Vintage Doll, Bernie Dexter. Their fan bases are much larger than for the women in this film. It’s possible those fan numbers would have pushed the film over the limit by now. I second guess my production choices.
But then I look at the creator dashboard on Kickstarter for my last film. One week in and I’m at the same level of backers. Six percent of the film was funded one week in. The same as the last film. For a second yesterday we made it to the most popular documentary projects. That didn’t happen for the last film EVER.
I tell myself it will be ok. The project will fund. People are telling me they’ll give something. I know campaigns for documentaries AREN’T the same as for video games or Veronica Mars or a freaking ice chest that has a USB port. The projects tend to build over the course of the campaign, with a spurt of support during the last week or so.
Different audiences. Different audiences.