Win, lose, or draw, there’s something respectable about diving headfirst into something — going for it. The great Annie Dillard puts it nicely: “You’ve got to jump off cliffs all the time and build your wings on the way down.” It’s the tension between gravity and impact that forces us to get creative, build processes, and maybe even escape disaster. Because, let’s face it, there’s nothing quite as motivational as imminent failure.
Defining the role of a producer is like trying to hit a moving target. One day they may be drumming up funding and the next day they may be booking flights for their team. Or, in Lindsey Hagen’s case, doling out ginseng tablets to help prevent altitude sickness and climbing a 19,000-foot volcano in Ecuador. As the executive producer on La Cumbre, she played a decidedly hands-on role from start to finish. In fact, she formulated the film’s concept herself on a 3-month hike across New Zealand. Her goal: to bring a group of adaptive athletes to a region where “adaptive athlete” wasn’t even in the vernacular.
There’s maybe no one more qualified to be leading the charge for independent filmmakers these days than Jim Cummings. Since we talked to him a year ago, he’s gone on to make his first feature, Thunder Road, and win the Grand Jury Prize at South By Southwest. The film is currently sitting at 97% on Rotten Tomatoes. It’s already generated $500,000 in ticket sales in France alone. Maybe most notably, though, he and his crew made it on their own — no major studio, no executives, no distributors. It’s an independent film in the truest sense of the word. Let’s just say, he’s fired up about that:
For the past year we’ve been traveling around the world making short films about filmmakers and musicians, capturing amazing creatives in their environments, digging into what exactly makes artists tick. We’ve gotten pretty good at telling other people’s stories. But one thing we haven’t done much of is tell our own. We haven’t made sales-y commercials about Musicbed. We haven’t put out slick promos announcing new features. And the reason for that is — at least for us — Musicbed is about so much more than just licensing music. It’s about creativity and artistry. It’s about creatives and artists. To talk about Musicbed and not talk about artists seems sacrilegious — close to impossible, actually.
Where Tim Pierce and Toby Crawford are tells you a lot about who they are. It’s not just that they live in Wanaka, New Zealand — population: >7,000 — it’s that they stayed in Wanaka, New Zealand, when most other production companies would have packed their bags for New York or London by now. But to leave their hometown (both Tim and Toby grew up and went to school in Wanaka) would be to commit the gravest Two Bearded Men sin imaginable: not being themselves.
“Ignorance is bliss,” Isaac Testerman says. “Everything we did was taking the bull by the horns, not knowing if what we were doing was the best way to go about it. We were just doing things the best we could.” After making his first short film with zero filmmaking know-how, Isaac went on to cofound Delve, one of Facebook’s lead creative agencies. Now, seven years later, what Isaac and his team lack in formal training, they make up for with gusto and experience.