“Trembling Before G-d” Director Sandi DuBowski Discusses Organizing Around Film

Following our conversation with Obama guru, Jeremy Bird, we interviewed activist and independent filmmaker Sandi DuBowski. Sandi is known for directing and producing the award winning documentary, Trembling Before G-d.  The film tells the compelling story of several gay and lesbian Orthodox Jews who are trying to reconcile their sexuality with their faith. Trembling was very well received on the festival circuit and at the box office, winning seven awards including at the Berlin Film Festival and Chicago Film Festival, and broke the Film Forum’s opening day box office record by grossing more than $5,500 on the day of its single screen New York debut. Sandi later took the film on a town hall-style screening tour to schools and synagogues across the country to spark a conversation about LGBT issues among Orthodox Jews.  Similar to how Obama veteran Jeremy Bird gives consulting advice on grassroots organizing for political campaigns through his firm 270 Strategies, the success of Trembling has resulted in Sandi becoming one of the leading consultants for “issue” organizing around film. The distribution campaign for Trembling focused on the act of screening the film itself instead of an external action like passing a law or signing a petition.  This is a different approach than other issue-based films we have studied in our research like Participant Media’s film, The Visitor, which attempted to engage its audience in a number of external action campaigns on its website, i.e. offering free legal seminars to lawyers to learn how to defend immigrant detainees.  In contrast, Sandi decided to focus the campaign on distributing the film itself because, “Trembling was something that had a lot of resistance, so it really was about building a conversation as opposed to something like having the court law come in and change how the U.S. military deals with rape…” Sandi was able to channel the enthusiasm of LGBT community towards the action of distributing his film by focusing the goal of the campaign to break the silence of a community that many people felt needed to be more vocal. Sandi then formed metrics to gauge the progress of distribution and translate the success of the film to supporters and investors.  Sandi reflects,

“There is a whole growing field in  ‘How do you evaluate this? How do you measure it?’ And for me it was like, if I could create a conversation in a public institution that never had a conversation before, that for me was like a statistical marker of success. If I could get a school that never discusses homosexuality to really have all the teachers have a conversation about it with the principal and social workers, that was a victory.”

From our perspective working on the Obama campaign, metrics for canvassing, phone calls and fundraising played a critical role in giving supporters an understanding of how their time and money contributed to the campaign’s success. Similarly, Sandi shared the stories about people who went through transformative experiences at Trembling screenings to translate the success of screenings in Jewish Orthodox institutions.  These stories helped motivate supporters to contribute money and time to the distribution of the film.  As Sandi states,

“We consistently had a proven track record.  Were able to tell the story of the success about how people’s lives were really changing. It was very much turning a movie into a movement… That strategy for fundraising was throughout the whole process of the film, so it just felt like a continuation of the way I had worked.”

Instead of waiting on a distributor to support his screenings financially, Sandi raised funding on his own so that he could hire a network of outreach directors that helped organize screenings throughout the country.  Sandi discussed, “Everywhere we went, I would hire outreach directors.  I got my distributor to pay me to be an outreach director.  I hired in New York, I hired in Boston, I hired in L.A, I hired in San Francisco, I hired in Chicago, so I built a whole team nationwide, as well as in Canada.”  This is similar to how the Obama campaign hired organizers during the primary.  Sandi would hire organizers 6 weeks before a new screening so they could build publicity and work with different organizations to plan for the event.  He was able to sustain his team of outreach directors by tapping into various financial sources during the distribution process through grants, private donors, grassroots emails and donations.

Sandi also touched on the recurring theme in our research that new technologies make it even more critical for filmmakers to build a team that help manage the many tools available for distribution. Sandi observed,

"Now there’s such a menu of options to mobilize an audience…I think capturing the audience is really important, capturing the data in that room. And really being able to record that data, and having someone on board who can actually do all that social media work and that data recording and that data basing is what we all forget, and then we’re all flooded with information, flooded with data and we have no way of organizing it….I think team building, capacity building is so important right now, and it’s really important to think about how we’re going to run like a mini NGO with our film.”

Sandi’s example proves that filmmakers can build their own distribution team by being nimble with financing and embracing a grassroots structure. We wonder if Sandi’s successful distribution strategy of hiring outreach directors to organize community screenings could be expanded even further through empowering a team of volunteers.  In our recent interview with Jeremy Bird, he highlighted four key grassroots principles that emphasized the importance of data and sharing real responsibility with volunteers. Bird mentioned that what separated the Obama campaign from other grassroots operations in the past is the inherent sense of ownership and trust built into the core of its volunteer structure which is named “The Snowflake Model.’ In the ‘Snowflake Model’ volunteers were assigned to neighborhood teams and given specific roles like Phonebank Captain, Canvass Captain and Neighborhood Team Leader that each played a significant role in the historic turnout efforts of the campaign.  Could a similar model be adapted to empower audiences to get more involved in the distribution of film?  We plan to explore this question in future posts.

Jeremy Bird, 2012 Obama National Field Director, Talks Grassroots Organizing and Film: Part 2

In our previous post we talked to Jeremy Bird, the former National Field Director of the Obama campaign in 2012, and discussed best practices from the Obama campaign that could help filmmakers distribute their films. In this post we will discuss our takeaways and conclusion from the interview. Takeaways

From our interview with Jeremy Bird, it is clear that filmmakers have 3 main disadvantages compared to political campaigns: 1) In film it is hard to access data and it is not clear what data sources will be most effective for targeting audiences, 2) You need experts that can interpret and use data to create models and 3) Models have to be customized to a specific campaign and this takes a lot of money and resources that independent filmmakers do not have.

However, Bird also recalled that when he first worked for the Obama campaign as the Field Director of South Carolina during the primary, they had to build their network and entire operation from scratch like many independent filmmakers when distributing their films. Bird went on to highlight 4 best practices from the campaign that filmmakers could adapt to distribute their movies.

1) Empowering volunteers by sharing access to more data and giving them real responsibility. Bird stressed that volunteers form the foundation of any true grassroots organization and need to be motivated through a sense of trust, responsibility and ownership. One of the major reasons the Obama campaign was able to effectively collect data and target persuadable voters was because organizers recruited an army of volunteers to call and knock on doors to figure out who in the universe were supporters. Without volunteers on the ground to collect information about voters, the data team would have had a far less accurate model of targeting persuadable voters.  This can only be done by giving real responsibility to volunteers and making them understand they are an integral part of the campaign.

2) Organizing consumer data to target potential supporters of a film. This can be the starting point for creating a data set of supporters for a specific film. For example, Bird mentioned the Obama campaign was able to look at consumer data and determine that someone who drove a Prius car is environmentally friendly and therefore a likely Obama supporter. The same type of modeling could be helpful for independent film, i.e. someone who liked the cult film Blue Velvet might also want to see another cult film like, Donnie Darko.  Examining consumer information further, someone who subscribes to Filmmaker Magazine or the Sundance Channel are avid indie movie goers and far more likely to want to see your independent film compared to the average consumer.

3) Creating multiple narratives about your film that market to both broad and niche audiences. The Obama campaign was very creative in forming many sub constituency groups like, Students for Obama, Latino’s for Obama and Veterans for Obama just to name a few. These constituency groups helped attract a diverse range of supporters by making them feel included. At the same time, the Obama campaign used messaging like “Change We Can Believe In” to appeal to a broad audience. In contrast, filmmakers often limit themselves by trying to decide if they should market their film as a story that appeals to the masses or only small niche audiences. The example of the Obama campaign suggests filmmakers might not have to chose and should market to both mainstream and specific groups. For example, filmmakers could cut multiple trailers of their film, one that appeals to the mainstream and other trailers that focus on certain themes that appeal to specific niche groups.

4) Using commit cards to motivate audiences to opt-in to watching your film at home. The Obama campaign increased the turnout of sporadic Democrats, people who have a poor record of voting; by asking them fill out commit cards that were eventually mailed back to their house to remind them they committed to voting. The same strategy could be used to motivate audiences to watch a film at their home. Filmmakers could create a sense of urgency around signing commit cards by sharing goals for number of VOD rentals, or hits on YouTube. For example, “commit to watching ‘Glory at Sea’ March 30th, and help us break our goal of 10,000 views.” Once someone signs an online commit card to watch a film on a certain date, it would then be sent back to them in an email to remind them of their commitment to see the film.

Conclusion

At the end of the interview, Jeremy Bird explained that with digital media the Obama campaign was trying to

“Create our own channel. When you have 20 million people on your email list, you’re no longer reliant on the establishment. We weren’t scared of things that were said about us in the bubble world because we had our own mechanism to distribute information.”

We have studied many independent filmmakers that have created their own distribution channels in order to overcome the established marketplace of Hollywood. However, many of these filmmakers are at a huge disadvantage from the start since there is no organization that can provides them with the necessary data, resources and knowledge they need to run an effective film campaign.

In contrast, political candidates can hire companies like 270 Strategies for consulting advice, and organizations like OFA and the DNC already have large voter databases and email lists they can tap in order to build their campaigns. This makes us wonder if a similar consulting firm like 270 Strategies or an umbrella hub like Organizing for Action, might be helpful for the film world.

However, how would the organization build its email lists and tap into data sources that independent filmmakers could use to grow and target their audiences? Would the organization consist of mostly of people in the film industry, or people from the non-profit and community organizing world? We plan to explore these questions in later posts.

-Michael, Josh and Carl