Q1: It’s been a long time since you’ve written a blog. You’re still on Facebook periodically. What are you doing?
I’ve been working on things. I’m hoping to get King of the Kongo going someday soon, but it’s been a problem. I’m working on some other projects too. I’ve hit a ton of roadblocks, and I’m even hitting some now. It’s been frustrating. (If you’re a newbie, King of the Kongo is a project I’ve been working on since 2011. It’s the first sound serial, and I restored three chapters of it before I discovered that there is better material out there and it can be upgraded.)
Q2: What’s the deal with King of the Kongo? Why not just release what you have?
I was on the cusp of doing just that last year when Steve Stanchfield convinced me to make one last run at the 35mm. There’s a 35mm at the Library of Congress, which is kind of a mess, but mostly complete. I’ve looked at it and it’s really nice for the most part. There’s even a lot of original negative in it. The 35mm has what’s called a donor restriction on it, meaning that the donor regulates who has access to it, even though it’s held at the Library. Confusing? Welcome to my world.
Q3: Well, we’re your supporters. Do a Kickstarter and get it out there.
It’s not that simple. Doing a quick budget run on it made me realize that it was going to cost more than I could raise on Kickstarter. We needed to pay the donor at Library of Congress a large access fee and that was a bugaboo. She named a fee and then I had to scramble to find ways to raise that money.
Q4: Did you find some?
Yes, the Efroymson Fund very kindly awarded me a grant last year, but then I had trouble raising the donor and then I’ve had trouble with some of the intricacies at the Library of Congress. They’re great, but it’s a process. There’s been lot of red tape I’ve had to get through in order even to start this. I was considering starting another Kickstarter to raise even MORE money.
Q5: Are you going to?
Not right now. It’s not just super easy to do this work. You have to get a lot of people on board, you have to get grant agencies on board, etc. There’s no way that I could recover the production costs of King of the Kongo without getting grant money or Kickstarter money to do it. It just doesn’t make sense. If some of the arrangements I’ve made fall through, then yes, I will do another Kickstarter, but we’ll see.
Q6: Well, there’s another organization that’s wanting to release it, and they’ve been putting out flyers…
Yes, I know about that. It’s one of those things that bugs me. I would have liked to work with these guys, but they seem to think I’m the bad guy for some reason, and that I want lots of money. I can’t imagine why anyone would think I want lots of money for a project like this, but they seem to. It’s sad, really.
Q7: Well, why not pool resources and work with them, just swallow hard and do it for the good of film preservation?
I’d like to, and I did try, but the response I got was being trashed personally and professionally in letters and public forums. I cut people a wide swath, and I don’t care if you trash me personally to my face, but when you take it public, and you damage my reputation in ways that cost me money, I draw the line. I actually get criticism for being TOO WILLING to work with some people, but these guys, no. I can’t. I honestly wish things were different.
Q8: So when it Kongo coming out?
I have no idea. It will come out when it comes out. I’m right now waiting for some scans to start trickling in. This has become a really epic project that seems to have a life of its own. The good news is that, unless we find more sound, this will be probably close to the end of it, because we found a lot of original negative.
Q9: What other projects are you working on?
Well, I was trying to get a disc out with some of my really rare animation films on it. I’ve been working on that since the first of the year. The project seems to have stalled and I’m not sure when it will come out, if at all.
Maybe. But I can’t do a Kickstarter until I know that I can actually do this project. Otherwise, I risk raising funds for a project I’m not sure I can deliver.
Q11: Anything else?
Yes, I’m working on getting some Lupino Lane films ready to release. I’ve been working on some scans I got from Library of Congress. Thad Komorowski has been doing some work for me even this week on it. I’ve got to get some technical hurdles fixed on this one before it comes out, too. Otherwise, it won’t be good enough.
Q12: Why not just release what you’ve got?
I may have to, but I really try to make these things look as nice as possible. One of the problems I have is that I’m willing to take on projects that are a little less commercial and where mint condition materials do not survive. (I’m attracted to these projects, because I know if I don’t do them, then no one else will.) This opens me up for criticism about doing sub-par work. The Lupino Lane films, by and large, survive in choppy 16mm 1920s Kodascopes and copies of choppy 1920s Kodascopes. They will never look fantastic, but they should look a lot better than they do.
Q13: Why do you care about the criticism? Just do the work!
I have to care about it somewhat, because people jump in and trash you and then you have the reputation for turning in 3rd-rate work, which hurts your sales. In a lot of cases that I work on, perfection isn’t an option, and it’s not even close to an option. Little Orphant Annie has sections in it that look kinda soft. They always will. There are a couple of shots where I have to cut to inferior material right in the middle of a scene, because footage was missing in every other print. But it’s complete and in order, and I’m proud that we were able to get that accomplished. It’s as good as that film can look now. I still have 400 copies of Annie sitting in my living room and I can use the space, so I need to worry about the criticism a little bit.
Q14: Why do you do a long blog occasionally instead of what Seth Godin says, doing a short blog often?
Seth Godin would faint at my marketing practices. I write blogs when I can (right now I’m inspecting a print of The Front Page as I write this), and it’s in chunks. I also have a visceral reaction against the flippant, now, now, now, short, short, short mentality we’ve developed as a culture. I like to take my time and develop things. That’s why I love the folks who’ve read this far. Thank you. (BTW, you can listen to the podcast and hear us spoof ourselves and Seth Godin a little bit.)
Q15: Speaking of Annie, why haven’t you sold it to TCM? Wouldn’t that help you?
I don’t think it’s going to happen, guys. It was in the hopper a bit over a year ago, but it dropped off the radar when Filmstruck died. I’d talked to them about a number of other projects, too. It was just the wrong time. And I’m not sure the right time is going to happen again. I’d like to be wrong on this.
Q16: Why haven’t you tried getting funding for King of the Kongo through TCM or releasing it through Kino?
Who says I haven’t? Kino was very positive about this project and wanted to help, but the numbers just didn’t make sense. TCM was just plain not interested. I suspect that if I can get it out there, then TCM may perk up, but right now I’m a super-niche releasing guy and I have only one major title in my hopper. I’m beneath their notice, and, frankly, I probably should be. I’ve got to get more product out there in general, and I just haven’t. (I’m not averse to going through places like Kino in general, and they released my prints of two major titles last year for their Outer Limits sets. They’ve been winning awards, too, including the Rondo and Saturn awards. However, unlike me, Kino is not just plain nuts, and they can’t go releasing projects willy-nilly that no one will buy!)
Q17: Didn’t you say something about a blu-ray of Ella Cinders and some restored footage?
Yes, it’s in the hopper. I’ve located multiple prints of the Kodascope and we should be able to create stunning material on it, and there will be no cut footage, but maybe stills. If I had a staff of 5-6 people and a budget for scanning, I’d be on that right now. There’s script for the complete film and an original score that survives. But I can’t get to it just now.
Q18: Well, we support you! We know that it would be easier to get more films out of you if you had more cash coming in. Why don’t you do a Patreon so we can support that?
I’ve been considering this, but the bugaboo I have is that I need to provide something monthly or quarterly to Patreon subscribers, and I have no idea what that would be. These things are like earthquakes. You may not have any action for years, and then suddenly everything breaks loose. If any of you have ideas on how to do a Patreon successfully and keep subscribers happy, I’d love to hear it!
I honestly love you guys for the support I’ve had. We’re in a best of times, worst of times Dickensian conundrum these days. In terms of the access and technology to present these films, it’s the best of times. In terms of the marketability of the films, it’s pretty awful. Markets are drying up faster than we can fill the void. That’s why I love you guys so much. You’ve supported my work through a failed TV pilot, into a blog and now into a weird podcast and restoration work. It’s been a wild ride!