Sara Taksler and Naomi Greenfield are an inspiration for aspiring indie filmmakers. Or are they a cautionary tale? The two good friends, who met as students at Washington University in St. Louis, co-directed Twisted, a warmhearted charmer of a documentary about people who twist balloons into animals and other shapes. Their “balloonamentary” played film festivals for almost a year, starting with South by Southwest (SXSW) 2007, where it played to sold-out, smitten crowds and was nominated for the best first feature award.
A lot of distributors came sniffing around—but none of them picked it up.
So Taksler, an associate producer at The Daily Show, and Greenfield, a creative producer at FableVision Studios, which produces educational animation and other media, took the marketing skills they’d honed on the festival into turbo drive. They got a DVD distributor and an international distributor. And one by one, they booked Twisted in nine theaters, including New York’s Pioneer, where it will play (and where they’ll conduct post-screening Q&A’s) from June 20-26.
When we talked last month, Taksler and Greenfield were coming off a good week—a successful first showing in St. Louis and a piece in The New York Times.
Were you surprised it’s been this hard to get Twisted into theaters?
Naomi Greenfield: I guess I had no clue about whether it would be hard or easy. Right after SXSW, a few big distributors voiced interest, so we thought it was going to happen then, and we were a little surprised that it didn’t.
Sara Taksler: It’s been a hard year for independent films, so I think a lot of the distributors are a little wary about trying films that are different. And we’re a little hard to place. We’re a documentary about a kind of quirky subculture, but we’re not a competition film, like most of the documentaries that got distributors recently.
Greenfield: We fit into the niche of quirky documentaries. There’s an audience of people that are interested in that, but there are also people who are tired of it. Then again, our documentary doesn’t totally fit into that niche because we really focus on a few people and their stories, so it’s not about ’Look at these crazy twisters.’ The best way to explain what it’s about is just to have people watch the film.
Taksler: Yeah. Even with distributors and theater owners, the trick has been getting them to watch it. Once people see it, they generally really like it.
Now that the technology has made it relatively easy and cheap to make a movie, so there are so many good movies out there, do you think it’s getting to be essential for new filmmakers to be almost as good at marketing as they are at filmmaking?
Greenfield: When we were in Boston, they created an award just for us: the best marketing award. And they’ve continued that award this year, in recognition of the fact that, if you want to get an independent film seen, you do have to market it.
What did you do to market Twisted?
Greenfield: We made a big marketing plan for SXSW that we started there and carried out in every city we’ve been to: Build a big balloon sculpture, have lots of people making balloon animals and wearing balloon T shirts, have pumps [to inflate balloons] and balloons everywhere, distribute flyers and postcards.
Taksler: We mail postcards and 11x17 posters to friends in each city where we’ll be playing. They form a street team and put up posters in popular spots and hand out postcards on the street. We also send postcards, posters, balloons, and pumps to the theaters in advance to put out. The balloons and pumps are provided by Qualatex, a balloon company that’s helping sponsor the theatrical run. We look up every newspaper, radio station, and TV station in each city and email them. We send advance screeners to any interested press. We’re on YouTube—in fact, somehow we became the site’s featured video this weekend and have 200,000 hits so far!
Greenfield: We’re lucky in that we have things that we can market—we can make the balloon animals and sculptures and hats. There are a lot of documentaries right now about the Iraq war or Afghanistan, and even if your Iraq war documentary is totally amazing, it’s going to get lumped in with the other ones.
Taksler: Yeah, it’s hard to make a fun sculpture of the Iraq war.
How did you get into all these theaters that are giving you limited runs?
Taksler: Several months ago, when we realized we weren’t going to get a distributor, we compiled a list of independent theaters that other festival films had gotten into and started calling and emailing them. We didn’t hear back for a while, and then we got a lot of rejections. For a little while, we didn’t think it was going to happen because we’d already gotten our DVD producer. A lot of people weren’t interested in screening a movie that was already on DVD and didn’t have a distributor. But finally a few said yes, and then it started to snowball. Once a few theaters were willing to stand by us, others were willing to take a chance.
It sounds like your first theatrical showing was a success.
Greenfield: We did really well in St. Louis. We outsold all the films that were being shown in the theater that weekend.
Taksler: We had four screenings a day, and we didn’t have the support of a festival behind us, so we had no idea what to expect. But the balloon twisters in St. Louis were fantastic. They arranged four spots on a local show for us, so a lot of people came because they’d seen us on the morning show or read the review in the paper. And a local place donated pumps and balloons for the theater. It was great to have our first showing in St. Louis, because we met in there and talked about doing some kind of creative process together some day.
Greenfield: I remember sitting in our dorm brainstorming. It was a “What do you want to be when you grow up?” kind of conversation.
Taksler: We probably first discussed that in 1999. And now, in 2008, we got to go to the coolest theater in town and have this experience. It was really fun to see our names on the marquee. We had a really good time hearing all those people laughing and crying and enjoying the film. Also, the guy who made the popcorn told us he had just gotten off the phone with his girlfriend in Thailand, and when he told her what was playing in the theater she said she had just seen our movie on TV. We had no idea we were on TV in Thailand.
How have you managed to make and market a movie while holding down full-time jobs?
Taksler: The movie is like a nights and weekend job. And we’ve always taken all of our vacation time for our movie.
Greenfield: Actually, this year each of us did take one non-movie-related vacation. It felt funny to not be consulting each other before our vacations. For a while, we weren’t doing much with it, but right now we’re in the same routine we were in during the hardcore part of making the film: We go to our jobs during the day, and then we each have a long list of things to do at night. Sometimes at 1 in the morning I’ll be sending an email to Sara and she’ll write right back.
When I saw you at SXSW, you seemed to genuinely enjoy talking up your movie, which is probably part of what makes you so good at it. How much of the marketing you’ve done is pure drudgery and how much do you actually enjoy?
Greenfield: For me, this week was really fun when the New York Times article came out and random people saw it, and it got picked up by a lot of blogs that our friends know about. Our trailer on YouTube, which had about 1,000 hits at the beginning of the week, all of a sudden had, like, 8,000 views. It was fun to know that 8,000 people who aren’t all our family are genuinely intrigued by it. And it still is fun to talk about the film, even though we’ve had so many Q&A’s, because people ask good questions and it’s interesting to see the things people ask about. But there is a lot of work with putting together the lists and getting ready—especially now, since there are nine cities at once to prepare for.
I’m intrigued by your partnership. Is it easier to easier to deal with the rejection and indifference you get when you’re making an independent film if you have a partner?
Taksler: I don’t exercise, but I think it’s like having a running buddy, where you have someone you have to answer to, who helps you stay motivated. And just to have someone else to share it all with. There were so many things to do, so many ups and downs. It was great to have someone else who knew exactly what you were going through.
How do you work together? Do you divide everything down the middle or play different roles?
Greenfield: We started out both doing everything, but in the process of making the film, we naturally started going in two different directions. I got more interested in doing the camera work, and Sara got more interested in doing the interviews. Now Sara’s been doing all the press contacts and I’ve been putting together the marketing materials and getting new stuff printed. We have an email system, which is that one of us will write something and the other will check it and then we’ll send it out. It’s amazing how many emails go between us during the day.
Taksler: We both have a say in everything. We consult each other every day on what we’re doing for the film.
Greenfield: We try to do all our interviews together too. There was one radio interview I did where they had just one line, so I did it on my own, and it felt weird. There are certain questions that I’m used to Sara answering.
It’s also unusual that you’re both women. Most of the moviemaking pairs I can think of involve two brothers or two male friends: the Coens, the Wachowskis, the Duplass brothers, the Farrellys, etc. Do you think being women made your work any harder—or easier?
Greenfield: I worked for a weekend on audio for another filmmaker’s documentary. There was a great moment in the interview, and he asked a question that felt really shallow. And I thought, “If he was a woman, he would have asked a smarter question.” I do think we were very sensitive to our subjects, and very careful to develop relationships with them so that we were able to get good information out of them.
Taksler: I think it made the interviewing easier. In our culture, people might be a little more comfortable being emotional with women. It might be a little less intimidating for two women with a camera to come up and talk to you. And I do think we had an interest in making sure that people felt comfortable. Also, we’re both pretty young-looking. A lot of people thought we just had a school project. We were just, like, two little girls making a movie.
Greenfield: I think people were more inclined to be nice to us than if we were two older guys.
Taksler: And in editing, our process was to show the film to focus groups, which was all about being open to other people’s ideas.
How long have you been working on this movie?
Taksler: We started filming summer of 2003 and finished just before we premiered at SXSW in March 2007, so three and a half years of filming and editing, then about a year on the festival circuit.
What kept you going?
Greenfield: Initially, we made the movie after Sara and I got entry-level jobs in TV and film. They were in the industry we wanted, but we were kind of creatively stifled. So we were ready to work on something where we could use our creative energies.
Taksler: And then it became partially that we owed it to ourselves to see where we could take it. It was something we’d put so much into.
Greenfield: Sara’s just doing it because she wants to get on Oprah. [they laugh]
Taksler: The article about us in the New York Times was right under an article about Oprah. I was almost as excited about that as I was about being in the Times.
What would you do differently if you made another movie now?
Taksler: If I did another documentary that looked like it would be a long-term project, I would probably want to find an executive producer at the beginning, because it takes a long time and a lot of money to make a movie. I would go in with more of a plan before I started it. I’m more interested in the director role than the producer role, so I like the idea of moving away from organizing things and figuring out money and the details of camera equipment and all those sorts of things and just being the filmmaker, planning out story lines and asking questions and that sort of thing.
Greenfield: We did everything at first. We learned so much from the shoots we went out on when it was just the two of us, but we could have used an extra hand. The two of us were figuring out the shots and how to set things up, and also figuring out where we were going to eat and how to get places. That’s why you have production assistants and a crew.
Taksler: We had a running joke at the beginning about a fictional PA. When we would forget something or leave something behind, we would blame the PA.
Greenfield: We had two other people when we shot the conventions—an extra camera person and an extra sound person—because we knew how much work that would be. And it was amazing how much more creatively we could interview people when we had other people helping out.
What surprised you about this process of getting your movie seen?
Greenfield: We were surprised by how hard it was at first to get it seen in festivals. We got how many rejections before SXSW?
Taksler: Oh, I forget. A lot.
Greenfield: There are so many movies, it’s hard to stand out, and you need the seal of approval by a quote unquote good festival for others to take a chance. SXSW opened a lot of doors. It was a great fit for us.
Taksler: Some festivals had an artsier, more serious air that we just weren’t going to fit into. But we were surprised by how much people got into the balloon animals and the balloon hats everywhere. We went to the festival in Newport, and we went to a very fancy party at one of those mansions. Around midnight, nobody was dancing, so we thought, oh, we’re just going to have fun. We started dancing and someone made balloon hats. Suddenly everyone there was dancing, in their tuxedos and formal dresses, with balloon hats on.