Order Marx's book from Michael Wiese Productions here.
Dave Watson: What led to this book?
Marx Pyle: I was interviewing people in the industry in 2007, writing for online magazines, and I interviewed Damian Kindler, a producer, in Vancouver, BC. He was best known at the time for being a writer producer of TV shows like Kung Fu: The Legend Continues and Stargate SG-1. At the time he was working on a web series he created called Sanctuary, which was the most expensive web series at the time at CAD 4.5 million. I had heard of web series before, but this interview was my eye opening moment about it. I saw his excitement and the possiblities for filmmakers wanting to work on a more TV type of format of storytelling. Ever since then I've been fascinated by web series. I kept interviewing web series creators and trying to keep my eye on the growth of the medium. And eventually started created my own series.
DW: Why would someone create a Web series? Why not TV or a film?
MP: It used to be that filmmakers would start their careers with short films and build from there, but web series have become the new short film helping create opprotunties for filmmakers. This is for two reasons: one is it creates opportunities for filmmakers to get exposure. I got into it because I loved storytelling. With these opportunities is the second reason: television and Web series can take so much more time to explore and develop characters. I’m thinking of True Detective, however other examples include the many seasons of Lost there were, even Buffy The Vampire Slayer. There have always been independent films, or indies, but now there is independent television or better known as Web Series.
DW: I’ve been amazed, especially this year, with the amount of A-list talent doing TV. Thinking of True Detective, with Mattew McConaughey and Woody Harrelson, who’ve also been around a while. With stars in mind, is pitching a Web series any different than a TV show?
MP: First off, like many do in indie web series, you can create it yourself and don't have to pitch it. But, you can pitch to a production company like traditional TV. There can be a similar script outline with series Bible, but the format, character development, and the budget are way different. Networking can become more crucial when you’re shopping a project around. A second difference is the concept of a Web series versus traditional TV. With a Web series you don’t have to target a wide audience; you have to find your niche market, build your audience, and they’ll follow you online.
DW: Is the four-quadrant audience segmentation out the window then? Does it ever apply?
MP: That depends. When dealing with advertisers, they want to know who’s watching and that is the kind of demographics they understand. Othewise, it’s really about niche audience. Felicia Day created The Guild and it was aimed at online gamers, especially World of Warcraft gamers, and it appealed to them. Her audience was already online—all they had to do was click over. It was a big success and it started in 2007 and wrapped after six seasons I think, and now she has her own Youtube channel, Geek & Sundry.
DW: Google purchased Youtube just after that. This said, how will this rise in Web series affect the cinema and big screen?
MP: Well (laughs), the audience will watch from home, and cinema will be event-based movies, ones that must be seen on the big screen. The distribution window keeps shrinking, and simultaneous releases are here and there, like Snowpiercer. The online audience used to be younger, not that sophisticated, but the TV and online audiences have become more and more similar. We have Smart TV, Hulu, and so on that help make it easier.
DW: What about awards? There’s a chapter in your book on all the Web and related awards. Will these continue to spread as they have over the last six or seven years?
MP: I think so. The first Web Series awards festival was L.A. Webfest in 2010, and now there are awards ceremonies all over the U.S., Europe, Asia. Even the traditional film fests have become friendlier to Web series submissions and recognizing their content. The challenge of web series is to be heard in a vast ocean of stories and marketing your show. In theory, fests can help get you more attention in other countries, then you can use that to leverage funding.
DW: Back in the ‘80s I saw Sugarcane Alley by Euzhan Palcy, whom I believe grew up in French Martinique, Africa. She later did A Dry White Season; she was recognized across the world. What’s next for you?
MP: Promoting this book is big (laughs) I’m developing two new series and funding is still a challenge. I’ll also try writing a fiction novel, and have a nonfiction book I will pitch soon. The series format is still my favorite, though. I like helping on other web series. I recently helped another series, Aidan 5, doing the fight choreography and stunt work. One thing I like is the Web Series community. I find it’s more connected and supportive than indy film, which of course has its own factions. I still feel like the Web Series community is tighter sometimes.
DW: With all your projects on tap, what is your most memorable or inspirational cinematic moment that led you to work in this medium?
MP: That’s tough. I mean, my earliest memory was Star Wars, which ignited my imagination and inspired me to be creative. It was the whole experience, and especially the opening with the scrolling text. It was a roller coaster ride, and I still see that today in films like Guardians of the Galaxy. It has lots of action, comedic moments, tear jerking moments, and lets us get to know the characters.
Clip: Star Wars opening
Dave Watson: What led to this book?
Marx Pyle: I was interviewing people in the industry in 2007, writing for online magazines, and I interviewed Damian Kindler, a producer, in Vancouver, BC. He was best known at the time for being a writer producer of TV shows like Kung Fu: The Legend Continues and Stargate SG-1. At the time he was working on a web series he created called Sanctuary, which was the most expensive web series at the time at CAD 4.5 million. I had heard of web series before, but this interview was my eye opening moment about it. I saw his excitement and the possiblities for filmmakers wanting to work on a more TV type of format of storytelling. Ever since then I've been fascinated by web series. I kept interviewing web series creators and trying to keep my eye on the growth of the medium. And eventually started created my own series.
DW: Why would someone create a Web series? Why not TV or a film?
MP: It used to be that filmmakers would start their careers with short films and build from there, but web series have become the new short film helping create opprotunties for filmmakers. This is for two reasons: one is it creates opportunities for filmmakers to get exposure. I got into it because I loved storytelling. With these opportunities is the second reason: television and Web series can take so much more time to explore and develop characters. I’m thinking of True Detective, however other examples include the many seasons of Lost there were, even Buffy The Vampire Slayer. There have always been independent films, or indies, but now there is independent television or better known as Web Series.
DW: I’ve been amazed, especially this year, with the amount of A-list talent doing TV. Thinking of True Detective, with Mattew McConaughey and Woody Harrelson, who’ve also been around a while. With stars in mind, is pitching a Web series any different than a TV show?
MP: First off, like many do in indie web series, you can create it yourself and don't have to pitch it. But, you can pitch to a production company like traditional TV. There can be a similar script outline with series Bible, but the format, character development, and the budget are way different. Networking can become more crucial when you’re shopping a project around. A second difference is the concept of a Web series versus traditional TV. With a Web series you don’t have to target a wide audience; you have to find your niche market, build your audience, and they’ll follow you online.
DW: Is the four-quadrant audience segmentation out the window then? Does it ever apply?
MP: That depends. When dealing with advertisers, they want to know who’s watching and that is the kind of demographics they understand. Othewise, it’s really about niche audience. Felicia Day created The Guild and it was aimed at online gamers, especially World of Warcraft gamers, and it appealed to them. Her audience was already online—all they had to do was click over. It was a big success and it started in 2007 and wrapped after six seasons I think, and now she has her own Youtube channel, Geek & Sundry.
DW: Google purchased Youtube just after that. This said, how will this rise in Web series affect the cinema and big screen?
MP: Well (laughs), the audience will watch from home, and cinema will be event-based movies, ones that must be seen on the big screen. The distribution window keeps shrinking, and simultaneous releases are here and there, like Snowpiercer. The online audience used to be younger, not that sophisticated, but the TV and online audiences have become more and more similar. We have Smart TV, Hulu, and so on that help make it easier.
DW: What about awards? There’s a chapter in your book on all the Web and related awards. Will these continue to spread as they have over the last six or seven years?
MP: I think so. The first Web Series awards festival was L.A. Webfest in 2010, and now there are awards ceremonies all over the U.S., Europe, Asia. Even the traditional film fests have become friendlier to Web series submissions and recognizing their content. The challenge of web series is to be heard in a vast ocean of stories and marketing your show. In theory, fests can help get you more attention in other countries, then you can use that to leverage funding.
DW: Back in the ‘80s I saw Sugarcane Alley by Euzhan Palcy, whom I believe grew up in French Martinique, Africa. She later did A Dry White Season; she was recognized across the world. What’s next for you?
MP: Promoting this book is big (laughs) I’m developing two new series and funding is still a challenge. I’ll also try writing a fiction novel, and have a nonfiction book I will pitch soon. The series format is still my favorite, though. I like helping on other web series. I recently helped another series, Aidan 5, doing the fight choreography and stunt work. One thing I like is the Web Series community. I find it’s more connected and supportive than indy film, which of course has its own factions. I still feel like the Web Series community is tighter sometimes.
DW: With all your projects on tap, what is your most memorable or inspirational cinematic moment that led you to work in this medium?
MP: That’s tough. I mean, my earliest memory was Star Wars, which ignited my imagination and inspired me to be creative. It was the whole experience, and especially the opening with the scrolling text. It was a roller coaster ride, and I still see that today in films like Guardians of the Galaxy. It has lots of action, comedic moments, tear jerking moments, and lets us get to know the characters.
Clip: Star Wars opening