Thanks, Scott. We appreciate you pointing this out via our Twitter feed so we could correct it! Maybe we should write up a post about Mary Pickford next.

As the biggest critic of my work, I couldn't agree with you more, Bill. I'll be the first one to say I needed to make a better movie to get into the major film festivals, and I own all of the flaws that I see in the film. I'm grateful that I've had the opportunity to make my first feature to learn what worked and what didn't so my next film can be better.

That said, I'm really proud of the work that our whole cast and crew did. While I own the failures, I share the successes with our whole team because I owe those successes to their creative inputs and tireless work. I'm humbled by the positive responses we have received both at theatrical screenings and community screenings, particularly our young cast.

I think our film will have much greater impact outside of the festival circuit, and that's more than fine by me.

Hey Matt,

Good question. Tugg has each content provider set their own content fee. This is the amount the content provider will receive once the film reaches the minimum ticket threshold. Then, the content provider receives 35% of all ticket sales beyond the minimum threshold. Hosts receive 5% of the total box office, so if the content provider is also the host, the content provider receives this 5%.

We purposely set our content fee low -- $100 -- to make it easier to hit ticket thresholds. In Albuquerque and Santa Fe, we blew past our minimum thresholds, so we did quite well on those screenings. For our Northeast tour, we had a mix of really well-attended screenings and screenings that just hit the minimum. After the Tugg tour, we focused on Community Screenings with Girl Scout councils and middle schools.

Someday, I'd like to reveal our financials to be as transparent as possible, but we're not quite there yet. I can tell you that between the Tugg screenings and Community Screenings plus additional Educational licenses, we generated box office revenue in the five-figure territory.

Hey Robert,

The key to successful Tugg screenings was finding a partner in each city to host/co-host the event before we scheduled the screening. Even with partners, we spent a lot of time educating them on how they needed to reach out to their networks repeatedly to remind them to buy tickets before the Tugg deadline.

We also did a lot of outreach on our own. For example, using Google Maps, I found all of the middle schools surrounding the theatre where we were having our screening, looked up email addresses for principals, counselors, social workers, math teachers, STEM/STEAM leaders, etc. and sent them personal emails to invite faculty, staff and families to our screenings. This led to some larger blocks of ticket purchases by schools in certain cities.

We actually had one screening not reach its ticket threshold in Brooklyn, mainly because we couldn't find a partner before launching, but it was geographically between two other stops on the tour. Even though the screening didn't happen, our outreach for the screening led to two community screenings with two separate Girl Scout troops in Brooklyn at their schools, so that failure actually turned into a win.

And thanks for the kind words about the film. Glad you liked it.

Original title said A.I. before publishing. I can understand your confusion :)

As far as I can tell, it is set at 5 seconds with no way of adjusting it. So you better keep typing.