We will continue to find and rate music videos as we have done for years. But, we are adding a service — of sorts. We will begin producing films. So many of those we have been communicating with over the years want to break out and away for the daily grind that has become music video production. We get it. Most people got into do music video as an avenue to doing other media related productions.
Our first project will be working with Jason Popow from Waste of Time Productions. Together we will be producing a documentary based on his life as a long-haul professional truck driver. The plan is to go on the road with him as he criss-crosses the United States. Jason has been doing this for 27 years and has a unique view of what makes up this country. Our goal is to see the US through his Canadian eyes. This will be our fundamental mission traveling with him, meeting the people he meets along the way, and rediscovering America.
Details will be posted here regularly as well as crowdfunding opportunities.
In the meantime, here are the details:
Log-line: The north American transport industry is in a shambles with few in the industry able to agree on how to proceed. One man, a Canadian, holds the secret to making this work for everyone.
Summary: The Highway Man is a documentary and personal approach to what tends to be an exploration of modern life — where the open road is a metaphor life for all of us. It’s a story of loneliness versus connecting with people, told through the eyes of Jason Popow. Jason Popow is Canadian from Alberta and works out of Chilliwack, British Columbia. This film will be a journey, or road trip with Jason and the director as they travel across country.
Just as with trucking industry itself, the audience is 90% men from 24-64; followed by 10% women in the same age group. This reflects the actual demographic for the professional driver in the US. However, considering the need for the trucking industry to attract new and competent drivers, we find that the demographic starts at 18 year olds who are looking for a way to start off their lives with an adventure. As the film progresses, Jason’s life they will reflect on specifics of his life as a professional driver.
Discussions about Jason’s life will be how he feels he is dealing with his demons, paying for his sins, and making amends. These demons and certain parts of his life will remain unspoken. This will create a sense of mystery. Some mysteries will be brought to light. Some will stay hidden. The connection between this Jason in front of the camera, the Jason who produced the videos on his YouTube channel will be made early. He will talk about how the music he uses in his videos reflects his life and his philosophy.
During this early part of the film we will want to get to know Jason. As such, the film will concentrate on how he started driving and where he has been.
Primary Contact: Mark Dixon, Producer for TikiKiti Productions
We live in historical times — We want this film to help people remember
This documentary, The Highway Man, The Life & Times of Jason Popow (pronounced pōˈ-pō), explores the nature of the modern American people. It is 2025 and the United States is in a cultural transition. This film leaves aside current political agendas and a focus on everyone’s similarities.
With the industry focusing on politics and how to game the laws, this documentary will approach it from a more personal point of view. We will be contrasting the state of the industry with the life of a professional driver, and how changes in the industry are affecting the long-time drivers. This is how we came to focus on Jason Popow and his 27-year career as a long-haul professional driver.
One of the biggest concerns for the transport industry is the aging of the current driving force. How to replace them quickly has become a primary concern. However, there’s more to this than meets the eye. Larger corporate concerns are pushing through legislation at the federal level that is actually making matters worse. Loopholes in older legislation allows these companies to higher foreign drivers without the proper licenses and is causing havoc on the US highway system. Electronic logs are requiring drivers to stop driving at certain times. This means that most driver have to take breaks at the same time. Truck stops to fill up quicker and drivers are forced to find places to park outside of the truck stop. The transportation industry has the a high fatality rate. Inflation all across the economy is forcing many smaller companies to close down—and they are doing so at record rates. Just as with any industry, the professional truck driver needs to know they can make a living wage.
The film will be seen through the eyes of Jason Popow, a Canadian from Alberta. We will explore his character, and to understand why he is the perfect lens to observe our country through. His love for the United States comes from all his years of driving. Here he has found a beauty most American have forgotten existed.
This film delves into his life, finding out how he sees his world, shedding light on such intimate topics such as family, the death of those he has loved, and how it has affected his current world. His life and world view is the foundation of how he sees the United States and all the people he finds along the way.
At this point we need to introduce TikiKiti Productions and how we became involved with this industry. The company’s principal owners, John Perrine and Mark Dixon, have been working together in film production for 40 years. The purpose of TikiKiti is to find and recognize quality music video production. From this we built a database of nearly 200,000 entries that include cinematographers, musicians, and producers.
One year ago we found music videos from Jason Popow and his Waste of Time Productions YouTube channel. Jason has a unique YouTube channel where he documents his life as a professional truck driver by making music videos. As a long-time veteran driver he understands all aspects of running a trucking company. He has been a dispatcher, part of 2-person teams, and, being from Canada he knows and understands Canadian and US laws governing his profession. The company he works for is, JD Trucking is out of Chilliwack, British Columbia. His profession has taken him to all but four states and all of Canada. What caught our attention was all of videos were an autobiography. He had been chronicling his life as a professional long-haul driver — with music videos. Immediately TikiKiti became fascinated by his music videos. He paired his original video with modern, alternative-country music artists. Each one being chapter of his life. Shortly after meeting him he was interviewed one of our podcasts.
As we began learning more about the trucking industry, Jason talked to us about all the issues facing the trucking industry, and through him we discovered how the industry is struggling today.
Set against the backdrop of the American highways, our team travels from British Columbia heading to Florida for a delivery. Our narrative is rooted in the current period of political division, a time when people are so easily divided. Or, this is what we are lead to believe. Through this lens, we aim to uncover the real human stories that make up American perspectives, offering a fresh look off the spirit that is so easily overlooked and under-reported today.
Jason Popow is the heart of The Highway Man, whose life as a long-haul professional driver inspired this film. Jason built a following for his music videos about his cross-country trips and driving his truck. Here is a man who turned his career into a palette of his life. In these music videos, rich in emotion, he shows an American panorama and illustrates something that is very personal, at the same time capturing aspects of American life many have forgotten. This approach will end up making the documentary not only informative, but deeply moving.
Our investigation of the American psyche will take us to from one end of the country to another. Starting in British Columbia, Canada, the first leg of the trip will go to Florida. The return trip will make this journey to be approximately 6,000 miles. These journeys are crucial for painting a comprehensive picture of modern America, allowing audiences to remember they are part of something greater than themselves.
The Highway Man aims to show how Americans can challenge their individual perceptions of how others should act, and realize how similar everyone really is. Jason, considered an outside, will talk about his life, and how similar he is to everyone else. He is an “everyman.” Taking advantage of his being Canadian, his image as an outsider helps make people be at ease around him. This project is more than a documentary; it’s a platform for understanding, and engaging viewers while vistas of breathtaking sunsets and sunrises pass by.
The Highway Man unfolds through a carefully structured narrative framework, introducing Jason Popow. At its core, the story revolves around him and his experiences as a long-haul professional driver. This serves as a microcosm for how his relations and friendships have influenced his artistic efforts with filmmaking, and specifically, his music videos.
Character Arcs: The narrative is a story about the life of Jason Popow and what he has learned over the years as a professional driver. He says mostly that is to be more open minded about the people and places he sees every day on the road. Although Jason starts with a high regard for humanity, he has a very low opinion of people in general. Much of this opinion comes from his driving for 27 years and seeing how individual people (in cars) behave with others on the road. He has a very profound view of road rage because he sees it first hand every mile of every day.
Brought on by years alone in the driver’s seat, Jason is an unapologetic individualist. He loves westerns. One of his favorite places in the country is Tombstone, Arizona. The old-west town, “too tough to die.” His life reads like a western. Especially since he considers himself an outlaw — always flouting the rules. He has a long history of riding his Harley Davidson with his friends. Being a professional trucker today is like living the old wild west. The sense of right and wrong is engrained in this lifestyle. Even as most drivers see their lifestyle vanish right before their eyes.
For example, he realizes that once someone gets behind the wheel, they feel a sense of superiority and invincibility. For these people, taking on an 80,0000 pound semi-truck and besting it (in their mind) is winning. Little do these people realize, when sitting in their Prius, there is no winning against 40 tons of steel rolling down the highway at 65mph. Is there any hope for these types of people to survive their road rage?
This is the same mentality that is the foundation for all the division in this country currently. This type of tribal-like attitude is what needs to be chipped away at for people to remember they are a part of a whole that is greater than each of them. Being in a car and on the highway doesn’t change this. It only increases the need for people to remember there is an etiquette on the road.
Opening with an interview of an industry representative who briefly discusses the range of issues currently facing the industry. Cutting to scenes similar to this thought out the first act. Doing this will allow for natural edit points needed to move the road trip along as it crosses the country. But it also allows us to introduce subject material that can be reflected with Jason in the truck as he speaks to this issue.
Power and Positionality: With the theme developed as noted above, we believe people will begin to see themselves in Jason. They will emphasize with his situation (who hasn’t driven on a north American highway and seen some sort of road rage) and come to see themselves. The Highway Man is being built around the themes that the road is just a metaphor for everyday life. Hating the guy in the car next to you just as he cut you off, is the same as hating your neighbor from across the street for a perceived slight. Since we have gotten to know Jason, one of his most consistent mantras is to take a deep breath and remember that hateful and negative thoughts grow so much faster in your head when you let them. He says he tries to push out these thoughts when they happen. If he didn’t he would be responsible for a lot of damage on the roads.
When we first meet Jason he seems like the stereotypical trucker, his appearance lends itself to this. (Note: When asked why he cuts his hair the way he does, he said he once saw a picture of a Viking and liked it so much he decided to change his hair style.) However, all stereotypes about truckers blow out the window when he starts talking and his sense of humor takes over. He has a self-deprecating humor that will loosen up anyone he is with. He makes it easy to laugh and for his audience to join in with him.
Climax and Resolution: The documentary builds towards a pivotal moment, where it becomes plain the film is highlighting the distinction between loneliness versus connection. This is a key realization because loneliness is a key feature of fear and brings our character (Jason) into sharp focus. This will also be a recognizable attitude of many people. Jason recognizes this and is able to bring to everyone’s attention. This moment is a turning point, leading to where to examples of how he fought this attitude in him. One example is his story of meeting an Australian family while at a truck stop. The father was fascinated by his rig and asked if he could take a picture of his son standing next to it. Jason suggested he put the boy in the driver’s seat. When he did everyone was full of smiles and joy. Jason says it was one of the best of times and was thrilled when he saw the smile on the boys. This was a climax in his career. He has been more open to recreating this situations. This is what happens when someone opens up to creating joy for others.
Jason says that the Australian family left and were so happy. The boy couldn’t sit still because of the giddiness. The father was so thankful and shook his hand, he too, was nearly in tears because his son now had a memory that will last a lifetime.
Narrative Trajectory: Throughout The Highway Man, the anticipated narrative trajectory moves from the life of a trucker on the road being isolated and lonely, to the realization that isolation is a matter of choice, as is being lonely. We come to realize this attitude is the foundation of fear, and opens the narrative up to weaving through challenges of facing our demons: Discovering new things about yourself and deciding to make changes. This is a journey Jason has been on for some years, and he highlights this attitude with his many music video on the topic. This journey not only illuminates dealing with your own demons, but also making no apologies for how he lives his life. It is through this experience he is able to engage and inspire his audience, fostering a deeper connection to his story and how he is becoming comfortable with himself.
In The Highway Man, our artistic approach is designed to immerse audiences by blending the vast American scenery contrasted with old brick buildings from small towns. Our vision is to create a sense of place like a blanket surrounding the audience, places and experiences that will be familiar to everyone — a city scape with a crowded highway full of cars or a long road disappearing at the horizon. Who hasn’t scene places like this and had the emotions and wonder what comes with these memories.
Visual Style: Our visual narrative will be characterized by vibrant cinematography, stark contrasts, intimate close-ups, which serves to the purpose of visual style, e.g., highlight the beauty; underscore the harsh realities; draw attention to the nuances of what makes this cross-country trip. We plan to employ, e.g., drone footage, handheld camera work, time-lapse photography to capture the specific aspects of the subject matter, ensuring that each frame contributes to the storytelling.
Audio Design: The auditory experience of The Highway Man will be equally compelling, e.g., original score, natural soundscapes, voice-over narration and pre-existing music we have permission to use. Our aim is to enhance the atmosphere, underscore thematic elements, provide context through a careful selection of music, sounds and dialogue that resonates with the themes of the documentary.
Narrative Techniques: To weave a cohesive and engaging narrative, we will use parallel narratives and thematic montages. These techniques will allow us to juxtapose different perspectives, build tension — weigh stations and blowing out the retreads, create thematic resonance, enriching the viewer's understanding of why this trip is needed.
Creative Devices: Our documentary will incorporate creative devices such as animation, to illustrate passages and the passage of time. These elements will be integrated seamlessly to how they contribute to the narrative and conceptual framework, enhancing the storytelling without detracting from the documentary's authenticity.
Artistic Influences: Over the years Jesse has developed his own style. His style reflects the influence of such directors as Quentin Tarantino and David Lynch among others. Jesse will be using a variety of lighting techniques especially since the majority of his camera work will be from inside the truck cab.
Integration of Elements: The synergy between visual and audio elements, narrative techniques, and creative devices is central to our artistic approach. This integration ensures that The Highway Man is not only a documentary but an artistic expression and immersive journey.
In producing The Highway Man, particularly given its focus on specific communities that are traveled through, we are deeply committed to upholding the highest ethical standards.
Our accountability to local communities involves informed consent, respect for privacy, and sensitivity to cultural norms to ensure that our storytelling is both responsible and respectful.
Informed Consent: All participants in The Highway Man, have been [describe the process of obtaining consent, e.g., thoroughly briefed on the project’s scope, potential uses of the material, and their rights]. We ensure that consent is informed and voluntary, with clear avenues for participants to [withdraw, voice concerns, or ask questions] at any stage.
Transparency: Our approach is characterized by [openness and honesty with participants about the filmmaking process]. We maintain an ongoing dialogue with [participants, community leaders, stakeholders], ensuring they are aware of how their stories are being portrayed and used.
Cultural Sensitivity: Recognizing the importance of [cultural, social, or historical contexts], we engage with [cultural advisors, community elders, subject matter experts] to ensure our content is respectful and accurate. This includes [language use, representation, and cultural practices], especially when depicting [specific rituals, traditions, or personal stories].
Feedback and Revision: Before finalizing [Documentary Title], we will [offer screenings, share drafts, or provide summaries] to [key participants or community representatives] for their feedback. This process allows us to make necessary adjustments to honor the perspectives and dignity of those featured.
Mark Dixon, the producer behind The Highway Man, has been managing film and video related productions since 1986. “I’ve earned those gray hairs.” He has been responsible for every aspect of the production. Taking care of all the behind-the-scenes aspects, from legal advice to money management. Mark is managing the ownership to ensure all participants have a final stake in finished film.
In the creation of The Highway Man, our paramount concern is the safety and well-being of our participants, the communities involved, and our production team. We are dedicated to fostering an environment that prioritizes safety in everyday — including physical and psychological. We do this because we believer everyone deserves respect.
Risk Assessment: Prior to production, we will conduct a thorough risk assessment to identify potential hazards and vulnerabilities associated with filming locations, subject matter, participant interactions. This will include specific measures, e.g., assessing health risks, evaluating environmental conditions, considering social or political sensitivities], ensuring we are prepared to address any issues proactively.
Safety Protocols: Our team will adhere to stringent safety protocols, including health and safety guidelines, emergency response plans, secure communication channels. For instance, we will implement secure transportation arrangements, confidential handling of sensitive information to protect everyone involved in the project.
Feedback Mechanisms: We will establish open lines of communication through regular meetings, feedback sessions, allowing participants express concerns, suggest improvements, or report incidents without fear of reprisal. This feedback will be invaluable in [adjusting practices, resolving issues, enhancing safety measures] throughout the project.
Community Engagement: Our approach involves active engagement with the communities we document, ensuring their perspectives and concerns are integral to our filmmaking process. By collaborating with community leaders, involving local stakeholders, and respecting community protocols, we foster a sense of partnership and shared ownership of the documentary.
Ethical Filmmaking Practices: We are committed to ethical filmmaking, adhering to industry standards, legal requirements, moral principles. This includes fair compensation for participants, respectful depiction of subjects, responsible handling of sensitive material, ensuring that our documentary contributes positively to the subjects and communities it portrays.
“We are all in this together and the more you know about other cultures the less frightened you become. At the end of the day, we are all humans trying to provide for the people we love.”
UnLocked Films represents an idea. That idea is that film cannot only unlock minds but it can entertain, educate, and hopefully inspire. With every client I promise to bring an unmatched work ethic and creativity. I will work hard to produce the highest quality product for your business. I will never stop pursuing my dream of a fully interactive film experience. I will also never stop telling stories that break down stereotypes.
Jesse Locke is an award winning filmmaker from Bend, Oregon. He has made six short films and two feature length documentaries. Each of these films have been officially selected by a number of different film festivals throughout the world. Three of these films have won awards including ‘best in show’ for his documentary “Radiance of Resistance” at the Human Rights Film Festival in Belfast, Ireland. He has been providing high quality video production for local businesses in Oregon since 2012.
My motivation for embarking on this documentary stems from a personal connection, a compelling question, and a societal concern that has long intrigued me. The story of The Highway Man resonates deeply with my personal beliefs and artistic vision, compelling me to delve into how to make this documentary work and bring these narratives to light.
Throughout my career, I have been drawn to themes about the underdog, and to show these people taking on a system and that reflects what this says about our worldview. The Highway Man is an extension of this fascination, allowing me to explore how these themes in a nuanced and impactful way.
The artistic approach I’ve adopted for The Highway Man is to bring the individual into the film, allowing them to become part of the project, and speak for themselves. This method resonates with my broader goal of provoking thought, evoke empathy, and challenge perceptions, ensuring that the storytelling is not only engaging but also meaningful.
Link: @unlockedfilms/videos
Jesse Locke is an award winning filmmaker from Bend, Oregon. He has made six short films and two feature length documentaries. Each of these films have been officially selected by a number of different film festivals throughout the world. Three of these films have won awards including ‘best in show’ for his documentary “Radiance of Resistance” at the Human Rights Film Festival in Belfast, Ireland. He has been providing high quality video production for local businesses in Oregon since 2012.
Teaser/Trailer
“This teaser from The Highway Man illustrates the visual style, narrative approach, and key themes that will be brought up throughout the film. Viewers should note how the director is not actually part of the film, but always present as he sits next to Jason in the truck cab. While this segment shows Jason and his truck cab, it is important to remember that the completed film will highlight the countryside and the people they meet along the way. This piece is representative of story, style and an introduction to Jason Popow, and highlights the director’s approach and style. Camera work will be from Jesse Locke, the director, and Dakota Callicott, the Director of Photography.”
Current Status & Estimated Timeline
As of March 24, 2025, The Highway Man is in the pre-production phase. We have successfully put our production team in place, laying a solid foundation for the next stages of the project. Our team has been working on preparing a trailer to be used fund-raising and promotions, ensuring that we are on track to acquire the necessary funding to begin production.
Estimated Timeline
As of March 24, 2025, The Highway Man is in the pre-production phase. We have successfully put our production team in place, laying a solid foundation for the next stages of the project. Our team has been working on preparing a trailer to be used fund-raising and promotions, ensuring that we are on track to acquire the necessary funding to begin production.
Pre-Production: Activities include trip planning. The route the trip will take to Florida has been mapped out. This route is based on the regular route that JD Transport normally takes. Key milestones in this phase are script finalization — this is more of an extensive outline because it will be difficult to script a documentary where unforeseen circumstances are common. Principal photography will be produced while inside the truck cab.
Production: Principal photography, interviews, capturing key events will begin immediately with the necessary funding availability. Production will last for four to six weeks depending on the number of deliveries and when they become available. It is our goal to have the production follow realistic delivery schedule, with a flexible schedule to accommodate unpredictable elements, e.g., weather, and the number of stops along the way.
Post-Production: Post-production will entail editing, sound design, and color grading immediately upon completion of principal photography. In fact, because we will be editing shorts used for social media from the beginning of the trip. These shorts, and the editing involved, will help get a start on the post-production process. These shorts meant for social media will resonate with our intended audience.
Marketing and Distribution Planning: As described above the production of shorts from the entire trip will be highlights that can be incorporated into the final finished film. Concurrent with post-production, we will begin developing marketing materials this will include additional trailers, and planning festival submissions, exploring distribution channels. Website development, social media campaigns, and outreach to potential distributors will have begun during the Pre-production phase and come to full fruition at this time.
Premiere and Distribution: Our goal is to premiere The Highway Man by late March of 2026 for a premiere at The Mid-America Trucking Show in Louisville, Kentucky. The major film festivals will all be considered for showing this film. These include, but not limited to are, Sundance Film Festival, Berlin International Film Festival, Cannes Film Festival, Venice Film Festival, Toronto International Film Festival, Slamdance Film Festival, and South by Southwest (SXSW). During this same period we will focus on broader distribution efforts.
While we aim to adhere to this timeline, we are mindful of potential challenges such as unexpected delays, funding shortfalls, and logistical issues. Our contingency plans include flexible scheduling, additional and ongoing fundraising efforts, alternative solutions for anticipated obstacles, ensuring that the project remains on track.
In conclusion, our team is fully committed to bringing The Highway Man to completion by the end of November 2025. We are excited about the progress made thus far and are confident in our ability to navigate the remaining phases.
The Highway Man is primarily aimed at men from 18-64 — around 90%. This is primarily the demographic that Jason Popow has on his Waste of Time Productions YouTube station. The demographic at women within the same age group — approximately 10%: With a particular interest in long-haul driving and becoming professional truck drivers. We believe this documentary will resonate with our the target audience because it will build on their a sense of adventure providing them with insight, inspiration, and entertainment. The audience will recognize the different types of people and locations they will encounter.
To reach and engage our audience, we plan to have an all inclusive distribution and marketing strategy, such as social media campaigns, partnerships with relevant organizations, festival screenings, and crowd-funding. Our promotional efforts will include creating compelling content, leveraging influencers, engaging in online forums or discussions related to professional drivers and related companies.
Furthermore, we intend to make The Highway Man accessible through streaming services, educational institutions, and community events, ensuring that it reaches a wide and diverse audience. By targeted premieres that include Q&A sessions and interactive webinars, we aim to foster a deeper connection with viewers, encouraging dialogue, reflection, and action around the key themes of community and involvement with that community.
Accessibility
In the creation and distribution of The Highway Man, our commitment to accessibility is unwavering, ensuring that the film and its production process are inclusive and accessible to specify diverse audiences, e.g., deaf, blind/low vision, disabled, neurodiverse individuals. We believe that everyone should have the opportunity to engage with our documentary, regardless of physical, sensory, cognitive abilities.
During Production
For Audiences
Long-Term Commitment:
Our dedication to accessibility extends beyond the initial release of The Highway Man. We will continuously seek feedback from disabled communities, accessibility experts, audience members] to improve and adapt our accessibility features. This ongoing dialogue will ensure that The Highway Man remains accessible to as wide an audience as possible, reflecting our commitment to inclusivity and equality in storytelling.
We envision this documentary serving as a mirror of our current time period fostering understanding, empathy, and action among viewers regarding our central theme.
Impact on Participants: For those directly involved, we aim to provide a platform where their stories, voices, and experiences are not only heard but valued. We hope their participation leads to personal empowerment, healing, and recognition of ways people can find ways to recognize the fears that are dividing their communities.
Community Influence: Within the communities depicted or engaged, The Highway Man seeks to [strengthen communal bonds, highlight pressing issues, and, at the same time, celebrate cultural heritage. By spotlighting specific community challenges, successes, or perspectives, the documentary may inspire greater awareness among outsiders, contributing to enhanced cultural appreciation and stronger community identity.
Societal Contribution: On a broader scale, we envision The Highway Man igniting public discourse, policy reconsideration on a local level around this film’s main themes. Through compelling storytelling, we aim to challenge regional preconceptions and indifference, encouraging viewers to rethink their views and engage in dialogue. The ultimate goal is to contribute to a more informed and compassionate that embraces the benefits of having different people involved with their community.
Educational Value: We also see [Documentary Title] as an educational tool that [enriches curriculums, sparks curiosity, facilitates critical thinking]. By integrating the documentary into [schools, universities, public forums], we can engage younger generations in [subject matter], laying the groundwork for [informed citizenship, lifelong learning, social responsibility].
Our distribution and marketing strategy is designed to maximize reach and impact, utilizing a multi-platform approach to engage diverse audiences. Our plan encompasses festival submissions, community screenings, and digital platforms, ensuring that The Highway Man is accessible to target audiences, communities, and educational institutions.
Festival Submissions: We intend to premiere at The Mid-America Trucking Show in Louisville, Kentucky, followed by international, documentary-specific, and the festival circuit for visibility and credibility. Our submission strategy includes, but not limited to are, Sundance Film Festival, Berlin International Film Festival, Cannes Film Festival, Venice Film Festival, Toronto International Film Festival, Slamdance Film Festival, and South by Southwest (SXSW). During this same period we will focus on broader distribution efforts..
Community Screenings: To foster grassroots engagement, we plan to organize screenings in communities, cultural centers, educational institutions related to the documentary’s themes. These events will often include Q&A sessions, panel discussions, interactive workshops, encouraging dialogue and deepening the film’s impact on local audiences.
Digital Distribution: Recognizing the importance of online accessibility, [Documentary Title] will be distributed through [streaming services, video-on-demand platforms, the film’s official website]. We will explore partnerships with [online content providers, educational platforms, niche streaming services] to reach a broader, global audience.
Marketing Campaign: Our marketing efforts will kick off with a trailer and a social media campaign blitz, designed to generate buzz and anticipation. Utilizing mostly YouTube, with all the other major platforms, we will share behind-the-scenes content, filmmaker interviews, and thematic discussions to engage potential viewers.
We will produce several short video, from 1-2 minutes, as the production starts. These will be behind-the-scenes mostly, with some b-roll. We can turn them into short music videos. These will be on the Waste of Time Productions YouTube channel with a TikiKiti channel backup. A map will be included with future locations pinpointed. This will allow us to use social media to garner local support locally so we can stop at predetermined locations and find people to interview.
Merchandising and Ancillary Products: Where applicable, we will develop merchandise, companion books, and podcasts related to The Highway Man, creating additional revenue streams and promotional opportunities.
Outreach and Partnerships: Collaborating with NGOs, community organizations, advocacy groups aligned with the documentary’s themes will amplify our reach and relevance. These partnerships can facilitate sponsored screenings, joint promotional campaigns.
Monitoring and Adaptation: We will closely monitor the effectiveness of our distribution and marketing strategies, ready to adapt to changing circumstances, audience feedback, and emerging opportunities. Analytics from social media, streaming platforms, audience surveys will inform ongoing efforts and strategic pivots.
Director/Editor: Jesse Locke
Jesse Locke is an award winning filmmaker from Bend, Oregon. He has made six short films and two feature length documentaries. Each of these films have been officially selected by a number of different film festivals throughout the world. Three of these films have won awards including ‘best in show’ for his documentary “Radiance of Resistance” at the Human Rights Film Festival in Belfast, Ireland. He has been providing high quality video production for local businesses in Oregon since 2012.
Producer: Mark Dixon
General Manager of TikiKiti Production, he is responsible for all aspects of production and bringing this documentary to a reality.
Producer/Driver: Jason Popow
This film is based on Jason’s life. His philosophy of life is what the film will document. From his childhood to recent time, he will be the guide through this journey.
Cinematographer: Dakota Callicott
Dakota Callicott’s cinematographic talent is central to capturing the essence of The Highway Man. Having worked with Jesse Locke on many of his productions, he is also skilled at drone photography. For this documentary, Dakota Callicott employs techniques or approaches that will be used to visually articulate this film’s themes and narrative style.
Sound Designer: Endre Baba
Sound Designer & Music: Endre Baba
From Hungary, Endre is a Barclay Award winning musician and animator and will be designing the soundscape for this documentary.
Other music acquired for this production include:
Will Buck — Something To Prove
Fundraising Strategy
Our fundraising strategy encompasses a diversified approach, leveraging grants, crowdfunding, private investments, and sponsorships to secure the necessary funds.
Grants: We will apply for funding from specific foundations, film councils, and cultural institutions known to support e.g., documentary films, independent media, social justice projects. Our applications will highlight [The Highway Man’s relevance, potential impact, and alignment with the funders’ missions.
Crowdfunding: Utilizing platforms such Indiegogo, we aim to engage our target audience and broader community early on. The campaign will feature exclusive content, rewards, engagement opportunities that will attract backers and build a supportive community around The Highway Man.
Private Investments: We are reaching out to Apple, Teamsters Union, American Trucking Syndicate, Canadian Trucking Association, United Truckers Association, and industry professionals who have shown interest in films with similar themes. Our pitch will emphasize The Highway Man’s commercial viability, artistic merit, and unique selling points.
Sponsorships: Partnering with such corporations, as Apple (all of the their products will be responsible for the production of this film.), Monster Energy Drinks, DJI Cameras & Drones, Paccar International (builders of Kenworth & Peterbilt), and others, that share a vested interest in The Highway Man’s themes: We can secure additional funding through in-kind support, financial sponsorships, co-branding opportunities.
As of April 15, 2025, The Highway Man has begun to receive outside funding. Additionally, producer Mark Dixon has been using personal investments. The information below is the direction we are planning to take.
Receiving funding for The Highway Man would be transformative, enabling us to immediately begin production, e.g., secure vital equipment, such as the RV that will follow the truck, necessary insurance, and manage the living expense of our crew while on the road. Specifically, an infusion of $250,000 of anticipated funding would allow us to begin production.
This funding would not only propel The Highway Man through its next critical phase of production, post-production, and distribution, but also ensure that the final product resonates with our intended audience and has the impact we would like to see, e.g., educating audiences, sparking dialogue, and advocating for change. Ultimately, it’s an investment in bringing our core theme to a broader audience, fostering understanding and action.
Available upon request
Production Company & Primary Contact:
Name: TikiKiti Productions/Mark Dixon
Role: Producer
Email: tikikitivideos@gmail.com
Additional information is by request and approval.
