Last Shop Standing is a forthcoming film about independent record shops across the UK, and how each and every one of them fights for their livelihoods on a daily basis as they attempt to preserve music as a physical format. It’s based on the book by Graham Jones and features, among others, Johnny Marr, Fatboy Slim and Richard Hawley – all dedicated visitors to the independent record shops.

The film has been funded by music fans and independent record labels alike – proof enough that there are more than a few people out there not ready just yet to hand over their passion to Spotify, iTunes and other digital music providers.

We caught up with the film’s directors, Pip Piper and Rob Taylor, to talk about their experience in pitching and making the documentary.

Bowlegs: Whose idea was it to make the film? Was it easier to pitch being that there is a book of the same name?

Pip: It was Rob’s, my business partner, idea. He loved the book and we thought it would make a great film and approached Graham, the author. It definitely helped having such a widely respected book to base the film on.

Rob: For those of us who grew up hanging around independent record shops, the book captured the spirit of an era as well as asking some tantalizing questions about the future.

Bowlegs: Did you get a sense of hope or belief from all the record shop owners that they may still be around in 5-10 years time?

Pip: Mixed – it is hard out there, but there was a mix of real hope and resignation. Although, in general, hope was definitely winning out.

Bowlegs: How are these shops trying to remain valid to people wanting to purchase music?

Pip: Most have very loyal customers and offer amazing customer service and value for money. Obviously the shops stock music you just don’t get in the supermarkets. Lots are diversifying into DVDs and obviously vinyl is back in a big way. Some use the Internet as well and others have opened up cafes and are trying to make their shop the place to be.

Rob: It’s definitely about creating a different experience for customers, almost going back to a time when a record shop was the place to meet at a weekend. That means you can’t go for the bland, clinical feel of some modern interiors. The design, colour and texture of the space is also important, even if it looks a bit messy and chaotic at times.

Bowlegs: Do you think they rely on a specific age group and accept that younger audiences may not have the same affinity or fondness with a high street shop?

Pip: I would say that’s true for some, but I saw a lot of young people in some of the shops and they’re discovering vinyl. And other bands and gigs in the shop bring in younger people and I think there is a growing reconnection.

Bowlegs: Are the record shops across the UK ‘in it together’ now? Do they share ideas on ways to survive?

Pip: I think there is a lot of camaraderie. Record Store Day really helps give a focus.

Bowlegs: How did Fatboy Slim and Richard Hawley become involved in the project? Are they regulars in their local record shops?

Pip: Norman Cook used to work in shop and as a DJ had very strong connections. Richard is an avid lover of vinyl and a regular at Sheffield’s Record Collector shop. Both have really supported the film.

Bowlegs: I’m guessing you have a passion for buying physical music: did this experience make you even more determined to make more trips to your local record shop?

Pip: I think as a film crew we bought music in nearly every store we went too. Billy, our sound guy, must have bought over 20 records! It definitely made me want to further my own ‘physical’ connection to music and local independent shops.

Bowlegs: Do you think vinyl, special and limited editions and extravagant artwork are some of the factors that lure people to shops rather than iTunes?

Pip: One of the comments – in fact it was spoken about several times by contributors – was the almost religious nature of going to buy a record, carrying it home, reading the sleeve and gazing on the art work and then placing it on the turntable or in the CD player. So I do think attractive product has so much more value than a click of the mouse.

Bowlegs: Is Spotify another blow to the independent record shop?

Pip: I’m no expert here, but I think there are many ways in which music is being cheapened and devalued. Many young people, and older, sometimes treat music as something they should get for free, which is just so wrong.

Rob: The debate about streaming music vs owning music vs music as a utility that you consume as much as you want for a given monthly fee vs preloaded on physical devices, like a phone, are all debated, with fervent evangelists on all sides. Consumer behaviour is more complex. For example, I know someone who gets their music via p2p illegal file sharing sites, but then, if they like a track, they’ll go and buy a physical CD and delete the tracks they downloaded but didn’t like. A modern version of a listening post maybe! It’s a little like everyone battling over iTunes’s domination of the download market while forgetting that 95% is still illegally downloaded. Think a bit bigger and go for the 95%. As many have said, there may not be ‘the next big thing’, but there will be lots of smaller and medium ‘things’, so let’s make physical an important part of the landscape among many other ways of legally enjoying music.

Bowlegs: Did you pick up any decent albums during the visits?

Pip: Lots. A 40th special edition Barclay James Harvest album; a re-mastered special edition Neil Young album.

Bowlegs: We’ve got to give a special shout to our favourite local shop Resident: how were those guys?

Pip: Like all the shops we visited, true gents and very friendly and accommodating. They knew their work and world really well, were upbeat and very positive and have a great shop with great product. I bought a Jayhawks album in there.

If you want to get involved in helping fund the final stages of this film head this way: Last Shop Standing