Okay maybe this the long way around, but here’s a great inexpensive way to get the word about your film out. First come up with a title that people don’t understand, ideally a single word. Then, make an incredibly unique and heartfelt film illustrating the full meaning of the word. Finally, approach Dictionary.com to feature the same word as your title. Genius!
I was on a panel awhile back bemoaning the loss of the NEA back in the 80’s, and how short sighted I thought it was not to have government funding for the arts, particularly film.
Unfortunately Lawrence Lessig doesn’t make the rules, but we are lucky we have him to fight for us. Last week he published five recommended changes to the copyright law designed to help those who create to continue to create. When the law starts to do the opposite of what it was intended you have to wonder.
Deregulate amateur remix: We need to restore a copyright law that leaves “amateur creativity” free from regulation. Before the 20th century, this culture flourished. The 21st century could see its return. Digital technologies have democratized the ability to create and re-create the culture around us. Where the creativity is an amateur remix, the law should leave it alone. It should deregulate amateur remix.
What happens when others profit from this creativity? Then a line has been crossed, and the remixed artists plainly ought to be paid — at least where payment is feasible. If a parent has remixed photos of his kid with a song by Gilberto Gil (as I have, many times), then when YouTube makes the amateur remix publicly available, some compensation to Mr. Gil is appropriate — just as, for example, when a community playhouse lets neighbors put on a performance consisting of a series of songs sung by neighbors, the public performance of those songs triggers a copyright obligation (usually covered by a blanket license issued to the community playhouse). There are plenty of models within the copyright law for assuring that payment. We need to be as creative as our kids in finding a model that works.
Deregulate “the copy”: Copyright law is triggered every time there is a copy. In the digital age, where every use of a creative work produces a “copy,” that makes as much sense as regulating breathing. The law should also give up its obsession with “the copy,” and focus instead on uses — like public distributions of copyrighted work — that connect directly to the economic incentive copyright law was intended to foster.
Simplify: If copyright regulation were limited to large film studios and record companies, its complexity and inefficiency would be unfortunate, though not terribly significant. But when copyright law purports to regulate everyone with a computer, there is a special obligation to make sure this regulation is clear. It is not clear now. Tax-code complexity regulating income is bad enough; tax-code complexity regulating speech is a First Amendment nightmare.
Restore efficiency: Copyright is the most inefficient property system known to man. Now that technology makes it trivial, we should return to the system of our framers requiring at least that domestic copyright owners maintain their copyright after an automatic, 14-year initial term. It should be clear who owns what, and if it isn’t, the owners should bear the burden of making it clear.
Decriminalize Gen-X: The war on peer-to-peer file-sharing is a failure. After a decade of fighting, the law has neither slowed file sharing, nor compensated artists. We should sue not kids, but for peace, and build upon a host of proposals that would assure that artists get paid for their work, without trying to stop “sharing.”
It seems ludicrous to head into a festival these days and not have a website or blog for your film in advance. It seems silly not to have that web address built into you film end credits. It doesn’t have to be a final or even a polished site, but there should be something. How else will you tell your audience how they can participate in the experience or even see your film?
Beyond a website or a blog, filmmakers should do the simple outreach chores. Build a Wiki page for your film. Create a MySpace and/or Facebook profile for your film. Make sure all the info is in IMDB.
If you are so fortunate as to have your film selected for Sundance, there is a good chance that your festival screening will be the peak point of media activity on your film. Unless your film is going to be released by a major distributor, more attention will be paid during this period ever again. Are you going to take advantage of this attention or are you going to squander it?
Scott Kirsner, Lance Weiler, Tiffany Shlain and others put together a great program at Pacific Film Archives this past weekend, bringing together folks from the tech, social entrepreneur, and film worlds. There was a lot of great stuff on the new world of DIY/Hybrid Distribution. I imagine Lance will post a lot of it over at The Workbook Project.
On changing Festival world, Variety has an article on how the financial crisis has effected film festivals. Worth checking out.
Its that time of the year when filmmakers nationwide get all antsy. Sundance generally starts to let filmmakers know whether their work has been selected for the festival around the end of October. This ritual extends for about four weeks until Thanksgiving gives everyone a break.
