Categories
Truly Free Film

Hard Times: The Same Song Sung All Over

We do what we do and we like what we do.  It’s our love for cinema and all that it can be that has lead us here.  Preservation efforts sometime require transformation too though.  The debates we’ve been having about the necessity of adopting new methods and forms are echoed in other media forms.  It’s hard for everyone.

Virginia Heffernan’s “Content and Its Discontents” for the NY Times Magazine has beautifully captured the quandary that print media finds itself in, but applies equally well to what are going through in indie film land.  Give it a read.
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Truly Free Film

Lance Weiler Responds To Brent Chesanek

Scott Kirsner wrote a book called “Inventing the Movies” which details the history of cinema from Thomas Edison to Steve Jobs. Within the book he describes three types of people – those who innovate, those who persevere and those who sit on the sidelines waiting. When I read your critique of the NYC DIY Dinner it is clear you fall into the preservation camp. Personally, I love films and prefer to see them projected when I can and when it makes sense. But I also grow tired of watching filmmakers struggle to get their work seen and to sustain. And the sad truth is that many talented filmmakers have fall prey to exploitation.

The reality is that the system is overloaded. Everyday 50,000 more videos are uploaded to YouTube. There are more choices (tv channels, countless blogs / sites, dvds, VOD etc.) that compete for peoples time. Theatrical bookings are very difficult. I know, I’ve personally booked my films into art-house and independent cinemas across the country. I’m a fan of independent cinemas and even though my work has cross-media components it will always have live event elements, and those live events will include theatrical screenings.

But this I think is our key difference and correct me if I’m wrong. But I don’t consider myself a filmmaker – I don’t shoot on film, I don’t cut on film and I don’t work on a single medium anymore. I believe in story and the emotional connection that an audience experiences from great writing, strong direction and wonderful acting. But I also believe that the form is changing and that is what excites me. It’s not one way or the highway. It’s a reality. Art forms change and audience’s relationships to the way stories are told change. The birth of 16mm cameras ushered in cinema verit. Desktop systems and advances in imaging technology have empowered a diversity of voices that have never had access. Last month, I was in Copenhagen for a film festival and I connected with friends from all over the world, many who I met online or via social networks. One friend is from the Philippines. In the last 12 months there’s been an explosion of DIY filmmaking there – doc, narratives, experimental works. The films are unique, artful and passionate. But yet they have not been seen here in the states. We live in a global film community, it is not just about the US it is about allowing voices to be heard all over the world. The social networks and online outlets that you consider to be nothing more than popularity contests are so much more. They are a voice, a way for people to connect. Yes some people use them for status but others use them as a way to understand other cultures and share experiences. It’s not a contest its a connection.

And when it comes to brands let us be honest. Many of the films that you love from well know writers and or directors were brought to you by some brand some where along the way. It might have been a critic, a well know film festival, or the publicity machines that rollout films both big and small or maybe even the art-house theaters that screened them. The fact of the matter is that “filmmakers” need to take some time to understand how various aspects of the process work. If you want to be a good director you need to understand the roles of your collaborators. And similar to how you crew up for a film ( producer, production designer, dp, ad, gaffer etc.) when we discuss the role of technology or branding or marketing we are calling attention to a part of the process that needs new “crew” positions. We’re not saying that an individual “must master” them or they are destine to fail. What we are saying is that if you ignore or consider it to be someone else’s duty or job then often you will be disappointed with the results. What is often ironic is that I’ve know many filmmakers who entered into deals with distributors only to find themselves doing a loin of the share of the work anyway. In some cases out of despration when they realized for whatever reason that their film wasn’t getting the push that it really needed. It is about understanding what is needed and having an open discussion about it. That way new processes can be discovered. Learning from each other is what will make the stories better, our work stronger. We need to build an infrastructure that will in turn help to establish a foundation for a truly free film community.

We are standing at an unprecedented time in history. We can for the first time reach and communicate directly with our audiences. There doesn’t have to be gatekeepers or middle men or filters. It can finally be about connections. People connecting to the stories that move them. So in some ways maybe you’re feeling overwhelmed by the possibilities – many within the industry are. But in uncertain times some amazing things have been innovated. In the economic downturn of the 70’s, apple computer which started in a garage and was born out passion, creativity and a desire to empower people. The beautiful thing is there are no rules, no right or wrong way. There is just progress. In the end the audience will decide what they want to see, how they want to see and where they want to see it. So I say its time to innovate and seize the opportunity instead of waiting for someone else to shape the future for us.

And Brent I’m more than happy to answer any technical questions you may have. And over at the Workbook Project we have a number of folks who know how to use social media, build audiences, create brands and release films in alternative ways – all of them would be willing to do the same. DIY DAYS, the Workbook Project and From Here to Awesome are based on open source philosophies, ones that encourage community and sharing. That being said, now seems like the perfect time for this new emerging truly free film community to help each other make great films – we just need a little bit of innovation to make it possible.
– Lance Weiler

Categories
Bowl Of Noses

Today Needs Something Special

There aren’t enough holidays in the year. Two of The Bowl’s Fave Days are Halloween and April Fools. We need more days like those, right? Halloween was only a little more than a month ago, but it feels like ages since 4/1’s come around. We need some good pranks around here.

The Museum of Hoaxes has a ten page list of the Top 100 April Fools Pranks of all time.  It is almost as good as December Seven Fools Day.

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Truly Free Film

We Need A Community That Respects Artists’ Intent: Chesanek’s Counterpoint (Part 4 of 6)

Brent’s critique of the NYC DIY Dinner continues…
Still by the third video, the discussion is about filling a marketing niche or void, not telling a personal story in innovative ways. It feels like it’s just making a film about a new subject in the same way, something I react very strongly against. 

Eleven minutes in to Part 3 you take on this point very nicely. Mr. Crumley especially seems to be missing the drive that many art-house filmmakers have. We’re not particularly smitten with “creating content” or being web gurus or using all these marketing and advertising processes and terms (to some they’re thrilling and exciting; to others, they’re a necessary step but not what drives us in our work). 
And now there is an entirely new skill set to be learned, again another gatekeeping process. We no longer have to know how to expose film using an Aaton and splice film on a Moviola; the tools are simpler to use and attain, but now we have to learn additional tools. The tools are changing but they are now tools that we must master that we don’t necessary enjoy using and that don’t even affect the integrity of our product itself. Instead they affect the integrity of our “brand,” as if we were Maxwell House or Lysol. 
The successful filmmaker is not the skilled filmmaker but the skilled marketer? Why bother reading theory or watching old films when one can take marketing classes and develop a web platform to screen something?

Unfortunately right now, when Arin Crumley and Slava Rubin make certain points, I don’t feel they’re talking to me or to the other people who are in independent film because they — the filmmakers — are  neither good at nor interested in marketing or commodities-focused careers, nor are they interested in being cool or popular–which is the image of a new-media-social-networking-guru-web-celebrity.

Further, I am not hearing a director with a distinct artistic vision when Arin talks at this dinner, and I’m unfortunately not interested in his films because of their popularity — popularity based on Arin’s new pioneering new distribution and crowd participation methods. So if I’m not his audience, then perhaps his audience isn’t mine, and so my thinking then becomes one of retraction and distancing myself from the new mechanisms. Also, when Arin talks about reaching an audience, I feel like he is capitalizing on his marketing expertise to profit off them, not putting his soul on film–which is where my taste lies. I appreciate his work for filmmakers, but when he starts leaning towards telling a filmmaker how to be a filmmaker, he’ll have trouble getting his message across.

Lance Hammer is clearly an artist with a distinct vision, an artist whose film I saw multiple times at Film Forum and recommended over and over to friends, posting on my website and Facebook to GO SEE THIS FILM. Same with Pleasure of Being Robbed and Wendy and Lucy. I’ve still not seen or heard anything from the makers of Four Eyed Monsters that makes me take interest in their work or view them as an artist. I’ve only heard that their distribution is what makes them impeccable. Cart before the horse?

I know Arin is very intelligent and successful in his own way, but some of what he says comes off as disrespectful of that thing so many of us fell in love with and have chosen to devote our lives to as viewers and filmmakers, and unaware of that much of the things we’re told we must do to our films are things we find less than appealing and against the films’ nature. 

As you’ve said many times, people gravitate to art-house films the more they’re exposed to films. But some of the discussion seems to be saying that these art-house films are not wanted in their current form, what is wanted is a new You-Tube video game user-created content industry. But that’s not the case. 
And by then using terms pilfered by the advertising world, much of this talk seems to present the idea that the idea of a 90-140 minute art film playing uninterrupted is dying along with the old distribution models. I’m sure the intent is honorable, but the first impression and unfortunately probably a lasting one is that this talk makes art-house film makers and lovers, the very ones who need these new distro models, feel outdated, unwanted, and unimportant. As if: “Be a video game and webisodes and extensions of your film or you have no place in film.” This message feels very, well, George Bush. You’re with us or you’re against us. Join or die. Etc…. not about building a community that respects an artist’s intent–especially if that intent is to run against the new media/ ADD generation trends. I know that’s not the case, but only after carefully thinking through all the voices and claims being made.

Categories
Truly Free Film

Introducing Google Friend Connect

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Bowl Of Noses

The 45 Coolest Moments In Doctor Who’s History

This is re-printed from the i09 website as it is too good to pass up, but there is other stuff on that site that is not age appropriate so we just bring you the text.

The 45 Coolest Moments In Doctor Who’s History
By Charlie Jane Anders, 5:02 PM on Mon Nov 24 2008

Doctor Who, the classic British time-travel adventure, marked its 45th anniversary on November 23rd. It’s amazing when you realize that, if you count 1996, the Doctor has been on television for 31 out of those 45 years. In all that time, he’s vanquished monsters and megalomaniacs, but he’s also shattered our preconceptions over and over again. Here’s our guide to the 45 Who moments we’ll always remember.

Note: this started as a top 10 list and sort of expanded. It may be a little heavy on the new series, which is very good at doing memorable/cool moments. Feel free to suggest your own awesome moments in the comments, of course!

1) The water Dalek from “Dalek Invasion Of Earth.”

The Daleks were amazingly cool in their first story, but it was really their second outing that sticks in our minds. From their first appearance, gliding out of the river Thames to show that they’ve conquered Earth, they literally rule, gliding around London like they own the place. Which they do.

2) The Monoid statue, from “The Ark.”

This story has such a neat structure —the first two episodes are about the Doctor’s struggle to save a group of human colonists from an outbreak of the common cold. And then he leaves in the TARDIS, only to rejoin the colonists 700 years later. The statue the colonists were building is completed — but it has the head of an alien Monoid instead of a human, because the Monoids have conquered humanity.

3) The Dalek production line, in “Power Of The Daleks.”

The Daleks finally learn mass-production, turning out dozens of hate-spitting cyborg monsters in minutes.

4) The Cybermen on the moon, in “The Moonbase”

The Doctor finally kicks them out of the moonbase, but then they march across the Moon’s surface with a big-ass cannon, and the Doctor has to outsmart them before it’s too late.

5) The Emperor Dalek, in “Evil Of The Daleks.”

The Doctor finally comes face-to-eyestalk with the leader of his greatest enemies, and he’s a huge monster Dalek, full of malevolence.

6) The Cybermen burst out of their tombs, in “Tomb Of The Cybermen.”

The Cybermen are in deep freeze, until a logician (as if) turns up the heat, unleashing the Cyber-army.

7) The TARDIS blows up, in “The Mind Robber.”

The Doctor is trapped in a null zone outside reality, and his time machine is suddenly vulnerable. It explodes into pieces, with the control console drifting through the void with a comotose Doctor laying on top of it.

8) People falling dead on the street, in “Doctor Who And The Silurians.”

Instead of just telling us about the Silurians’ evil scheme, the episode actually shows us, with the plague felling tons of random extras on the London streets, in a haunting and weird sequence.

9) The Master finally goes Satanist, in “The Daemons.”

The Doctor’s arch-rival the Master had a bunch of great moments in his early stories, but for my money the best was when he put on the big red cloak and started chanting his love for Satan. Update: Maybe I should have chosen the bit in “Claws Of Axos” where he drops off a bridge onto a moving lorry, and hypnotizes the driver, instead. Hmm.

10) The Doctor’s fear speech, in “Planet Of The Daleks.”

Imprisoned deep underground in the Dalek base, the Doctor schools a cowardly resistance fighter on the nature of courage: it’s being afraid, and doing what you have to do anyway. And then he turns a taperecorder into an anti-Dalek weapon. Awesome.

11) The Queen Spider makes the Doctor march, in “Planet Of The Spiders.”

Jon Pertwee’s Doctor never loses control, so seeing him march around in circles at the whim of the evil giant spider is actually pretty scary shit.

12) The Doctor’s cool speech, in “The Ark In Space.”

Tom Baker takes over as the Doctor, and instantly the gravitas is cranked up to 11. He gives a beautiful speech about the “indomitable” nature of humanity, and our ability to survive almost anything, while we go out and conquer the stars.

13) Davros debates the Doctor, in “Genesis Of The Daleks.”

Face to face with the creator of the Daleks, the Doctor engages him in a debate over whether scientific progress is worth genocide. Davros’ answer? Hell yes.

14) The Doctor goes inside the Matrix in “The Deadly Assassin.”

Finally back on his own home planet, the Doctor goes inside the cybernetic Matrix (long before Keanu did) and confronts a virtual-reality dreamworld full of scary clowns, deadly big-game hunters and monster trains.

15) The Doctor screams at the Captain, in “The Pirate Planet.”

The Doctor finally discovers the secret behind the hollow planet Xanax: The pirate captain in charge is keeping all the shrunken remains of planets in a trophy case, a brilliant achievement — but monstrous. For once, the Doctor totally loses his cool and yells at the Captain, “What’s it all for? What could possibly be worth all this?”

16) John Cleese appraises the TARDIS, in “City Of Death.”

The Monty Python comedian sees the Doctor’s time machine and thinks it’s a random work of modern art — which may not be that far off, really.

17) The table turns cob-webby, in “Warrior’s Gate”.

The Doctor is exploring the nightmarish world between our universe and the E-space universe, and he finds himself in the past, where he discovers an empire of furry slavers that used to roam the timelines, until they were enslaved in turn. Just as the Doctor is about to be slaughtered by killer robots in the past, he’s shunted into the cob-webby present — where he’s still about to be slaughtered, this time by human slavers.

18) The cricketball stunt, in “Four To Doomsday.”

People are still debating whether this would work. The Doctor is adrift in space, and his TARDIS is several yards away. So he throws a cricket ball at a nearby spaceship and catches it on the rebound… propelling himself to the TARDIS.

19) Holding off the Cybermen, in “Earthshock.”

The Cybermen are trying to break into the control room of a space freighter, and the Doctor and his poor doomed friend Adric come up with an ingenious way of keeping them out — using the ship’s matter/anti-matter containment system to solidify the door the Cybermen have just cut through. Too bad they forgot about the back entrance.

20) Teleporting out of the Dead Zone, in “The Five Doctors.”

I love this bit. Surrounded by Cybermen, the Doctor rolls the dice and grabs the teleport device from his enemy the Master. Luckily, it beams him to the Time Lord Citadel in the nick of time, and not into a black hole.

21) The big speech, in “Caves Of Androzani.”

He’s dying of Spectrox poisoning, he’s in a ship about to crash, and men with guns are about to shoot him. But he’s not going to let you stop him now.

22) The improvised teleportation control, in “The Twin Dilemma.”

Colin Baker has a few great moments as the Doctor, amidst some not-very-good. In his debut story, he’s trapped with his companion Peri inside a base that’s about to explode, and the teleportation system has been sabotaged. So he rigs a new system, using his wristwatch to compensate for the broken timing mechanism. And then the watch stops — so he just wings it, rubbing his lapel cat for luck. He’s cute and winsome for once, so it really works.

23) Hunted by Androgums, in “The Two Doctors.”

The Doctor’s injured and pushed to his limit, with a bloodthirsty alien foodie on his tail wanting to eat him. He improvises a trap using a butterfly collector’s cyanide tins, and manages to kill his attacker. Then he makes a very Colin Baker quip: “Your just desserts.” Still, one of his few great edge-of-your-seat moments.

24) The sugar speech, in “Remembrance Of The Daleks.”

The first moment where we see that Sylvester McCoy’s Doctor could be more than just a bumbling clown. He gives a lovely speech about tampering with time, and the responsibility he feels as he plays his huge chess game across time with the Daleks, all using sugar as a metaphor.

25) The weird zoo song, in “Ghost Light.”

Victorian gentleman Josiah is turning people into monkeys, so his niece celebrates by singing “That’s The Way To The Zoo” while wearing a dinner jacket. Spooky and bizarre.

26) The mystery of the runes, in “Curse Of Fenric.”

There are two great moments — the first, when the Doctor realizes the 900-year-old runes weren’t there this morning. And the second, when Ace figures out they’re a computer program. (And the Doctor realizes Ace is a bit too clever for her own good.)

27) That final speech, in “Survival.”

With the show finally being canceled in 1989, the final episode ends with a nice little tacked-on speech. “There are worlds out there where the sky is burning, and the sea’s asleep, and the rivers dream; people made of smoke and cities made of song. Somewhere there’s danger, somewhere there’s injustice, somewhere else the tea’s getting cold. Come on, Ace. We’ve got work to do. “

28) “That’s who I am,” In “Rose.”

Skipping over the TV movie… when the show finally comes back, new Doctor Christopher Eccleston gets a lovely speech about who he is: if the Earth stops turning and you fall off, into space… that’s who he is.

29) The Doctor confronts a Dalek, in “Dalek.”

The last Time Lord meets the last Dalek, and flips out.

30) The Doctor regrows the TARDIS, in “Father’s Day.”

Rose has wrecked the space/time continuum, thanks to her daddy issues, but the Doctor is able to use the TARDIS key to regrow the TARDIS inside the church where everyone is sheltering. Too bad Rose messes things up again.

31) Captain Jack rescues Rose, in “The Empty Child.”

She’s only in 1942 for a few minutes before she gets lifted up by a barrage balloon and winds up falling out of the sky… but Captain Jack, in his most swashbuckling moment ever, catches her with his spaceship. Awesome.

32) “Everybody lives,” in “The Doctor Dances.”

The Doctor not only figures out why people are turning into gasmask-clad child-brained zombies, he manages to reverse it and save everybody. He’s just so bright and in this episode.

33) Captain Jack’s naked showdown, in “Bad Wolf.”

34) The Doctor’s defiant speech, in “Bad Wolf.”

A lovely bit of defiance and brio, as the Doctor tells the Daleks he’s going to rescue their hostage — and they’re so shocked, they don’t even think to execute her.

35) “It. Is. Protected!” in “The Christmas Invasion.”

Another lovely defiant Doctor moment. He defeats the Syccorax in single combat, despite losing a hand along the way, and then gives a great speech telling them to tell everybody about the Earth’s riches and wonders, and then tell all the nasty alien conquerors, “It. Is. Protected!”

36) K-9 finally shows his bite, in “School Reunion.”

As an old-school fan of K-9 the tin dog, it’s great to see him finally going ballistic and shooting down tons of killer bat creatures instead of creaking along. And then Giles from Buffy says “Bad dog,” and K-9 says “Affirmative,” and blows him up. Classic.

37) The mirror stunt, in “The Girl In The Fireplace.”

The cavalry arrives — literally, on a horse. Through a mirror from an alien spaceship.

38) The weird ELO cover band, in “Love And Monsters.”

Sometimes the Doctor changes people’s lives without even knowing it — like this group of loners who come together to play ELO in his honor. Too bad that mean alien guy ruins it.

39) Dalek-Cyberman smackdown, in “Doomsday.”

Haven’t you always wanted to see the Cybermen fight the Daleks? If the Daleks could fly?

40) The TARDIS car chase, in “The Runaway Bride.”

Catherine Tate is being kidnapped by an evil Santa taxi-driving robot, so the Doctor manages to steer the TARDIS along the highway. Just totally insane.

41) The DVD extra conversation, in “Blink.”

Sally Sparrow actually manages to have a two-way conversation with the DVD easter egg that the Doctor recorded in 1969, thanks to his handy transcript.

42) The Master’s musical number, in “Last Of The Time Lords.”

This is possibly the greatest moment in Doctor Who history, and the episode where I finally decided to stop worrying and love the Russell T. Davies era. The Master seranades a hyper-aged Doctor after he’s conquered the planet Earth.

43) Bannakaffalatta stops the angels, in “Voyage Of The Damned.”

Cyborg pride represent! Don’t let anybody tell you you’re inferior just because you’re part machine. You can bring down angels!

44) The Doctor saves his ambiguous wife, in “Forest Of The Dead.”

I had some issues with the way women were treated in this episode, including the “happy ending” River Song gets treated to. But you can’t really beat the Doctor jumping down through the entire library, with one bar left on the buffer thingie, to restore his “wife” from a saved backup before she’s gone forever. Can you?

45) London finally gets nuked, in “Turn Left.”

We finally get to see what things would be like without the Doctor and… not that great, actually. London gets completely pulverized, and you get an awful glimpse of the evil the Doctor is always standing in the way of.

Categories
Bowl Of Noses

Eat The Best Movie Of The Year


We would fill our bowl with sushi if we could.  And now that we are watching Wall-E for the second time, we are convinced it’s the best movie of the year.  How great to find this delicious bento box to link it all together.  If you go this flickr page you can see all the delicious snacks that make up the box.  Check it out.