Day: September 15, 2009

Categories
These Are Those Things

The Best Museum EVER!


Well, okay, maybe that’s an over statement, but I have always wanted to live in a museum. Maybe it comes from reading books as a child and letting them corrupt me. Maybe it’s because I can’t afford art. Maybe because I still have fond memories of my college dorm room where I glued table settings and furniture to the ceiling and built a cave to sleep in just in case it all came tumbling down.

Awhile back when the Whitney had the Winograd show up, I became instantly jealous of Ronnie Bernstien. I went to see the show with Vanessa and Hope The Younger, and Mr. Frownland was using the locale as an office and rehearsing with one of his actors (I can’t wait to see his followup!). But still, exchanging the price of membership to hang out in a museum is still not the same as living in one. After all you are not permitted to make a mess like you would if is your own home.
John Waters home should be a landmark — both his place in Baltimore (particularly) and his apartment in New York are virtually museums that he lives in, able to make whatever sort of mess he likes. You get a bit of an overview of it here, but I think you’ll have to find us money for FRUITCAKE if you want the full tour.
Without John Waters I never would have had the courage to make movies, to believe I could tell the stories I wanted to, or understood what a shrimp job was.
Categories
Truly Free Film

TIFF IFF Discussion: DIY, DIWO, But Just Do It

Eugene at Indiewire caught the essence of the public conversation I had with Thomas Mai of Festival Darlings to kick off the IFF at TIFF the other day. I particularly like the photo, so check it out here.

In a nutshell it came down to the fact that we seem to be fighting for the role of Nero as our culture burns down around us. The audience were producers with great projects, maybe 50 or 75 were there (invite only). Only one of them had a blog. Only one of them curated a film series. Only one of them had a project priced at under $1.5M. Maybe 10 were on Twitter. About 25 were on a social network.
It’s kind of shocking how the film biz is such a luddite culture. Innovation has been the key to my survival and it’s never been because of things I invented, just utilized.
THE WEDDING BANQUET is often said to have been the first narrative feature cut on an Avid. Granted it meant working on AVR Level 3 and having as a result 8 out of focus shots in it, but that didn’t stop it from winning the Golden Bear in Berlin.
LOVE GOD was one of the first films originated on video and output to film, and although it never secured distribution, it never would have made it to Sundance and beyond without Sony & Apple both granting us free tools and processes to make the film.
Good Machine may have been the first American-based producer-driven international sales company, but regardless of whether it was or not, it capitalized on the obvious (that our full film’s cost could come from overseas) at a time when the status quo was something else, and ultimately gave us something to sell beyond the films themselves.
I got some of my initial breaks because I had built a budget program when they weren’t yet commercially available, explored product placement prior to agency involvement, and other early adoptions that were available to anyone with their eyes open.
I have been a beneficiary of others’ slack behavior. I got full advantage of an inefficient, lazy, inbred, elitist system. I have gotten to make over 60 films in 20 years. It gets much harder from here. I am doing what I can to help and there are some others that are out there doing the same, even a few doing more, but it is not enough. We have work harder to increase the reach of our web, to shrink the holes in our net. We have to get our comrades to adopt and utilize the tools before them.