Categories
Truly Free Film

We Need More Outlets For Community Support/Collaboration

Awhile back in The Huffington Post, Marshall Fine pointed to Comic Con as an example of what is wrong with the Studio Biz these days. I too miss the days when it seemed like there was business in creating work for mature audiences. I will be among the first in line for Innaritu’s BUITIFUL for sure, and when I watched FAREWELL the other night, I longed to make a film of that weight, craft, and themes.  Looking at what my immediate future holds as a producer in the USA, I don’t think I will get much opportunity for such exploration anytime soon, at least not on a reasonable budget.

Nonetheless, as opposed to Marshall, ComicCon does not represent for me what’s wrong with the film biz, but quite the opposite.  Although the communities are smaller , and the passion and fervor far less, the art house contingents should take note what ComicCon does.  It is the only populist film event we have in this country.

I am incredibly energized by ComicCon and believe it is a model that can be extended to support work beyond the specific genre it currently supports. That is, if the audience and community for specific genres and subjects can unite the way ComicCon’s has, we as filmmakers could truly start to collaborate with audiences the way the fan boy and geek crowd does with their filmmakers.  Taking SUPER to ComicCon was one of the highlights of my twenty plus years in the business.  I felt unbridled support for what we’ve made, and we only offered up a wee taste.

The following is a bit of an update to the reply that I posted to Marshall on the Huff:

I share your lament about Hollywood abandoning more serious fare, but it is what it is. Let’s face it, movies for adults are difficult to execute and difficult to market; how can you blame the studios from abandoning them?

Audiences need to unite and demand what they want.

Categories
Truly Free Film

IMHO: Action Is The Best Solution

I wish I could put into practice more of my recommendations and all the good ideas others have bought me.  I wish I could raise money for the marketing as well as the production of my films.  I wish I could plot out a six to nine month marketing & publicity campaign for my films, particularly when I don’t have a distributor to collaborate with.  I wish I could slow down and take it one film at a time.  I wish that I could engage in more experimental innovations that could pave the way to the future.

I believe in strategy.  I am all about planning.  Yet this world we are currently living in, just like the world I got my start in, requires action above anything else.   We need to make this happen.  We need to bring ideas into reality.

To large degree, I am a facilitator first and foremost.  Sure, I am pleased when I contribute creatively to a project, but I don’t always, and I certainly don’t have to.  Sometimes I am a second set of eyes; sometimes I am a sounding board.  Sometimes I am the strategist, and sometimes I am the instigator.  The list can go on, but the key thing is I am generative.  I get things done.  I make them happen.  I bring it forward.

Categories
Let's Make Better Films

SUPER Screens in TIFF Midnight Madness 9/10!!!

I hope to see you all there… in costume!

SUPER Screening Schedule – Toronto 2010
Public 1 – RYERSON – 9/10/10 @ 11:59 PM
Public 2 – VARSITY 8 – 9/13/10 @ 9:30 AM
Public 3 – SCOTIABANK THEATRE 4 – 9/18/10 @ 6:00 PM
P&I 1 – SCOTIABANK THEATRE 4 – 9/11/10 @ 1:45 PM
P&I 2 – SCOTIABANK THEATRE 1 – 9/15/10 @ 4:15 PM

Categories
Truly Free Film

Some Job Opportunities In Indie Film (Part 4)

So now you’ve watched the first three parts, right? And you are dying to watch Part Four. Well wait no further.

Some Job Opportunities in Indie Film with Ted Hope (part 4) from Hope for Film on Vimeo.

http://www.vimeo.com/13437943

Once again, courtesy of Chris Stetson. Give this man a job!

Categories
Truly Free Film

Reflections On “Indie Film Is Dead”

Back in 1995 I wrote an article for Filmmaker Magazine entitled “Indie Film Is Dead”. My efforts to call attention to the changing indie dynamic hardly began with Lehman Brother’s collapse; my attempts to make filmmakers empowered are long founded.  And we still have a lot of work ahead of us.  It begins with identification of both what could be, what should be, and what does not need to be.  Although it has been a long fifteen years, I remain quite optimistic that we will build it better together.

Awhile back here on Truly Free Film, I looked back at that article that I wrote to go public with my fear we, the indie community, had grown complacent.  Each time I revisit it, I gain some new perspective.  I have been truly enjoying Scott McCauley’s recent posts reflecting back on the history of Filmmaker Magazine, and was quite pleased when Scott ask me to take another glance for the magazine.  It again has strengthened my conviction that we can move our culture and it’s apparatus forward.  This is that reflection:

I think we tend to view the past as the present and overlook the world we are really living in.  Furthermore, there is always a tremendous gulf between thought and expression.  As a culture and as an industry, we are very slow to react to change and particularly to clues as to what is around the bend.  We only alter our behavior when the pain of the present outweighs the fear of the future.  We need our canaries to have bullhorns, but usually I find that it is so easy to get so far ahead of the parade, that the crowd forgets you are leading it.  The big change for today is how easy it is for people to participate.  When I wrote IFID I got a nice response from ten or fifteen people but it was mostly about the wish for someone to build the system so they could benefit from it.  I write to get discussions started and hope that we can all move them into action.  Now when I post something particularly applicable to our culture or industry over 100 people comment and many more pass it around retweeting and posting on FB and the like.  That discussion is slowly also leading to action.  Indie has bifurcated into Truly Free, which is sorting out a series of best practices, and the prestige & genre arms of the corporate well-capitalized entities that still rely on practices of old.

Looking back at the article, it feels like a Macy’s Parade float of a giant tweety bird pulling down a 1000 fire alarms,

Categories
Bowl Of Noses

Birthday Cakes That Rule!

“Exterminate!” is the Daleks’ cry, but at 44 lbs of eating, this cake will take a wee bit of time before it is gone for good. We’ve got a Doctor Who fan (really two) living in our bowl, but this seems like it would be a bit much to make for even when the young one turns two numbers old.

We don’t want to disappoint, but this Super Mario Bros Chess Cake looks equally unobtainable.

Cupcakes, perhaps?

Categories
Truly Free Film

Rise Up & Curate! (Part 2 of 2): Cinefist and Live Events

Today’s guest post is once again from filmmaker Zak Forsman. Yesterday we ran part one of this post.

Now, it should be pointed out that we are not alone in trying to aid the floundering LA indie scene. There are two other LA based screening series that we have partnered and networked with. Cinema Speakeasy by Saskia Wilson Brown has had great success hosting short film workshops where the audience is invited to offer creative feedback on films in post. Film Courage Interactive, hosted by Karen Worden & David Branin, bookends their screenings with a indie film quiz show with sponsor-donated prizes and a filmmaker therapy session of sorts where filmmakers discuss the more pressing issues of the day. All of us are building a network that we hope will grow into an alternative to film festivals, where the filmmaker can make a little dough showing their movies.

Experience has taught us that many filmmakers we invite to participate often need guidance and motivation. For that reason we have adopted a tiered revenue-share model where the first 40 seats go to the venue, the next 40 go to the filmmaker and the last 20 go to CINEFIST. Anything over 100 ticket sales are split evenly. In addition to having to first satisfy the venue’s cut, the filmmakers need to meet promotional commitments in order to participate in the box office sales. It’s not automatic. Having the filmmaker push and promote can often be the difference between 15 people or 150 people attending the event.