Animated lectures have become one of my fave web content forms. Most of my pleasures of this sort have come from tips from my wife as to what is posted to YouTube via RSA Animate (I’ve posted some of these before).
The “trailer” for Steven Johnson’s new book “Where Good Ideas Come From” was via a Fred Wilson post, and makes a good case for why we should not lament this Culture Of Distraction (and if you are wondering what to get me for my birthday, it’s on my list).
I found John Berger’s book and series “Ways Of Seeing” pretty damn mindblowing when I first encountered it back in film school. It changed the way I look at filmmaking or more precisely, image making. Glad to find it on YouTube.
Guest post by Orly Ravid of TheFilmCollaborative.org
Our friend and beloved social network marketing guru Sheri Candler posed a question to me today. She noted that filmmakers are often confused by this issue of “what is the difference between a sales agent or distributor selling a license to your film or selling your film outright for 15 – 20 years?”. She posited a real estate metaphor. So here I go: Sales agents are not like Re-Max brokers only having the right to sell your house for you, if you approve. They usually take your land and then resell it and its territorial clones all over the world, or as much as they can. Meaning, they first take the rights and take delivery (at least usually that is the way they do it) and then they license those rights territory by territory for a term, a minimum guarantee, and usually a royalty split. Sometimes all rights deals are done and sometimes rights are split.
by guest columnist SHERI CANDLER
I will start by giving credit right off the bat to my futurist heroes Gerd Leonhard and Seth Godin who spend way more time than I do contemplating issues on the future of the media business and how to succeed. What I get out of their talks and posts has helped me to formulate this post and bring my thoughts into order on how I see filmmakers sustaining themselves in the very near future.
There is a ton of talk right now on how independent filmmakers can sustain themselves by making their films and how independent film can be “saved.” So much talk, without many answers. I felt maybe I should take a stab at providing one. This is purely my reaction to all of this talk and I fully expect that I will be challenged for what I propose. It isn’t going to be palatable to the vast majority of filmmakers or others who profit from their work in the industry.
First, let’s address why we need a new business model.
Okay, so the traffic is sometimes louder than the dialogue, but hey, this is Indie! I had wanted to partake in this interview that David Poland did at TIFF this year. There was only one hour when Christine and I were both in Toronto though, and it took a bit longer to close the SUPER deal than I had anticipated. Christine and David paint a pretty good picture of what things are like for indie producers these days.
9/21 Update: Seems like the link I found for this kind of jumped the gun. It came down as I was watching it. I assume David Poland will post soon on the MCN website. And hopefully the video will work again. Hope hoping here…
Update 9/21 #2: It’s up on MCN, but I can’t embed it for some reason
Yesterday, we had too much fun playing Pac Man for you, so today we are back with Guillaume Reymond’s SPACE INVADERS.
French-Swiss Artist Guillaume Reymond has been creating stop motion films of classic video games using HUMANS AS PIXELS! He calls it the “Game Over” project and they are all pretty fun. We’d love to get all the soundtracks on one download too.
Special thanks to VeryShortList for tipping us to this latest installment.
