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Truly Free Film

Trust Is The Key To Collaboration

By Sean Durkin

Xcannes2005_08I started writing this post to ask for help with a kickstarter campaign for our new film, “James White,” but what I began to explore became much more personal to me.  I started to reflect on the past 10 years and how my partners and I got to this point. Josh, Antonio and I started Borderline Films in 2003 while students at NYU. Our goal was bold, but simple – we would all be directors and we would each make our first feature films exactly the way we wanted to. And so the journey began with us only knowing one thing for sure: that we couldn’t do it alone.

It was a blind, naive ambition, and 10 years later, almost to the day, we were in principal photography on Josh Mond’s film ‘James White’, our third first feature, following ‘Martha Marcy May Marlene’, ’Afterschool’ before that.

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Truly Free Film

BondIt: Progressive Financial Ventures In the Film Business

By Matthew Helderman, & Luke Taylor

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History of the film business & financial industries

The film business and financial industry have forever gone hand in hand — even though wide spread public knowledge long viewed a separation between the two structures for many years. Regardless of how far the business of Hollywood, the independent sectors and the newly emerging platform may seem, even in the earliest days of Studio production – financing still came from Wall Street.

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These Are Those Things

“People Of The Early Internet Age, I Am A Voice From The Future”

And he’s got some good advice for you!

Like A Lunatic from Sean Pecknold on Vimeo.

Let’s dance!  And eat cereal.

Thanks again my friends at Disposable Film Festival for turning me on to this!

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Truly Free Film

Always Read The Label! — 7 Questions You Should Ask Your Filmschool Before Applying

By Carl Schoenfeld, Program Leader Raindance Postgraduate Film Degree.

littleraindanceWhat is the point of film school?

There are quite a few filmmakers who suggest that emerging talent should put their money towards making a film and presenting this at festivals instead of investing in a degree.

Ask any festival programmer: they see a lot of films that have been made by filmmakers who’ve not attended film school long before their festival starts. Submission numbers to the Sundance film festival have more than tripled since 1999 when films like The Blair Witch Project shaped the mould and gave rise to that question above. This year, more than 12,000 films competed for less than 200 screening slots, from which about a third may find a buyer, and so a future audience.