Okay, it doesn’t discover movies for you, but it does help you track those subjects that are of interest to you. I have just started to use it, so I don’t have much to report on it yet. Stay tuned.
You can check it out on iTunes here.
Hat tip to David Tisch for pointing this out to me!
Today’s guest post is from Edward Jay Epstein.
Up until 2008, it was not easy to finance an independent film but, with the right script, stars, and director, the entire budget could be borrowed from banks on the strength of pre-sale agreements. What had made this business model work then was the likelihood the film had of getting meaningful distribution in the US domestic market (which includes Canada). Most of the better financed indie distributors, such as Miramax, New Line, and Paramount Vantage, were owned by the major studios that had bought these companies for, among other reasons, to expand their DVD shelf spaces at WalMart and other retailers. Their willingness to make commitments to distribute movies domestically had a great advantage overseas: it greatly increased the value of pre-sales, since foreign distributors benefitted from the buzz and publicity from an American opening.
Indie producers also could rely on domestic market to get a substantial part of their financing. Prior to 1990, they could get over fifty percent of their movie financed based on the value of the domestic market. Even though the value fell as distributors cut their commitments in the 1990s, the domestic market could provide a producer with 20-30 percent of his budget as late as 2007. And with that keystone in place, a producer could get the balance from foreign pre- sales and government subsidies. This formula was not perfect but it allowed indie producers to make such award winning films as The English Patient, Traffic or Babel. In 2008, however, he value of the American market virtually disappeared for the purpose of financing a movie. As one top producer told me in late 2010 ,”it is now zero.”
I am planning to go see Green Hornet, but now I am going to see it twice. Why?
Because: Seth Rogen loves our movie SUPER (you will have to wait until April Fools Day to see it), but check this out where Seth says:
“…”Super” is just so ballistic and insane… (laughs)… but I really liked it, too. You do watch them with a slight part of your brain just thinking, “Is this f*cking up our sh*t?” (laughs) .
I can see it on the poster already: “so ballistic & insane — Seth Rogen”.
I wasn’t sure what to call this post. “Top Posts”? “Most Popular”? They are not necessarily the most engaging, as they don’t always correspond with the “most commented” — if that qualifies for engaging that is… But I thought it would make some sense to see what was the most viewed. I thought I would learn from it.
One of the things that I am proud of regarding this blog is the fact that it has become a community forum. I learn from the comments people post. I have made new friends from such comments (and identified a few I hope to avoid!). It’s been really great how much people contribute, and I love that almost half the most popular posts are from folks other than myself.
So, what were HopeForFilm/TrulyFreeFilm’s most read post of the past year? Surprisingly, they are all quite recent.
38 More Ways The Film Industry Is Failing Today – With over 10,000 views this clearly hit a nerve. Everyone likes lists, but I like to think so many folks went to this for a dose of preventive medicine. We are going to conquer this right?
Ten Things To Do Before You Submit A Script – Getting your script read by the right people will always be a challenge. As will making the best film you are capable of. We all need advice, and I probably can come up with a few more posts like this. You certainly want it. I have listened. I hope the advice was helpful!
The Hard Truth: Filmnaking Is Not A Job – I aim to be 100% truthful about what I do. I want to demystify what producers do. I think the readers of this blog and the community around it that you have built wants us all to say like it is. I must confess that occasionally I let the struggle of getting movies made and seen, get me down. Fortunately I get great support from my wife and friends, yet nonetheless sometimes I produce posts like this one!
The Good Machine No Budget Commandments– Oldies can be
Photo (and caption) by Yael Melamede
I am forbidden to reveal how this was done and it would be wrong for anyone in the film to actually take credit. These things take months of planning. Most places forbid you from putting anything in the water supply — and I am not saying anyone involved in the film actually did anything remotely related to such action. Did you know though that there are already over 300 real-life Superheroes patrolling the streets of this great land?
And yes, sometimes they get their nose broken.
Vanessa and I were invited by Michael Hausman and Sandy Lieberson this past month to teach in Cuba at the National Film School. It was a truly great experience and we look forward to returning soon. The students were great, as were our fellow instructors. In addition to producer legends Sandy & Mike, we were joined by Uruaguayan producer Fernando Epstein and Argentinian Producer Veronica Cura.
We were there to discuss film producing in the 21st century. At the center of producing, remains the relationship between producers and directors. It is always a hard thing to explain or even to capture. It doesn’t seem to have evolved that much since the dawn of cinema. I felt Veronica got close when she told this joke (fable?).
A man on board an air balloon realizes he’s gotten himself lost.
