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Truly Free Film

Wish You Were Here: From Inspiration to Film

By Felicity Price

I remember reading someplace that a good story often just falls into your lap fully formed. Now I don’t want to speculate over whether my story is a good one or not, that conjecture is now in the capable hands of film going audiences everywhere, so you can make your own decision, but that’s how it came to me – fully formed. However it still took four years to shape into a script that anyone was willing to finance.

I was stretched out on my couch testing a new theory that perhaps sitting with hunched shoulders and bleeding eyeballs in front of my computer was what was stopping that elusive story from falling… and there it was… I remembered a vaguely told story about a man who went missing in South East Asia while holidaying with his partner and another couple. Tragically, in that true-life story the man was never found again. I was horribly fascinated by the loss and responsibility those left behind might feel and the mystery of what had happened to him. I linked that with a story I already had in my mind about a couple who would fight to keep their relationship together even after the worst kind of betrayal and suddenly I knew I had the skeleton of a feature film.

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Truly Free Film

Learn To Conspire With Those You Have Not Yet Met

Part of producing is engineering serendipity.  At least part of good producing is.  How do we elevate work to the higher levels?  How can we bring the mediocre into magnificence?  Good producing comes from both the practical side and what many seem to think is the magical side.  You have to know how to make basic shit happen on a consistent basis and then you have to learn how to make the rare occur as much as it ever could.  It is not magic, but it goes far beyond being practical.

To make the positive aspects of the rare occur more frequently, I have

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Truly Free Film

Diary of a Film Startup: Post # 29: The Vision Thing

By Roger Jackson

Previously: Dough Ray Me

Crystal Ball

I thought I’d use this post to think about the future and some of the trends that will affect films & filmmakers, particularly in the video-on-demand space. I don’t want to sound like the pompous visionary. I’m not a visionary and I have no crystal ball —  merely informed opinion. This is not what WILL happen, but what I think may happen. And much of what follows may be stating the obvious.

Languages & Territories

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The part of the future that gets me most excited is the global market. And I don’t mean just Europe and Asia. There are 7+ billion people on the planet. Right now most don’t have access to movies. Or at least not your movies. Early last year — just before we started KinoNation — I was working in a poor, village in a remote part of Africa, on the border of Mauritania and Mali. Despite extreme poverty and isolation, most of these rural subsistence farmers and their families had cellphones.

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My Films

The World Premiere Of Vanessa Hope’s First Film!

I am hoping the entire universe shows up for CHINA IN THREE WORDS at the Palm Springs International ShortFest on Saturday, June 22nd at 1030A for “This Just In“, a collection of six short films ripped from the world headlines of social change.  China, Japan, Korea, Syria, & the USA are all featured in the program.  The whole festival looks to be pretty amazing.  You better order your tickets now.

Not only did Vanessa direct and produce this short, but I had the pleasure of being the Executive Producer.  The short is part of Vanessa’s much larger storyworld project on

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Issues and Actions

Can You Save A Small Town Cinema?

I received this letter this weekend.  I don’t know the cinema, but it looks real nice.  I don’t know the letter writer, but I sympathize with his plight. “Public Cinema” sounds like it was a great program and will be a shame to be lost.  There are always many sides to any story, but this does sound like a tragic tale. Here’s Hope hoping for a happy ending.

Dear Mr. Hope, 

I am sending this letter to you as the Founding Board Member of the Sixth Street Cinema, a very small art cinema and media arts center in the town of Mariposa, just outside Yosemite National Park. Our cinema has been a beacon for American independent film and world cinema for nearly sixteen years, and has acted as such in the most unlikely of places – a small, mostly low-income, rural community, often a three-hour drive from any similar programming. Since 1996, we have occupied the second floor of an historic Masonic Hall that we converted to screen films, and filled the very important role of being the town’s only cinema. Before 1996, there hadn’t been a cinema in Mariposa since the fifties.

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Truly Free Film

From Out of the Wreckage, A Future Rights Model

by Andrew Einspruch

Filmmaker Andrew Einspruch recently attended the Australian International Documentary Conference and wrote a series of articles for the event, which he’s graciously allowed us to reprint here. These articles originally appeared in Screen Hub, the daily online newspaper for Australian film and television professionals.

Film distribution is broken. Ask any producer who has ever felt that the amount they get for their work seems paltry compared to what others are making. For that matter, Peter Broderick has been saying this for years at SPAA Fringe.

There are lots of online film distribution platforms duking it out in the nascent VoD space. From the behemoths like iTunes and Amazon Instant to YouTube and Vimeo, to any number of small players trying to carve out a spot in the world. Andy Green’s Distrify is one of the ones actually making it work.

Green held an intimate session at this year’s Australian International Documentary Conference called Future Rights Model, and talked about how they built the platform. He’d been a filmmaker and experienced first-hand the frustration of getting stuff out into the world. For example, one distributor, when asked about making DVDs available for one of his titles, told Green, “It’s a small film. I’m busy.”

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Issues and Actions

The Film Biz Must Face Reality

Maybe it comes from recognizing depressing stories don’t generally perform well at the box office, but the film industry remains infected with positive thinking. I certainly enjoy seeing a happy face in the morning, but I still prefer to face the truth. As one who has always enjoyed the dark side of tale telling, I have had to confront the industry’s preference for positive messaging and aesthetic in my practice for several decades now. It was the industry’s wholesale indifference to the fallacy of the entire enterprise beyond tentpole event movies that lead me to shift my work.

I would rather