Can we ever have too many friends? Too many collaborators? Too many allies?
I don’t know if it is a function of my job, my age, my experience, or social media, but it seems like more and more I know more and more people who really SHOULD know each other. And I don’t mean just a casual Joe-this-is-Jerry-sort-of-thing.
By Scott Glosserman
A year ago I was having breakfast with Ted Hope, but I didn’t know it.
Attending Sundance’s Art House Convergence Conference in Midway, Utah, (a coming together think tank of progressive art houses and independent theatres), I found myself sitting at a communal breakfast table, conversing with Ben Galewsky, a co-op expert who was applying his preferred model to a small theatre in Champaign, Illinois.
The collective mood at the conference was cautious and guarded. Theatre owners commiserated over Fox Searchlight’s recent letter vowing to end shipments of 35mm prints, essentially requiring indie houses to retrofit for digital projection or to get used to solely showing repertory titles. Yet, sales reps for VPF’s (Virtual Print Fees) weren’t revealing their deal structures. Indie exhibs were looking for answers, but little at the time were understood, much less given.
Is there a model where both can further film culture, audience development, and overall cinema appreciation? With very few critics left with a mass market soap box, where do we turn for curation? With a global onslaught of 50,000 feature films generated per year, how do we connect with the films that are best for us? When audiences enjoy cinema in any form, they are far more apt to engage with more film soon after? Is there a model that leads to a a win/win for everyone?
MUBI recently announced a partnership with Picturehouse Theaters where members get 90 days free access on MUBI. One wonders if there are similar deals to be done with online aggregators and exhibitors in the US…
Sundance Institute Artist Services Program Expands Self-Distribution Opportunities
to Filmmakers Supported by Six Additional Organizations
The Bertha Foundation │ BRITDOC │ Cinereach │ Film Independent Independent Filmmaker Project │ San Francisco Film Society
Artist Services Announces Collaboration with REELHOUSE, VHX, VIMEO and TUGG, Offering Filmmakers Additional Platforms and Tools
Los Angeles, CA — Keri Putnam, Executive Director of Sundance Institute, today announced that the Institute’s Artist Services program – which provides Institute artists with exclusive opportunities for creative self-distribution, marketing and financing solutions for their work – has expanded to include selected films supported by one foundation and five nonprofit organizations. Additionally, these organizations will join with Sundance Institute in continuing to shape the program and the services it offers.
Written by Michael R. Barnard
The Internet enlarged the playing field for securities offerings, whether valid or not, and for potential investors, whether knowledgeable or not.
How do you legally and ethically access that hoarded cash and encourage its investment in your well-developed movie project so you can hire people and make your movie?
By Reid Rosefelt
Many of you are at Sundance now with a new movie. Congratulations and I wish you the best of luck. I know you’re overwhelmed with the experience and it might seem a ridiculous time to ask: “Will your film still be watched in 2043?”
With the advent of digital streaming, movies available for round-the-clock viewing have already become needles in haystacks as high as Everest. Netflix claims to have 90,000 DVD titles and 12,000 streaming ones. Add to that, movies from other streaming sites like iTunes, Hulu, Amazon, CinemaNow, Mubi, Fandor, Snagfilms, Crackle, YouTube, Indiepix, Crunchyroll, and apps like HBO to Go, that even allowing for overlaps, it becomes numbing for most people to pick a particular movie out of the pile. In 2043 there will undoubtedly be hundreds of thousands of films and TV show episodes available instantly, but all current indications suggest it won’t be a comprehensive list or include the best films. The lack of selection isn’t an issue today, but I believe that future cultural and technological trends will lead the mass public to select among what is most convenient and instant, and only the most discerning viewers will seek the best of cinema history on plastic discs.
Written by Michael R. Barnard
FILMMAKERS, IT’S 2013. DO YOU KNOW WHERE YOUR JOBS ACT IS?
Part 2 of 3 parts.
For the definition of “Accredited Investors,” see http://www.sec.gov/info/smallbus/secg/accredited-investor-net-worth-standard-secg.htm
In simple terms – explanations that are more complex require attorneys – the process to raise money for your movie by legally offering securities is referred to generally as a “Private Placement Memorandum,” which usually costs about $15,000 or more in time and fees.
When you have your expensive PPM, what can you do with it?
