Category: Truly Free Film

We are on the verge of a new film culture and infrastructure.

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Truly Free Film

Sundance Creative Producing Initiative

This past summer I was a mentor at Sundance’s first Creative Producing Lab.  I was completely impressed.  In regards to Jane’s earlier post today, this is that program.  Granted it can only be accessed by a very limited number of participants (there were 4 fellows last year), but it was a comprehensive and intensive program that I would advise for everyone.

And you know what?  The deadline to apply is quickly approaching.
You can also find the application and additional information on the program at the link below:
http://www.sundance.org/applications/CPI/

The Sundance Creative Producing Initiative much more than just the summer lab though  (from Sundance’s own literature): 

it is a year-long creative and strategic fellowship program for emerging American producers with their next project.

The program was conceived to develop and support the next generation of American independent producers. For over 27 years, the Sundance Institute has offered in-depth year-round programs for feature screenwriters and directors. In an increasingly competitive and complex marketplace, the health and excellence of the independent film movement hinge on sophisticated creative and strategic producers with whom these directors and writers can collaborate.

The initiative focuses on the holistic producer, who identifies, options, develops and pitches material, champions and challenges the writer/director creatively, raises financing, leads the casting/packaging process, hires and inspires crew, and navigates the sales, distribution, and marketing arenas. The program is designed to hone emerging producers’ creative instincts in the scripting and editing stages and to evolve their communicating and problem-solving skills at all stages of realizing a project.

Five producers will be selected for a one-year fellowship and participate in the following:

Creative Producing Lab (described below)
Producers Conference attendance
Sundance Film Festival attendance (screenings, networking opportunities)
$5,000 living stipend; $5,000 pre-production grant
Year-round mentorship from 2 industry advisors
Community building among producing fellows
Year-round support from Sundance staff
SUNDANCE CREATIVE PRODUCING LAB

Fellows will attend a 5-day lab focused on creatively strengthening their projects from script to screen. The idea is to give producers the chance to explore their own creative take on material and to give them skills and experience in evaluating and developing this material at script stage and beyond. Scripts will be discussed in one-on-one sessions with advisors, as well as in a collective notes process with the group. Case studies will be used to explore creative issues in the production and editing processes, while techniques in communicating with writer/directors and potential production partners will also be addressed.

ELIGIBILITY

Candidates must have produced at least one short or feature-length narrative or documentary film (no more than 2 narrative features total).
Producers must have a completed, legally-optioned, scripted narrative project in hand with a director attached to the project.
Candidates may not be writer or director of submitted project.
Candidates must be based in the U.S., although submitted project does not need to be English language nor filmed in the U.S.
Sundance Institute strongly believes in strength in diversity and actively encourages applications from women, people of color, differently abled people, and all persons who support the Institute’s mission.

I should also add on another front, it is also deadline time for IFP’s Independent Filmmaker Labs.  I just blogged about it on Let’sMakeBetterFilms over on HammerToNail.  Check it out too.  Get those applications in the mail!  These are great programs that we are fortunate to have.

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Truly Free Film

It Could Be Getting So Much Better All The Time #5: Training And Mentorship

Today’s suggestion is from Jane Kosek, producer and blogger over at All ABout Indie Filmmaking:

Much of the struggles of the industry are due to the lack of resources, training and mentoring to producers. If we have enough support for the group of people whom actually greenlight the pictures then maybe that will trickle down over everything.

I can’t think of one organization that strongly focuses on the development of indie producers. Film school producing programs are just the beginning of training. And most indie producers don’t attend film school anyway. You must already have films distributed in order to join the Producers Guild as a producer. By then you have already typically made a few crappy ones that never got distributed. IFP and Film Independent and Sundance try to offer help but they also heavily service directors and writers. And much of the best resources are given in tiny labs that are very hard to get into.

I think we need an organization specifically for producers — that will be the most effective.

Most of the interviews in film magazines are with writers and directors. I know more about the writers and directors of indie films than producers. That needs to change. More publicity and knowledge of what a producer does will help. Maybe those less experienced won’t jump in so quickly if they really understand how big a job it is.

I think that if we start an organization that is helmed or guided by successful producers that really gives back to the next generation of producers then we are on to something that can help indie films get better. Teach indie producers how to develop strong films and be a strong creative partner to the director. Help them understand the importance of a strong cast. Distributors have said they want projects with name actors. How do indie producers make this happen? They need help. Bigger producers could help make inroads with the agents so they are more open to having their clients in smaller films. Give indie producers resources that really help them secure distribution.

You help to teach and build the skills of indie producers and I guarantee there will be significant change in the quality of films being made. They will develop projects longer. Staff it right and cast it well, etc. We lament the loss of billions of dollars each year on indie films. Who is gathering this money and using it? Producers! Let’s get us trained and organized and perhaps these losses will diminish. I’m ready to do what it takes to fix the situation. This is my livelihood. If I don’t help fix it, who will?

If there were an organization providing more significant training and support from the top at the producer level, we would see a huge difference in the quality of films being made. I know my producer colleagues and I could use more support and the problem is that we haven’t been able to find this “ongoing” support. We lean on each other and we join all the usual associations that do exist, but we still struggle finding the mentoring that we really want and need.

Sure, most of us have worked with amazing producers in the past who try to be approachable but it’s not an effective system. These amazing producers are extremely busy and have their own projects to worry about. I think these producers would be more available if they were working within an established system of giving back. I personally find it much easier to give back through an established means rather than random email and phone requests that have a high chance of getting lost in the shuffle. In addition, an established system would allow mentoring from multiple sources, which benefits everyone.

I am a case study in what is broken in our system. I work extremely hard and have the best of intentions for making entertaining films that appeal to a wide audience. I want my investors to make their money back, and I believe I am making the right decisions but if I had a system to lean on a bit more, I know I would increase the odds of my films being a success. And if producers like me have a hard time building a proper support system, how do those just starting out have a chance? It’s a real dilemma.

We need a system that offers producers a means for receiving guidance and training, and in turn, allows those producers who have “made it” to give back in a significant way. By the time a producer has made a name for him or herself, he or she has usually already made a few films that have lost money. I am sure this “learning” period is where we are seeing the greatest loss in the billions of dollars of investment money. We catch producers at this phase in their careers and we provide a foundation for a thriving independent film industry.

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Truly Free Film

It Could Be Getting So Much Better All The Time #4: Web-based Theatrical Screenings

Today’s suggestion from filmmaker and blogger Pericles Lewnes:

What if an internet site could be set up to premiere a movie that an internet audience could watch together on stream at a pre-determined time? There would be a limit to admission – say 200 “seats.” This would prevent any disruption from server traffic. The admission would be low ($2?) and buzz can be created on a shoestring. After the movie is over, the filmmaker can open a chat with a q&a. Instant reviews can be posted on a WordPress style section of the site. Fans of “The Site” itself would end up building their “brand” as reviewers.

An idea of the virtual run life of the movie could be determined by how many virtual ticket sales can be calculated.

Say for instance, you have sold 200 seats and 150 more people try to buy tickets. Well, after judging from the reviews and reaction of the first screening a second screening may be in order. After the movie has had it’s “run” it can be made available through DL or DVD sale in a bside style set-up if the filmmaker wants that. Again, I am still trying to formulate the concept and it is only half baked – but there is plenty of room for the DIY filmmaker to get excitement built for their movie and to immediately act to create that important relationship with the audience immediately after. Everything can monitored.

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Truly Free Film

Jeff Lipsky: WHY SO SERIOUS? Part 2

Jeff Lipsky continues what he started…:

6. I predict the death of mumblecore movies by 2011. Independent films will once again boast strong scripts and, as such, will reach a broader audience. This is probably as good a time as any to reiterate to critics who invoke the name of John Cassavetes in their reviews of so-called mumblecore fare: John’s only improvised film was “Shadows.” Suck it.

7. Wonderful myriad primers about self-distribution are available in current issues of magazines like FilmMaker, MovieMaker, and at this link provided by DYI guru Peter Broderick (http://www.peterbroderick.com/writing/writing.html). Such detailed first-person reporting, including specific anecdotal detail and how-to information is worth its weight in gold to independent film producers. This shared information will become much more prolific and abundant and available in the months and years to come. We don’t need more filmmakers, we need more knowhow about gaining access to audiences for the all-too-few great independent films that still manage to get made.

8. Just when digital projection saturation in all cinemas across the U.S. was about to be a tangible thing, a reality, looming not on the horizon but happening TODAY, banks aren’t lending money to anyone. That’s where the billions of dollars for this wholesale transformation was going to come from, from banks. Fewer digital screens (for a while longer, anyway – I know it’s still coming) will mean fewer bad digital movies. Audiences will be happier, critics will be happier, incisive and insightful bloggers will be happier, and more people will return to the movies, especially to good independent movies.

9. Praise the Lord, the studios became fed up with so-called independent distribution in 2008 (just as they did in the early to mid 80’s) and everyone began biting their fingernails. But let’s look at what else happened in the distribution world in 2008 (and January 2009). Two new indie distributors hung out their shingles and laid down their gauntlets during Sundance this year, Senator made a bold statement with its acquisition of “Brooklyn’s Finest,” and Summit broke through with its first $100 million grossing film (yeah, it was “Twilight,” but that shouldn’t blunt the impact of that encouraging watermark). Relatively obscure indies like Oscilloscope enjoyed a succès d’estime with “Wendy & Lucy,” Overture rode the wonderful “The Visitor” to a (nearly) $10 million gross and a Best Actor Oscar nomination, and Music Box cashed in on its rock ‘em, sock ‘em success “Tell No One.” Studio boutiques were never independent distributors anyway; by definition they were dependent on the support of their parent company. Every ten years or so that support dries up and (most of them) go away, clearing the way for a brace of new, innovative, distinguished upstarts. Even with the demise of ThinkFilm there are a greater number of pure play independent distributors now than there were one year ago.

10. Kodak continues to produce thrilling new film stocks (Vision 3, 5260) which just might encourage more independent filmmakers to dabble in this antiquated art form for just a bit longer. After all, it’s kinda nice when you don’t have to have to worry about whether the pattern of your leading lady’s costume is going to wreak havoc on your wave form. (I know, I know every film will be shot digitally someday, but that someday, I suspect, is still farther off than some people would like to think.)

A final prediction and admonition: as soon as newspapers and magazines fold up their tents for good the World Wide Web (2.0) will be longer be free. And then even more people will return to movie theatres.

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Truly Free Film

It Could Be Getting So Much Better All The Time #3: Transparency

Brian Newman hit the nail on the head with his comment and I’ve bumped it to a post to give it the weight it deserves.  With acquisition prices so low, this seems to be something that filmmakers should demand that their agents, reps, and lawyers get for them, that their distributors’ provide to them, that they have a right to share and distribute to others.  Right on, Brian, right on.

I think one thing would improve the business side more than anything else – transparency of the numbers. We see box office, but we need good comparable stats on DVD, download, VOD, fest attendance, clicks, was it watched on a roku or a iphone or at 11pm, etc.

People need to know how much is being spent to make a film, and how much it really makes back. Filmmakers should be able to get data on how people found their films online, through what search terms, from where, etc.

Too many people are getting ripped off because of a lack of transparency. Transparent access to data would be good for everyone (except those profiting by keeping it closed) and help build new and better business models.
— Brian Newman
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Truly Free Film

The Economics Of Giving It Away (For Free)

Chris Anderson has a good update on his seminal “Free!: Why $0.00 Is The Future Of Everything“.  The new article is online here at the Wall Street Journal (for free!).  He may be discussing web start-ups, but it is 100% relevant in terms of our search for a new model. 

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Truly Free Film

Jeff Lipsky: WHY SO SERIOUS? Or TEN REASONS WHY THE INDIE FILM BUSINESS (AND THE FILM BUSINESS IN GENERAL) IS IN GREAT SHAPE

Jeff Lipsky, director of the Sundance hit ONCE MORE WITH FEELING (among others), distributor of Cassavettes (among others), co-founder of October Films (among others) — this man knows the lay of the land.  He recently participated in a show Christine Vachon and I did up at Sundance for Filmcatcher (soon to be streamed on their site), and I was once again reminded of his incredible enthusiasm and knowledge of all aspects of the film business.  I only asked him for ten reasons he was bullish on the state of indie.  I get the sense that if I hadn’t capped it, he’d still be adding to the list. 


Here’s Part One:

1. Apparently movies love depression (as in recession). Especially independent movies. Since the U.S. economy tanked theatrical grosses have been going through the roof. In comparing the steady weekly increases over the corresponding 2007/8 frames this is a fact, irrefutable, and it isn’t just the rise in ticket prices, admissions are up, too (finally). Even excluding boffo studio phenomena like “Paul Blart Mall Cop” and “The Curious Case of Benjamin Button” the numbers in independent theatres since fiscal Armageddon set in have been stunning. Last week New York’s Angelika Film Center’s total gross was 40% higher than the same week last year, while at the Sunshine Cinemas, also in NYC, the increase was a ridiculous 375%. In southern California the gross last week at The Landmark cinemas exceeded the gross over the same week last year by 48%. In Cleveland the Cedar Lee’s gross last week was ahead of last year’s gross by 70%, a week, incidentally when three of the five Oscar nominated films for Best Picture were on screen at that complex. And let’s not exclude the town that gave you the American automobile. Motown’s in great shape, right? In Detroit last week the independent Maple Art Cinemas’ grosses were 246% higher than the corresponding week last year. Quick, let’s pick another post-apocalyptic week at random: 11/7/08-11/13/08. Same theatres, same comparison to its total week’s gross the corresponding week the previous year. Sunshine: 27% higher the week of 11/7/08 than the previous year. The Landmark, 34% higher. The Cedar Lee, 12% more, and in Motor City, a whopping 50% increase. And if you think it’s all because of President Obama, don’t. It was true in October, pre-Election, as well.

2. Speaking of New York’s Angelika Film Center, let us consider the New York success of the sublime “Let the Right One In.” That film has been playing exclusively at the Angelika Film Center has 14 weeks, at the time of this writing, and has grossed a quarter of a million dollars. For most of those weeks the seating capacity hovered around 200. And I don’t recall seeing a single ad in the New York Times since about the third run of its run. Nor do I recall seeing any online media buy. All things are still possible if you make a great film. And it doesn’t require $10 million of marketing to accomplish the impossible. (Note: its total North American gross is only $2 million but I know many producers of American independent films that cost under $500,000 to produce who would salivate over a theatrical total of $2 million.) Magnolia should present a (free to the public) case study of their marketing of this title at the upcoming Tribeca Film Festival, where, I believe “Let the Right One In,” enjoyed its U.S. premiere in 2008.

3. DVD revenues in North America last year were down about 5% from 2007 totals (estimates range between 3%-6%). That means only $21.8 billion was generated by DVDs (including Blue Ray) in 2008. If the real percentage of the total that is applicable to truly independent films is only 1.5% (the lowest estimate I could find) that means indie films generated almost $328 million in DVD revenues last year. I don’t know about you but I’m impressed. And that doesn’t include legal download, PPV, and VOD numbers, paltry though those numbers I’m quite certain are.

4. The total amount of money (thus far) that independent distributors doled out for Sundance acquisitions in 2009 has exceeded last year’s total by 5%. And this was the year, distributors weren’t going, money was tight, the mood was cautious, the town was deserted, and the weather was warm (well, it was gloriously warm).

5. A brief history of the DVD. Home Entertainment got under way with VHS tapes (and, to a much lesser and negligible extent, Laser Discs). They were intended for rental only, proof of which was its $100 price tag if you had to own one. Then the DVD came along: superior product, superior extras, fewer trailers for God-awful films attached. Virtually right from the get-go they were available to consumers simultaneously as rental items and as sell through items. Inexplicably the price point for this often superbly produced collectible was as low as $25-35. Within a couple of years the studios reduced the per unit retail price to $15-20. Why? Is the family that purchases “Monsters, Inc” for their kids to watch 150 times, with all of their friends no less, not going to pay an extra $5-10 dollars to own this digital pacifier? Was I not going to pay an extra $10 to own my own copy of “Chinatown?” Why is the cost of a DVD way less than the cost of two movie tickets? And returning to that subject, why are more people, sometimes in droves, returning to the cinema when the ticket price is so high and DVD windows are shrinking? Is it the low price of gas? Or is it the fact that the tech world is confusing John and Jane Doe with its semi-annual new iterations of hardware, software, PDAs, phones, home theatres, digital boxes, Dolby 5.1…fuck it, ma, let’s just go to the picture show and see a movie. In short, the DVD industry, I opine, has left billions of dollars on the table over the last five years. And I always thought they were good at sweeping up billions of dollars. Again, 1.5% of billions of dollars… Anyway, DVDs are not going the way of the dodo. Not for at least a pentad, if ever.