In a post entitled “Issues Of Sustainability” on the Filmmaker Mag Blog, Lance Weiler talks about how we as filmmakers can produce for today’s evolving audiences. In talking to filmmakers, I still find they often don’t yet fully conceive what it means to adopt a “transmedia” approach to storytelling and marketing. On the other side of the spectrum though is what made Wired’s recent post on “Why Hollywood Needs a New Model For Storytelling” such a gas — they’ve got it and got it good. Check it out. We may not need to build the ARGs and seed the story so heavily on blogs and elsewhere as Scott Brown writes about, but we do need to give serious thought about how the hell to build audiences for our stories.
Category: Truly Free Film
We are on the verge of a new film culture and infrastructure.
The Sundance Panic Button Panel
Todd Sklar tipped me to the video of the panel I participated on at Sundance, and now you can decide: push or ponder?
Who Really Gives Back?
I can’t help but walk away from the Sundance Film Festival amazed each year at what an incredible and wonderful thing it is. And not just the festival but the entire Sundance organization. This year it even expanded to go beyond the movies and the labs, to include the exhibitors too (I have written enough about the Art House Convergence for you to already know what I am talking about).
I was bummed that I missed the Sundance panel on the New World of Indie Distribution.
Four-Eyed Monsters’ Arin Crumley commented on my recent speech over at IndieWire. I reprint it here for your reading pleasure:
Great Talk Ted!
So here are the big picture to-do items from this talk:
• We need a third party entity to handle payments between exhibitors and filmmakers. (Note this is a very delicate thing as it has the potential to be totally corrupt if it’s not a non-profit organization or some how decentralized.)
• We need a repository of information that filmmakers share with each other. (workbookproject.com is the start of this.)
• Exhibitors need to get digital projection and digital delivery systems installed. There are some missing standards still since DCI seems like overkill. But it is possible to have dual systems, DCI for big films and plug another cable in to bypass that system to play back WEB delivered HD content.
• We need to protect the open freedom we currently have on the internet so that it can be used build social connections around film and so it can be used to get HD files to the theaters. We made a video about this you can see here:
http://www.youtube.com/watch?v=JP_3WnJ42kw
• We need the mechanism in which exhibitors and filmmakers can mine audiences and know who sees your film or comes to your movie theater.
In my mind this is simple, we just allow people to bookmark films they want to see and review films they’ve seen and have all that data be structured along with geo stamps. That way anyone online knows the films in each city people want to see. Then those people could ask to be notified based on variables they define. So they could set a service up that looks at the films they want to see and the local calendars and they could set an alarm that goes off when the two synchronize.
All of these ideas have been part of the think tanks we’ve been doing with From Here to Awesome and DIY DAYS and are simply awaiting sponsorship or funding to actually build the above missing components. Anyone who wants to jump on board with this effort should email fromheretoawesome (at) gmail (dot) com with your thoughts and what you can contribute and lets make this happen.
Ted can give us hope, but only if we all work together can we make these ideas a reality.
Arin Crumley
co-founder
From Here to Awesome
co-director
Four Eyed MOnsters
Director
As THe Dust Settles
Fifty-two reasons to be cheerful. Enough to get through all the weeks ahead, and even some that have already passed. We complete our list just in time to not let Sundance get you down even if you didn’t sell your film. I didn’t even list that are so many good films to discover at the festival. Well, here’s to a good year. And to finding at least another 52 reasons in the months ahead.
47. Actors are truly embracing indie film and seem to be doing it because they love it. We know they don’t do it for the money or just because the schedule is short and shooting quick, but when you know they are getting offered bigger paydays and chances for true stardom and yet they still keep on doing indie movies, you have to accept they do it because it is the kind of cinema they adore. Michelle Williams , Paul Giamatti, Marisa Tomei, Peter Skaarsgard, Maggie Gyllenhaal, Sam Rockwell. Quality actors delivering quality work time and time again.
48. The Jacob Burns Center in Westchester has raised over $20M for a Media Literacy Center and it looks like an incredible addition to our culture and a wonderful model for others to follow. Imagine if every community had something like this! Check out the press release at:http://www.burnsfilmcenter.org/news/newsimages/MediaArtsLab_pr.pdf .
49. Power continues to decentralize. Time and time again it is proven that a good idea can triumph and change will follow it. Frank Leonard’s brain child, The Black List, the annual report that lists executives favorite scripts, has been instrumental in getting unique (dare we say “quirky”) projects appreciated, bought, and even made. Sundance was once the be all and end all of festivals. Virtual festivals like From Here To Awesome give everyone a chance at being seen now.
50.We are getting new film movements faster and faster. 2007 was the year of Mumblecore. 2008 was the year the neo naturalists broke (Wendy & Lucy, Chop Shop, Ballast, etc.). The speed of which common aesthetics form speak of better communication. Multiple filmmakers working in the same vein can only lift the conversation higher and raise the bar for technique. Work will progress faster and the audience will again benefit.
51. Life sustaining tools slowly are proliferating. The Freelancers Union Health Care program offers a good option for indie filmmakers looking to have basic health care coverage. Creative Capital alum Esther Robinson’s brainchild Art Home Online, offers artist financial planning services and consultation on home buying. As we live in a nation without real government support for the arts, creators have to assume they will be partially financing their work themselves — developing the wherewithal to plan for the future and not put oneself at significant financial risk is part and parcel to being able to choose what stories you will tell. Of course if we simply had state health care, not only would we be less at risk, but we’d have a significant percentage of our incomes that we could devote elsewhere.
52. The great beacon of hope I find in the film horizon is the often TFF-cited Lance Weiler and his gang of collaborators at The Workbook Project and From Here To Awesome. The open source generosity and advocacy stemming from their platforms provide a plethora of information and point to the real possibility that artists everywhere can not only create the work they want but have the ability to find, access, and join with audiences everywhere. They show that power is not in the hands of the establishment but in the community. Lance and his team having taken a host of good ideas and put them into action — and it appears to be just the tip of an iceberg that we can expect to come from them. The revolution is being podcast; it’s time you got the URL tattooed onto your soul.
If you haven’t already, be sure to catch Mary Jane Skalski’s Sundance Producer Brunch Keynote.