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Truly Free Film

Live From Park City!

I am particularly excited about Sundance this year. Beyond the films, there is a whole series of events that I will be participating in, and I look forward to all the people I will meet and good ideas that I will get to hear.  Please come ready to share some thoughts; my ears are open.

I am now the Closing Key Note speaker at the Art House Convergence (which is actually in Salt Lake City) on Thursday January 15th prior to the festival itself.  I do feel we are on the verge of a new collaboration between filmmakers and exhibitors and am eager to share this vision.

I will also be participating in a panel at the AHC on “New World Distribution” organized by Connie White & Jan Klingenhofer on Wednesday at 5P at The Peery Hotel in SLC.  This panel also features Bob Berney and Peter Broderick who are always sure to be brilliant. All of this really makes me feel like a change can truly come with all of our efforts.
The Convergence is geared to the exhibition and booking community but speaks well of the growing relationship between filmmakers and theaters — devoid of any force keeping them apart. I don’t think it’s too late to register for the convergence although the focus is on the theaters. You will be sure to learn something nonetheless.  And if you aren’t going to make it, just let me know if there is anything you’d like me to address here.
But it’s not all lectures and learning.  The IFP, Filmmaker, The Salt Lake City Film Center, the new media communications concern SMA, and This is that have all come together to sponsor the first annual filmmaker/exhibitor/booker mixer on Friday night, January 16th 6 – 8P — so you get a chance to party. I had hoped that something like this would come together. The bridge between these groups is one thing preventing us all from connecting all the dots. Here’s hoping that a sponsor emerges and this can become an annual event. I hope to see everyone with a film or a place to book one there.

I will also be participating in what looks to be a great panel at Sundance “The Panic Button: Push or Ponder?” at 1130A at Prospector Square on Monday, January 19th.  The assorted old guys like myself include Mark Gill (The Film Department), James Schamus (Focus Features), Michael Barker (Sony Pictures Classics), Jonathan Sehring (IFC Entertainment), Marcus Hu (Strand Releasing) and Peter Broderick (Paradigm Consulting).  It’s moderated by no less than Sundance Film Festival Director Geoffrey Gilmore.

I have always considered myself a man of action — i.e. not one to sit and ponder — but also never believing there should even be a button to push. I promise to make this a fun and lively event. If there is anything you would like me to be sure to discuss, please let me know as soon as possible.

There are a few other things in the works too — just in case you miss me at these venues — for later on at the festival.  Stay tuned.
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Truly Free Film

Add More Indies To The NATIONAL FILM REGISTRY

I have to admit that I generally like what films get selected for preservation via the National Film Registry.  I don’t know if you saw the latest list of what got selected for 2008, but you can look at it here.  They add twenty five titles a year.

But what I bet you didn’t know you vote for what is to be added.  Or so their website says.  All you need to do is send your nominations in to:

sleg@loc.gov

You can only nominate 50 films a year.  They have a handy dandy list of suggestions too.  They generally do a pretty great job.  There are a few areas though that need greater emphasis.
Indie films definitely need help.  Without the studio support, they tend to be a little less organized and being held under worst conditions.  The studios aren’t going to let a moneymaker fall into disrepair.  A filmmaker who may own their negative but not the house they live in might just be a little different story from the one owned by the mega corp.
I have suggested they add in 2009:
Melvin Van Peebles’ SWEET SWEETBACK’S BADASSSS SONG (1971)
Susan Seidelman’s SMITHEREENS (1982)
Bette Gordon’s VARIETY (1983)
Alex Cox’s SID AND NANCY (1986)
Spike Lee’s SHE’S GOTTA HAVE IT (1986 )
Whit Stillman’s METROPOLITAN (1990)
John McNaughton’s HENRY: PORTRAIT OF A SERIAL KILLER (1990)
Todd Hayne’s POISON (1991)
Hal Hartley’s TRUST (1991)
Gregg Araki’s THE LIVING END (1992)
Allison Anders’ MI VIDA LOCA (1993)
Ang Lee’s THE WEDDING BANQUET (1993)
Tom Noonan’s WHAT HAPPENED WAS… (1993)
Terry Zwigoff’s CRUMB (1994)
Todd Solondz’s HAPPINESS (1998)
Not bad for an initial fifteen.  Granted quite a few serve my self interest, but…  Let me know what I should suggest for the next 35.
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Truly Free Film

Putting It In Perspective: Jarrod Whaley

Jarrod Whaley of Oak Street Films had an excellent — and passionate — response to my query yesterday on how and why filmmakers should use Twitter.  I am particularly pleased that Jarrod posted here as it introduced me to his writing.  Check out his thoughtful and well-articulated blog.

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Truly Free Film

Pericles Is Hopeful For The Future Too

I knew it wasn’t just me. I knew there was a plethora of silver linings out there. One of the pleasures of all this blogging and social networking is finding and getting in touch with friends from the past. Peri and I crewed together back in the day. He recently made a DIY feature called LOOP and we have been corresponding. He had no problem coming up with 10 things to add to the list. I think that puts the grand total up to 63 (Ted).

Ten Things That Make me Hopeful for the Future (Pt. 1 of 2)
courtesy of Pericles Lewnes:

1. Filmmakers can collaborate virtually. On my DIY feature LOOP, I was fortunate enough to meet a talented animator named Courtney Hoskins when we submited entries to the same contest. I saw on her contest profile that she used Maya and After Effects and began to tell her about some FX needs I had for my movie. She got into the concept and decided to help me. Without ever meeting her or talking to her over the phone, she was able to create a scene LOOP that everyone talks about. When you see LOOP, I think you will know which one it is. The collaboration was kind of like Four Eyed Monsters with all of the love being heaped on the movie.

However, there are many ways to collaborate, the simplest being screenwriting which has probably been going on now since the internet began. But what about stock footage? Do you know anyone in DC who can grab a shot of the Capitol dome? New York Exteriors? Colorado Rockie Mountains? I do. A director friend of mine in California watches his editor in Minnesota work on their project. They use a sharing program that lets the director see the editor’s desktop as he edits while they chat on the phone. As technology advances, more opportunities will develop that Indy filmmakers can take advantage of.

2. File Transfer Services – The are different ones out there. Yousendit, Sendspace and Sendthisfile are but a few. You can send up to 100 mb of material free on Yousendit and up to 300 mb on Sendspace. I pay for a plan at $9.99 a month on Yousendit which allows me to upload up to 2GB of data which will be available for up to 500 downloads for 14 days. This is really good for Artwork, EPKs and just plain old back and forth video tweaking. For shorts, it is great if you need to get one somewhere fast. Most can be compressed well under 2GB. Features are trickier, but possible. I might put LOOP out there if I can get my compression settings right.

3. Pocket Projection – I was looking through a magazine and found this: The Optoma PK 101 This is a DLP(!) projector that is the size of a pack of cigarettes and is listed at $399. It can project a picture up to 60″ from a variety of devices like iphones, PSP’s and DVD players. On the bottom of the projector is a tripod mount that will let you mount it on a basic tripod to allow for leveling. Why am I excited about this? Because if I had one I could have micro cinema screenings! Being the infamous director of Redneck Zombies, I have been known to hang around a convention or two. With this projector, a dark hotel room, and a little speaker rig, I can theoretically screen LOOP on a piece of foam-core to a small invited audience. I’m sure there are limitations to this projector and that this technology will improve, but I am also sure that this projector has a “sweet spot” that will be suitable to project LOOP. A tripod+pocket projector+mico mini stereo+DVD player+foamcore in a dark room= micro-cinema screenings on the fly. THAT’S CRAZY! Which is why I am exploring it.

4. Magic Bullet Suite: This is a great all multi-purpose application that allows you to color correct, deinterlace, and create different looks for your project. It plugs into Adobe After Effects CS3, 7, 6.5, Adobe Premiere Pro CS3, 2.0, Apple Final Cut Pro 6, 5.1.4, Apple Motion 3.02, Avid Xpress Pro/Media Composer 5.6+,2.6+. BUT – it needs horsepower and it is always wise to check on the hardware requirements before taking the plunge. MBS includes five programs which can be bought individually. My opinion is that this set of tools is worthy in every respect. It is user friendly and the results are over the top. If you are a DIY filmmaker like me, sometimes it’s just you, your computer, and your editing software. An easy to use and powerful set of tools can give you options that you might think are out of reach. It can be pricey, but it can be bought one component at a time and they run a lot of specials if you get the newsletter. I don’t work for these guys, but I love the software. Download their Magic Bullet Looks demo and give it a test drive.

5. Toolfarm – Toolfarm is an excellent resource for the DIY filmmaker. Not only will you be able to find the perfect plug-in you need for software, but there are experts and tutorials of every flavor. The forums are legion and active. Boris? Final Cut? Trapcode? After Effects? Expert help is only a few clicks away. They have excellent podcasts, mailing list, and an all around helpful bunch experts. Say hello to Michele Yamazaki for me.
–Pericles Lewnes

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Truly Free Film

Make The Physical More Beautiful

I just got married.  I am thrilled.  We even got some gifts out of it.  We now have the Bergman Archives next to our Kubrick ones.  These are beautiful books reinforcing my love for great movies.  They make me want to see more great movies.  How can this phenomenon be carried over to other aspects of film culture.

Why does only Criterion make fetish objects out of their video releases?  It seems that this should be a real area of focus for Truly Free Filmmakers.  When I really connect with a film, I want something special that enhances my appreciation for it.  I would love to find some good examples of what filmmakers have done to make the packaging of their video something truly special.
This was also recently focused a bit on in Roger Tinch’s 2009 Trend Prediction for the CineVegas blog.
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Truly Free Film

Spreading The Word

How do you get people to know about your film?  To want to see your film?  For a film to work we have to get the word out well beyond the film community.  Whatever the content of your film there is a community who has a direct relationship to it.  Where do they live?  What else are they talking about?

Movie Marketing Madness and ReadWriteWeb each have had good posts on how to find the top blogs regardless of the topic.  So now you can go out and find those folks and start talking.  Get them talking about your movie.
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Truly Free Film

Why Filmmakers Need Twitter

Okay, I haven’t written that article yet.  Maybe someone else has and I just haven’t looked for it.  If you find it let me know, but I did find Why Studios Need Twitter (via Movie Marketing Madness) and Guidelines For Brands Using Twitter.  Mash them up and filter it through your cinema-obsessed mind and see if it has a beat you can dance to.