A whole bunch of us got together for food, drink, and lots of blab about the way this world of film is changing — and now you can join us!
We are on the verge of a new film culture and infrastructure.
A whole bunch of us got together for food, drink, and lots of blab about the way this world of film is changing — and now you can join us!
We interrupt this blog to bring you the trailer of our new film! Granted, it’s not the kind of movie we will be doing all the kinds of things we’ve been talking about here, but it is still truly great. Mark your calendars: ADVENTURELAND opens March 27th.
I got this note the other day from Reed Martin. I think it something you might find useful too.
Have you heard about this?
It’s TinyURL.com and it could be helpful for getting the URL to your blogs out to more folks.
“Tiny URL.com” allows you to basically cut a long link like this:
down to something easier to put on a business card, like this:
http://tinyurl.com/TheReelTruth
Anyway, it’s a thought. All my best, Reed
Lance Weiler gave an excellent presentation at Power To The Pixel in London a few weeks back. As he points out: competition is the problem.
I had the opportunity to see Lance Hammer’s Ballast on Sunday night at the Laemmle Sunset 5. It is a wonderful film and as you probably know – Lance eschewed the standard distribution deals he was offered and decided to self distribute. I had a chance to talk with him after the screening to compare war stories and we both agreed that there needs to be a paradigm shift on the definition of ”theatrical”.
“Theatrical” is the industry term for the first “window” of a release normally in movie theaters where they are screened for at least a week starting on a Friday night. This is a very limiting notion of what a theatrical experience should be and has the potential to constrain our own imagination of what constitutes a theatrical experience.
Lance and I both agreed that some of our best screenings were in non-theatrical venues. Usually the film is screened for one or two nights and is promoted as a special event – which helps to pack the house.
We also agreed that we as filmmakers need to create a database of such venues similar to the Workbook Projects Theatrical Mapping Project. Eventually we should combine theatrical and non theatrical lists – but currently they need to be approached in slightly different ways – so I feel it is best to keep the lists separate for a little while.
Lance and I have agreed to cull our own information but we could use your help.
If you know of any non traditional venue that has screened films on a regular basis – such as museum, film society, college student or screening association, please send them to me at:
We will post the list here at TFF for a start within the next couple of months.
I was listening to Scott Kirsner‘s podcast from Futures Of Entertainment 3 Conference on Digital Distribution recently, and heard Jim Flynn of EZTakes say they currently don’t charge clients to digitize and upload their content — that is clients that provide twenty or more titles. Since the two approved indie aggregators for iTunes (New Video & Docurama) evidently charge $500/title, EZTakes is looking like a sweet sweet deal.
Scott Macauley interviewed Scott Kirsner for Filmmaker Mag Blog about Kirsner’s new book “Inventing The Movies”. Scott’s answers about what he learned from self-publishing and self-distributing the book are directly applicable to fimmakers:
Three things. You really need to have a platform and a built-in audience to really be successful promoting something now. The platform that I built over a couple of years is the CinemaTech blog, and that has a couple of thousand people who come to it every week. Two, you want to make things available in a lot of different ways that are convenient for people. A lot of publishers don‘t pay any attention to the ebook, but I wanted to have the book available in print and, for instant gratification, in digital form. I had a debate at the IFP conference with Tom Bernard from Sony Pictures Classics where I argued that the moment a lot of movies get the most attention is when they appear at a festival, so why not let people pay a premium price and download the movie then, or the week after? I wanted to do that with the book. And the third thing is something I did a little bit of, which is sharing the material as I was gathering it. I did a couple of interviews with Mark Cuban, and I posted those interviews on the blog and it was interesting to see other people‘s comments. He even posted some comments on the blog himself. So, by posting raw material and seeing what people want to know about [the audience] can steer you in directions you never would have thought of. I‘m trying to carve my way through the jungle of a new approach to book publishing in the same way that filmmakers are trying to find a new way to make movies.