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Truly Free Film

GREAT EXPECTATIONS: Not Just a Dickens Novel.

What do Filmmakers want from film markets and what they can realistically get?

Discerning the difference between a film that can actually sell well enough to justify having a third party sales agent and going to markets vs a film that is best served by DIY methods that should be planned and employed BEFORE the film’s first exhibition”

Guest post from Orly Ravid, Founder of The Film Collaborative (TFC)

We get questioned all the time by members and others about which markets should filmmakers attend and which sales agents should they go with. Having unrealistic expectations is dangerous. It sets people up to do nothing on their own but wait for some third party to make their dreams come true.

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Truly Free Film

Sometimes: Think Small And Find Success

There is a better mousetrap.

One of the problems with the old way of making a film — with the belief that someone would buy it — is that the apparatus only applied to a few select films aimed at the widest audiences.  Yes, occasionally a filmmaker hit the lottery and everything aligned perfectly to engineer a sale, but by now we see that clearly as the exception and not the rule.  Some of the beauty that is being revealed during The-Collapse-Of-The-World-As-We-Once-Knew-It (COTWAWOKI), is that new experiments bring a wider selection of work to a wider selection of community.

Reading the NY Times recent article on how music labels are taking they DIY approach that they had for bands, are applying it to films too, frankly warmed my heart — or whatever that is when you get the warm wave from the top of your head down through your toes.

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Truly Free Film

A SMALL ACT – The Little Things Count

Guest post by filmmaker Jennifer Arnold.

How much do the little things count when it comes to staying visible?

My first documentary feature, A SMALL ACT (www.asmallact.com ), opens at the Quad Cinema in New York today. I started the film three and a half years ago with very few resources. DIY filmmaking is hard. We all know that. You have small budgets. You have small crews.

So how can you stand out when you have very little? The biggest lesson I learned while making this film is

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Truly Free Film

Eddie Burns Learns To Love Doing It DIY

Michael Tully of HammerToNail has a really great interview with Edward Burns on his path from small to medium to sorta big and then back again.  It’s filled with the kind of insights that can only be offered by those that have been there — and are willing to be truly honest, with both themselves and us.

I remember when we were at Tribeca, and John Sloss, who I’m sure you know, has this new venture called FilmBuff, who is our distribution partner with this film. And he gave me an argument, but not so much for VOD. Maybe five years ago, I had this movie called Looking For Kitty. And the movie got one tiny, tiny distribution offer from THINKFilm. It was one of those no advance partnerships, and we had made the movie for a quarter of a million dollars. John said, “Look, you’re gonna sell the movie for nothing and they’re gonna own it, just so you can satisfy that part of your ego that wants the film to be released theatrically.” He goes,

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Truly Free Film

PPP: (Picture, Parties, Panels) – a formula for success

Guest post by Joao Amorim, Emmy Award nominee director of 2012: Time for Change, a feature doc offering an optimistic alternative to apocalyptic doom and gloom and featuring leading experts, scientists and celebrities including: Sting, Ellen Page, David Lynch, Barbara Marx Hubbard, Gilberto Gil, Dean Radin, Buckminster Fuller, Paul Stamets, Shiva Rea, Tiokasin Ghosthorse and many more.  It is currently playing in NYC at Loews Village 7 through Oct. 28th.

Moving towards an Open Source culture in film distribution with 2012: Time for Change

Understanding the changing distribution landscape in 2008 while we were financing this project, Mangusta Productions and I decided to build in some P&A monies into our budget.  When we completed the film in March 2010 we all agreed that

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Truly Free Film

This Is, Was, & Will Be… Indie Film

Forget that it is music.  Forget that it is ten years ago.  It is still about filmmaking now.

Hat tip to Elizabeth Agate for the link.

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Truly Free Film

Committing To Hybrid Distribution: “The Taqwacores” Story (Pt. 2 of 2)

Guest post by filmmaker Eyad Zahra.   His first feature film “The Taqwacores.” — a DIY production — world premiered at Sundance earlier this year, and opens in New York City at the East Village Cinema today, October 22nd. To learn more, visit www.punkislam.com.  Check out the 1st part of this post here.

Make no mistake.  The indie film world is pretty topsy-turvy right now.  As anybody who reads Ted’s blog knows, there are fewer buyers out there, all the while the digital revolution has allowed for movies to be made then ever.  The market is flipped upside down, and who knows when or where it will every land back on its feet.

As the producer and director of The Taqwacores, my first feature length film, I have had the highest of highs, and lowest of lows in my first filmmaking adventure.  I want to be honest here, and not sugar coat the experience whatsoever.  It has been a wild roller coaster to make this independent feature film, a roller coaster ride that has been going on for nearly 3.5 years (and counting).

As a first time feature length filmmaker, I had thought the biggest hump was production.  I figured, all we had to do was get through those 3 weeks of shooting, and everything else would be down hill.

The reality is that it never gets downhill.  It only gets uphill, and it gets steeper and steeper the more you go forward.

That said, I would do this all over again in a heartbeat. That’s how much I love the story I have chosen to tell, and the life-long friendships I have made because of this production.  To any filmmaker out there, you better make sure you love (not just “like”) the people you are working with, and that your narrative is something you can dedicate years of your life too.

To learn more about how we made the film, check out the production notes here.

Today we release the film in New York City at the East Village Cinema.

At this juncture, we are releasing the film domestically through Strand Releasing (Marcus Hu, Jon Gerrans, and David Bowlds), and these guys have been nothing short of incredible.  They have allowed me to be part of the entire release process, and I deal directly with the heads of the company, and my concerns are always answered by them in an immediate manner.   I have been even given an open invitation to swing by their offices any time.

What I love about our release strategy is that we are using a hybrid method towards launching this film.  We are doing a standard limited theatrical launch in NYC and LA, while along stressing an intense grassroots campaign effort.  It’s a bit of the old and new wrapped in one, which allows me to be involved as much as I want to be.  I have been involved in every major decision for the film.  I also manage our online media (website, facebook fan page, twitter) personally.

We originally launched the film at the Sundance Film Festival, which