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Truly Free Film

How I Spent My Sundance Non-Vacation

To think I once got to see movies when I went to film festivals…

I had one film to share with folks this time around, Sean Durkin’s MARTHA MARCY MAY MARLENE, which I had the pleasure and good fortune to Executive Produce — even still I did not plan to see any others.  I knew I was going to be too busy with the work that festivals have become for me.

The reception for the film was great — which has generated a lot of meetings (and which has yielded some nice announcements ).  I forgot to read the latest Exec Prod job description though and did not realize it now means moderating press conferences.  Check out the video here, and let me know how you feel I did.

When I wasn’t dealing and celebrating Sean’s movie, I was doing my part to aid in the promotion of indie film.

Christine Vachon and I have been doing this talk show on and off now for several years, now dubbed KILLER / HOPE.  Hulu’s got it up on their Sundance page. Please check it out while you still can (at least in all its glory). New episodes will be added daily throughout the festival.  Additionally, we were invited to talk to Eugene Hernandez for the local NPR station.  Gotta get the word out, but man does all that yapping, make for some seriously dry mouth.

But man, what a test of will power it is.  I admit I am an addict

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Truly Free Film

What Does This Decade Offer As An Opportunity For Indie Film? (Pt 3 of 3)

I have been rambling/ranting the last two days about Indie Film’s missed opportunity over the last decade.  Where are we headed now?

If we missed an opportunity over the last ten years, do you know what it was?  We missed the opportunity to make indie film a sustainable culture and business. I earned a good living for over fifteen years, but I don’t expect to do that now or even going forward — if I am even going to stay in Indie Film, that is.  It is going to take an awful lot of work from a great number of people to bring that squandered opportunity back. Are the people out there, who are willing to do that work?

Do you know why we missed that opportunity to make Indie Film a sustainable enterprise?  Because we all were/are selfish, focused on own short-term success, chasing a hit, not devoted to the long term or the community.  The filmmakers, the performers, the artists and the craftspeople all feel as if we’ve behaved as selfishly and as greedilyy as the bankers who have virtually destroyed this country.  Yes, a great number of people give a great deal back, but that is not enough.  Instead of building a system that works for a wide and diverse populace, we all went out and just got ours. We squandered a great opportunity.

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Truly Free Film

What Happened To Indie Film Over The Last Decade? (Pt 2 of 3)

Yesterday, I started my reflection on the last decade of American Indie Film.  I will conclude it tomorrow (I promise).  Today, I wonder what opportunity did we miss over the last decade.

There wasn’t really ever a transfer of power in the film biz, was there?  During the growth of AmerIndie, Hollywood remained a business of blockbusters.  Yes, previously underserved audiences got full on banquets of offerings as the menu of filmed entertainments grew more diverse, but the clamoring  hordes born from  the niches didn’t climb the castle walls as some have claimed; the same power sat on the same throne as before.  Fanboys & geeks were inevitably the masters once Hollywood embraced the logic of tent poles — so there is nothing surprising about their current reign.  And yes, Hollywood’s current crop of top directors were born from that indie big bang of the nineties, but for those directors, Indie always seemed more like a training ground than sort of a manifesto.  And the power in the Hollywood system, still rarely rests with the directors.

What is it that happened between Indie’s growth in the 1990’s and now?  What did the last decade do to the hopes and dreams of  The Indie Wave?  

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Truly Free Film

Tic-Toc: Thinking About Generations & Opportunity (Pt 1 of 3)

I was reflecting at the end of the year.  It got me to this three part post.  I offer you my apologies in advance for any rambling.  Stay tuned for the posts to come tomorrow and Saturday.

I graduated from high school in 1980, the year often associated with when the Hollywood Business fully became the Blockbuster Business.  When I graduated I thought I had a revolution to run (even if I wasn’t prepared to run it), but I didn’t get around to finding the film business for a few more years.

I was fortunate in the timing of my professional &  artistic pursuits that I could benefit from the DIY aesthetic, the approach of the first wave of punk rock (circa 1977), and political events like the class antagonism of the Reagan Years, and the fear & consequences of the AIDS epidemic.  Add to that the prevailing post-modern, multi-culti, deconstructionist sway of academia, the birth of a new distribution platform (VHS video), and Hollywood’s abandonment of the complex and personal.  What could have been a more perfect storm for the coming wave of American Indies?

Circumstances gave me and my generation of filmmakers opportunity (even if some paid a high price).  Has such an opportunity come again over the next thirty years?  Did we miss it?

As fortunate as I have been, I think it does not compare to the opportunity appearing before us now.

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Issues and Actions

181 Renewed! Indie Filmmakers Rejoice!

Why does this matter? Zak Forsman tweeted it nicely: ” if tax payer is in 35% tax bracket and the film’s shot in a state with a 42% credit, investor’s eligible to get 77% of her investment back.”

To go a tad deeper, Zak Forsman posted it well:

Minutes ago, I received this email from my friend and fellow filmmaker, Justin Evans.

Dear Film Professionals –

Section 181 has finally been renewed! The new Tax Bill was signed into law by President Obama earlier today. The tax law includes Section 744, which includes language that replaces IRS Section 181’s expiration date of December 31, 2009 with December 31, 2011.

http://www.gpo.gov/fdsys/pkg/BILLS-111hr4853enr/pdf/BILLS-111hr4853enr.pdf

Here is what this means:

  • Any money spent on qualifying domestic film production* in 2010 now qualifies for the Section 181 tax write-off.
  • Any money spent on qualifying domestic film production* in 2011 will also qualify for the Section 181 tax write-off.
  • There is no gap in Section 181 protection…which means all the fear and worry that someone might have begun a project in 2009, somehow didn’t get the financing in place and investors invested in early 2010 can now breath a sigh of relief.

Read all of what Zak has to say about it here. Thanks Zak!

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Truly Free Film

Brave Thinkers Of Indie Film, 2010 Edition

We have a bit of a redundancy in the recognition of those that create good work, but that good work does not end with what is up on the screen — which is the part that everyone seems to want to write about.  I feel however that we must recognize those that focus not just on the development and production of good work, but those that commit themselves to ALL of cinema, including discovery, participation, appreciation, and presentation — what I consider the other 4 pillars of cinema.

Last year at this time, I put forth a list of inspiring folks, people who by their acts and ideas were giving me the energy to keep striving for a better film culture and infrastructure, one that was accessible to all, and slave to none. We are closer to a truly free film culture this year than we were last year, and I remain optimistic that we can be a hell of a lot closer next year than we are today, thanks in no small part to the 40 I have singled out these two short years.

This list, like last year’s, is not meant to be exhaustive. Okay, granted I did not get to the quantity to the 21 Brave Thinkers that I did last year, but the quality is just as deep.  Regarding the lesser amount, I don’t blame the people — I blame the technology (of course).  I wish I had better tools of discovery that would allow me to find more of the good work and efforts that are out there. I know I am overlooking some BTs again this year. But so be it — one of the great things about blogging is there is no need to be finished or even to be right (although I do hate it when I push publish prematurely — like I did with this — when it is still purely a draft).

I know I can depend on you, my dear brave thinkers, to extend and amend this work into the future.  I do find it surprising how damn white & male & middle aged this list is.  And that I only found two directors to include this year.  Again, it must be the tools and not the source, right?  Help me source a fuller list next year; after all, it is as Larry K tweeted to me about regarding who are the most brave these days: “Those whom you don’t know but who continue, despite the indifference of all, to create work that is authentic,challenging and real.”  How true that is!

Last year I asked and stated: “What is it to be “brave”? To me, bravery requires risk, going against the status quo, being willing to do or say what few others have done. Bravery is not a one time act but a consistent practice. Most importantly, bravery is not about self interest; bravery involves the individual acting for the community. It is both the step forward and the hand that is extended.”

This year, I recognize even more fully that bravery is a generosity of spirit, as well as a generative sort of mind.  It is extending the energy inside ourselves to the rest of the world.   I often get asked why I blog (or why so much), and I have no answer for those folks.  It can’t be stopped, for I believe if we love the creative spirit as much as the work it yields, if we believe we create for the community and not for the ego, how can we not extend ourselves and turn our labor into the bonds that keep us moving forward.  In other words, no one can afford to create art and not be public (IMHO).  If you want a diverse and accessible culture of ambitious work, you can not afford to simply hope it will get better — you have to do something (or get out of the business, please).

So without any further adieu, here’s my list of the nineteen folks who have done more on a worldwide basisto start to build it better together,

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Truly Free Film

Save The World AND Expand Indie Film’s Market

I got a kick out of Hollywood’s Reporter’s recent article on the WikiLeaks cables. There they put forth the realization that George Clooney, Desperate Housewives, and Late Night With David Letterman do more to prevent jihad than the $500M the US State Dept dumped into funding the TV station in Saudi Arabia.

I have long thought we damn the perception of America by only allowing the market to decide what films travel overseas. Okay, granted that is a bit of an oversimplification, but when so much money is spent marketing The Studios’ product, the overseas audiences basically get to see that Americans like to drive fast and blow shit up. I know we are a wee bit more diverse than that.

If the films from Sundance or any other regional festival were given away to developing nations, the people of the world would have a much different impression of whom we are, culturally speaking. Okay, maybe they’d think we are a bit obsessed with coming out and perhaps made up of predominately junkie moms trying to go straight, but they still would be presented with a much greater tapestry.

If the US State department funded a giveaway of US Indie films, not only would Indie’s have access to audiences, communities, and markets that they currently struggle to find, but hey, what’s so funny about getting a little world peace in the windfall?