Tag: producing

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Truly Free Film

25+ Things I Want To Know From New Filmmakers

When I moderate a panel, I get to ask some questions that aren’t the kind I often get to ask in a regular meeting. The questions are as much, and maybe perhaps more so, for the audience. Still though, I am generally trying to get at something: the how and why of creativity at this time in the world.

I learned a lot from moderating the “New Faces Of Indie Film” panel at Lincoln Center on Saturday June 11, 2011. Yes, in the future when I am involved on a panel I will insist upon diversity, and yes, I will set a limit to the number of people on the panel. But I also learned from the answers folks gave. I didn’t get to ask all of them, but had I, I had the list prepared. These are those questions.

Getting Started

Was there a particular event or time that you recognized that filmmaking was not just a hobby, but that it would be your life and your living?

Is it harder to get started or to keep going? What was the particular thing that you had to conquer to do either?

What advice would you give to someone who wanted to have a life creating film?

What was the most important lesson you had to learn that has had a positive effect on your film? How did that lesson happen?

You are a collaborator. How have you discovered members of your team and how do you keep the relationship with them strong?

You are here at the Universe’s Grand Temple Of Cinephilia. You are here because of your work and how you do it. What are personal attributes that make for a good filmmaker, and what do you do to foster them?

When I wanted to devote my life to making movies, my first decision was NY or LA. How does where you live influence how and what you make, and how do you think NY currently effects your work and process?

The Love Of Cinema

What makes a film great for you? Are there certain qualities that make a film better for you?

What films have been the most inspiring or influential to you and why?

When you get angry at a movie, what sets you off? Are there common qualities in cinema today that you dislike? Is there something you try to subvert or avoid or rebel against in your work?

We are all here presumably partially because we LOVE cinema. How did your love for movies get sparked and what can we — as a community — do to help others discover a similar pleasure?

The Process Of Creating

Generally speaking, when we want to learn about a film, we talk to the director. But those that make films, know how much they are really collaborations. What makes a fruitful collaboration? What do you do to enhance the collaborative process?

It is said that there are only six stories. Maybe twelve. It’s all been done before. And we have seen it all. What do you do to keep it fresh? Is there anything that you can do to subvert the process to keep it original?

We get noticed because of our successes – but we create them on the back of our failures. We learn best from the experiences where it doesn’t work. And yet we still only discuss the success, not the failure. What failures (of your own) have you been able to learn from? How did they change you and your process?

I often say one of the best methods of producing is “engineering serendipity.” Have you encountered serendipity in your work and do you think there is anything that you can do to bring more of it into your creative process? Why or why not, and if so, what is it that you and your team can do?

Films evolve through the creative process – sometimes most dramatically in the editing process. It’s often really hard to reconcile the difference between what we desired and what we achieved. How have you encountered this and how do you move through it?

“It all starts with the script.” Maybe not, but when do you know a script is ready to shoot, and what is your process of getting it there?

Several directors have told me that most of directing is actually casting. Regardless of whether that is true, some actors have “it” and sometimes they need something to make “it” pop. You’ve spotted that “it” and captured “it”. What is “it” and how do you find “it”?

I often wonder why anyone would want to direct. Why would you want to always have 100 decisions in front of you and have over 100 people waiting on your answer?

Film, perhaps more so than any other popular art form, is the compromise between art and commerce. How has your art been shaped by both the money you have had or not had? Do you create with budget limitations in mind?

The Structure Of The Business

Is the film business fair? Why or why not? How do you make the apparatus work for you?

Is it the filmmaker’s responsibility to find and develop your audience? Why do you feel that way?How will you collaborate with your audience, and how won’t you?

What do audiences want? And is it the filmmaker’s role to worry about that?

Is it possible to sell out? What would that mean to you and would you like it to happen or not? What do you do to encourage the professional approach you want?

If I was asked what was the most important advice I could give a filmmaker starting out, it would be “Try to manage your life so that you will feel as good about the film industry in fifteen years as you do now.” In your experience, is that true, and what can filmmakers do to achieve that challenge?

What role have film festivals played in your life so far? Why are they necessary? How do you get the most out of them?

The Changing Film World

When I got started, if your film got into Sundance, it meant people would see it in America, and maybe the world. I used to be confident that my partners and I could get two or more major distribution slots a year. Now that control and scarcity don’t define the Entertainment Economy, but superabundance & access do, how does that change things for creators? There are 45,000 films generated globally annually, and the largest consumption market in the world – the US – currently consumes only 1% of the output. Recognizing that, are you changing the way you work, changing what you create? How? Why? Or why not?

I am a big believer in the importance of social media in many aspects of the film process. Are you on social media and do you use it in your work? Why or why not?

When I got started there were two screens: the movie screen and the television screen. Now there are also computers, tablets, and phones. And screens are everywhere: the home, the bus stop, the elevator, the taxi cab. As a creator how does this effect the stories you tell and how you tell them?

If there is one or more thing you think would make the film industry better, what would it be?

Ethics of Creating

Do filmmakers have any responsibility to culture? Do you feel that being a creative person requires that you give back or tell a particular story or not do something else? Why or why not?

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Truly Free Film

A Public Discussion On THE FUTURE OF FILM With You, Me (Ted Hope), & Brian Newman

Brian Newman and I are headed towards the Czech Republic this holiday weekend in order to have a very public discussion on The Future Of Film with the filmmakers and audiences at the Karlovy Vary Film Festival. Yet, you too can join in even if you can’t make your way to this wonderful festival. Neither Brian nor I are great fans of panel discussions these days; they fail to mine the great knowledge or passions of the community. So in contemplating how to get something done in the time we have allotted, Brian and I decided it would be good to get the conversation started a bit early. Below, Brian and I put together a focus on what we think are the key factors shaping the greatest and necessary change to the way films are made and consumed. What’s your opinion?

The Future of Film – Joint Article by Brian Newman & Ted Hope

Prognostications about the future of film have been pretty easy to come by lately – it will be digital, it will be everywhere, it will be 3D, it will be expensive – but while everyone talks about the changes to come, very few people are actively addressing these changes head on. We believe “the future” is already upon us, and there are five key trends to address.

As we put our thoughts out there for you to consider, ask yourself: “are these the trends that will most effect content, production, and consumption?”. Did we leave something out? Is one not important? Is something else more important? Join the conversation and let us know below.

Similarly, these five suggestions may be the preeminent factors in shaping the next few years, but the real question is always “how?” As creators, facilitators, and consumers, what must we do to confront these issues? Are there models and best practices already emerging? Have there already been noble failures and/or arrogant efforts attempting to address these factors? What would a vision look like that might address these key elements? We all must share our thoughts, our hopes, our failures, along with what we learned from our successes if we are going to build something new, something that truly works for everyone.

1. Super-abundance:
Historically, the film business has been built on the model of scarcity. It was expensive to make, distribute and exhibit (or broadcast) films, and it was equally expensive to learn the craft. Our entire business model and assumptions about what works and what doesn’t were built on this idea of scarcity, but digital has changed all of that.

We now live in a world of super-abundance. Thousands of film school students graduate annually, joining tens of thousands of self-taught others, many of whom are far better than amateurs. According to our talks with festival submission services, somewhere near 40,000 unique films are submitted to film festivals globally each year. As an audience member, we now have access not just to the films playing on television and at the theater, but to the entire history of cinema through services such as Netflix, Mubi and LoveFilm. We can experience the global cinema of 1968 better than an audience member who lived in 1968 could, and these films are now competitors for our viewing attention versus the newest films from today. 1968 was a pretty good year for film, it’s tough to decide to watch something new instead.

In a world of superabundance, you have to do a lot more to stand out from the crowd. Luckily, technology is also giving us tools to do this, engage with audiences more directly and develop new creative business practices to raise the attention level on our projects.

2. New Audience Demands:
The audience didn’t use to have a lot of choice in what it saw, but now that choice is plentiful and we’ve entered an attention economy. Audiences now have access to mobile devices that connect them not just to one another, but to the content they choose, immediately and engagingly. Weened on social networks, instant messaging, gaming and touch screens, the audience now not only expects, but demands an interactive, participatory experience.

While many an audience member is content to sit back and relax in front of the television or movie screen, a significant portion of the audience expects and wants more. For some this means engagement through transmedia – using the full range of platform possibilities to interact with a story not just in film, but through games, ARG, graphic novels, webisodes or other experiences. At minimum it means being in touch with your audience, giving them the means to engage socially around a film, even if that’s just more easily sharing a link or a trailer, or engaging in a dialogue on Twitter or Facebook.

Some argue that artists shouldn’t be marketers, but this is a false dichotomy that actually only serves middle-men, distancing the artist from their most valuable asset (aside from their story-telling abilities), their fan base. Engaging one’s audience doesn’t mean just marketing. In fact, marketing doesn’t work, whereas real conversation, or meaningful exchanges does.

In addition, the audience is now global, diverse, young and niche. It demands its content to reflect these realities. Younger creators are addressing these changes, through the content they make, but the industry must do more to address these new realities and incorporate these new voices.

3. Audience Aggregation:
In the past, we had to spend ridiculous amounts of money to find, build and engage an audience. And we did it, from scratch, again and again each time we had a new movie. Thousands of dollars were spent telling Lars Von Trier fans about his new film, but then we let that audience member disappear again, and spent more thousands finding them for the next film. We now have the ability to engage directly with our fan base, be it for an artist, a genre or the output of an entire country. We can aggregate this audience, keep them engaged and more easily communicate with them about what’s new or what’s next. Unfortunately, however, much of the value in this audience connection/data is accruing only to social networks and platforms and not to the industry, or more importantly, the artists.
4. Investor Realities:
While public subsidy remains a vital strength of the industry outside of the US, the current economic and political climate is putting strains on such support and more producers are having to look fresh, or more strongly, to private investors. Up until now, however, it has been the rare investor who sees much of a return, and with the global market for art, foreign and indie films declining (in terms of acquisition dollars), this situation is worsening. To maintain a healthy industry we must build and support a sustainable investor class. The old model of financing one-off productions, limited rights ownership and closely guarding (or even hiding) the numbers needs to change to a system of slate financing, more horizontal ownership of the means of production and distribution and more open sharing of financial data. This is technologically easy to do now, but it will require a sea-change in our thinking about openness to ensure implementation.

5. A New model for Paradigmatic Change:
All of this points to building a model for real, systemic change in the near future. Bold visions for a new model are needed, before someone from outside the film industry, in the tech community for example, launches this disruption for us. Entrepreneurial business leaders need to put forth new projects. Government agencies need to increase and shift funding to support these endeavors and traditional gatekeepers need to embrace these changes.

Experimentation requires limiting risk. Risk is usually defined in the film business by the size of budget. A devotion thus to micro-budget films should also stimulate experimentation on how they are released. Experimentation also requires an analysis of the results. Presently, the film business only likes to discuss its successes, but we need to get over the stigma of “failure” and recognize the brave and selfless qualities inherent in it so we all can learn and stop the repetition of processes that don’t work. Experimentation is also a process; it is not a series of one-offs like the film business is today. We need to demystify the process from top to bottom and encourage sharing of data as well as technique. A commitment to a series of films is an experiment – one film is not. Experimentation requires opening one self up beyond a safe environment. The film business has remained a fairly hermetically sealed world. We need to collaborate with other industries, and form alliances that benefit them as well as us. New technological tools can help audiences discover work, allow artists to create work in new ways, and enable entrepreneurs to better distribute this work.

We’d like to open the discussion to others. Let us know in the comments here whether you agree with any or all of this, whether you have other ideas for addressing the future of the field, and even your strong disagreements.

If you’ll be attending the Karlovy Vary Film Festival, we invite you to also email us at industry@kviff.com to be considered for a slot during the panel. Slots will be delegated by a festival representative at their discretion. Selected responders will have three minutes to put forth their ideas, questions and/or statements during the festival panel. We’ll try to respond our best, and open it up to the audience for more input. We look forward to hearing from you.

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Truly Free Film

What’s The First Best Lesson You Learned About The Film Business?

In Graham Taylor’s rousing cry for more entrepreneurialism in the film biz (aka LAIFF Keynote), he stated: “my 1st important lesson in Hwood: the most dangerous thing in this biz is apathy & cynicism” . That got me wondering. I tweeted: “What’s the best first lesson you learned about the film business?” I got a lot of good responses. These are some of those:

AlexanderBaack Alexander Baack
That it’s called “breaking in” for a reason.

wvfilmmaker Jason Brown
whether you believe you can or you believe you can’t – you’re right. The people you need to support you can tell and react to that.

pedramfd Pedram F Dahl
It is not your “cool” idea per se that will attract people but the hard work you’re willing to put into it.

dnbrasco David Davoli
Choose your partners wisely.

Sasha Waters Freyer
I saw this post earlier but didn’t have a chance to respond. Around 1994, one Mr. Hope gave me a excellent piece of advice: “sometimes, one of the best things that can happen is for people to say ‘no’ quickly.” I have never forgotten it, and it’s proven to be an enduring truth!

sokap1 David Geertz
“what are you prepared to risk to get the risk capital? First you make a film, then you make a deal”
AND via my boss in 96. “I know how and what you want to make Dave, but who’s going to fund it and allow that visionary path to happen?”

Dealfatigue Peter Kaufman
It’s about equity (script is given)

Phillip Lefesi
know what you’re doing and get it in writing.

yodapoda Iris Lincoln
No one knows anything 🙂

FilmmakerMag Scott Macaulay
Best lesson? I wrote about this in the mag, and it comes from James S. in 1994: “Get people to say no and then move on.”

mlmower Michelle Mower
There are hundreds of people out there lining up to steal your baby. Don’t let them.

jeffrichards Jeff Richards
Best lesson: few will actually follow through and be genuine, so have lots of irons in the fire and be one of the few.

ScreenSlate Screen Slate
eavesdrop on everything

vivesmariano Mariano Vives
concentrate in the solution not in the problem, that’s already happened and blaming someone is not going to take it away

im2b dl willson
ok last one promise – Figgis again taught me the right way to make actors feel safe so they can fly & no one will get hurt.

im2b dl willson
Tyne D. telling me “time to take filmmaker hat off.” then as I settled into being her son, taking my hand-“focus on me”

gerwinters geraldine Winters
talentless shit with connections get to the top

evermorefilms Andy Wright
“Why should YOUR screenplay be made into a film?” bit.ly/jKBthA

Kleb28 Mitch Klebanoff
Know your audience.

Baanzi Larry Long
if you want to direct, then direct. Don’t try to work your way up through the ranks. Make it happen! Should have listened

cassianelwes cassian elwes
its about the script

im2b dl willson
as a director/producer Mike Figgis “90% of the director’s battle is won or lost in casting”

im2b dl willson
as an actor.. Julian S. & Bill Paxton told me “learn not to blink”

im2b dl willson
the first line producer on first film “1st job of PA… keep your mouth shut and ears open”

TheLoneOlive Amanda Lin Costa
never expose film to light #thegoodolddays #filmschool #bolexmyfirstlove PS Martha May Marcy Marlene looks so good!

mattob34 Matthew O’Brien
Love your audience, start with the script.

garyploski Gary Ploski
“It’s who you know.”

adamstovall Adam Stovall
Work hard, and know it’s not up to you when you’re rewarded.

David_Fulde David Fulde
If you are ‘on time’ you are late. Show up early

mattob34 Matthew O’Brien
Your movie is only going to be as good as your worst actor.

MalcolmIngram malcolm Ingram
People fail upward.

1982moro Valerio
don’t be late! Never! even when it’s late!

ngerger Nicholas J. Gerger Be able to throw out the schedule and shoot at least a 12 hour day.

convercinema convercinema
What is the first best lesson you learned about the film business? <<< Collaborate with care! shericandler Sheri Candler it is full of a lot of talk and everyone inflates everything! mattob34 Matthew O'Brien Always have the next thing ready. Andy Wright: "Make sure you have your walkie talkie switched on, or else you will be shouted at by the 1st A.D. in front of the entire cast and crew... Brian Linse: "Good, Fast, Cheap - pick two." Scribbler Jones: "Get a shark for an entertainment lawyer." Michael Gaston: "Get it in writing."

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Truly Free Film

Guest Post: Hank Blumenthal “Towards An Aesthetics Of Producing Indie Movies”

What is a Producer’s “Vision”? How does she keep it all together and manage to lead all the various pursuits to a common goal? Do different approaches assure different results? Does different content require a different process?

Hank Blumenthal is old school NYC production. We’ve known each other a long time. He’s done it all. Recently he went back to school and has been focusing on new media. He’s a regular commenter on this blog; his comments lead me to ask him to take the lead at times, and today he offers us his first guest post.

Ted asked me to write a post about what it means to be a creative indie producer and the aesthetics of producing an independent movie. I can’t fully answer that question but I can start to address the main elements of that creative process and aesthetic. One approach might be to organize our thinking around four aesthetic aspects of producing: vision, community, logistics, and perspective.

A producer must have aesthetic vision. He literally has to be able to see the finished film in his mind’s eye. He has to grapple with the way it will situate meaningfulness in the culture a year in the future. And he must be able to share that vision with people so that they can be inspired enough to invest time, money, or spirit in a project.

Sometimes a film’s vision comes from a producer who conceives an idea, reads a book, or experiences a gestalt; and sometimes he embraces that from another creator. In either case this becomes the aesthetic basis for a project. This is the crucible where meaning is created. This meaning is informed by an argument or dialogue we want to have about how we perceive the world and how we share that understanding. This dialogue is grounded in artistic pleasure, emotional empathy, intellectual discourse, politics and economics.

On my last project, The Ghost Club, the idea for the story and most of the particulars came in a flash of inspiration and few hours of copious scrawling in my journal. My goal was to push the boundaries of storytelling to include a new form I call a storyscape – a story that is greater than the sum of movies, games, experiences and conceived as a whole. The storyscape is the medium, like a novel, that transmedia storytelling plays out on.

I had to conceive a whole universe with rules and connections between media like augmented reality games, websites, ghostpedias, and webisodes. Certainly there were only glimpses of what some of those elements were to be but the vision of the producer is to provide that scaffolding to the other artists – writers, directors, programmers, user experience designers – and to define the map where our efforts would go. Good producing, like modern transmedia, is about leaving gaps for our collaborators to fill in.

The producer must now form the aesthetic community that enforces that vision and interpretation. The key creatives on a movie – director, writer, producer – must disseminate and encompass all the other creative visions – actors, animators, designers, musicians, etc. – to make a community of meaning. The producer must take responsibility for this community and the coordination that scales the cinematic vision to the divisions of labor in making a movie. That is how the set decorator can choose the perfect flower or the composer the amazingly perfect cue. The producer, being responsible for the creation of an aesthetic ecology, must mediate translations of core principles across the various people involved, both communicating the larger vision while still respecting the particular area of the production.

I cannot stress this point enough, the aesthetics of the community’s collaboration is owned by the producer. The producer is responsible for who and how that team comes together. Providing an environment where people can excel and collaborate is fundamental to a producer’s role. Flexibility, openness, and respect for everyone in the process are a critical aesthetic of a producer’s community.

I was fortunate enough to work as a script supervisor with Spike Lee on music videos and commercials and see how he married a clear director’s vision with a producer’s openness to his collaborators to create the best works. Often crew, any crew (occasionally myself), would step up to him and make a suggestion. He would graciously and ruthlessly compare that against his vision and accept or reject it. More often it was rejected but the joy of collaboration was when he said “yes.” Movies are a collaborative medium and the way that process is curated defines the finished work. At the level of production, great indie movies can be traced to well-coordinated aesthetic ecologies, and therefore to careful translation from the producer.

To frame the next point, aesthetics and logistics, consider what Stanley Kubrick said in Sight and Sound in 1972: “I don’t think in terms of big movies, or small movies. Each movie presents problems of its own and has advantages of its own. Each movie requires everything that you have to give it, in order to overcome the artistic and logistic problems that it poses.” The aesthetics of logistics are where the producer’s collaboration with the ecology of production becomes artistic. Choices are not solely artistic but also exist within a larger economy that focuses attention and resources. This is where producing becomes artistic, and that art is not simply creative but economic. Where your resources are applied and to what aesthetic result becomes a large part of what the finished product looks like.

I still kick myself for not spending a thousand dollars (that I didn’t have anyway) on a location for “In the Soup” that was 200 ft closer to a view of Manhattan. The producer balances the artistic demands of the picture and makes hundreds of creative choices about crew, locations, props, sets and wardrobe – not to mention the actors who can have a huge artistic contribution of their own to make. The ability to translate creative vision down the line of production, then, is also the ability to translate final decisions – driven by who, where, how, and how much – to harmonize these points of production.

Finally there is perspective. When everyone else is up to their necks in the muck of production and post production it is essential that someone maintain the agreed upon artistic vision and keep their attention focused on the ultimate goal. The producer is the one who reminds the director of what the vision is as the director sinks into the serendipity of artistic creation often pulled by the brilliant thoughts of his collaborators. The producer is responsible for the direction of the picture through his aesthetic consistency.

Vision, community, logistics, and perspective can provide a beginning for how we can analyze the aesthetics of producing. I hope this can begin a deeper discussion into each of these areas and what that aesthetics entails. As to what a creative producer does, I think this touches on the many areas he must supply the aesthetics and vision. Movie making and meaning making are an ecology of aesthetic choices and the producer defines the nodes of that ecology.

—Hank Blumenthal

Hank Blumenthal is a producer and director of movies (The Ghost Club, In the Soup, Strawberry Fields) a creative director and producer for interactive television and digital media (Microsoft, Google, Viacom, R/GA, Bravo and IFC,) and a PhD student in digital media at Georgia Institute of Technology investigating transmedia storytelling and new paradigms for stories.

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Truly Free Film

Get Ready For The Indie Film Investment Deluge!

Let’s celebrate!  The prospects look good for a lot of smart money to be available again for appropriately budgeted indie films.  The key now being the “appropriately” part of the equation.

The days of Machiavellian moves to maximize an limited audience art film’s budget seem thankfully over — and as sad as I will be to seem some friends’ films become obsolete, I smell another golden age brewing.  Filmmakers and investors seem to have both embraced the “less is more’ ethos.  Expect may more films to be made in the lower than $5M bracket, and far fewer indie works in Mark Gill’s former sweet spot.  The large indie finance companies of 5 years ago, had to make films at higher budget levels in order to justify their overheads and salaries.  Those companies have crashed and so did the silly models of $20M art films.

The Film Biz is coming off two consecutive extremely robust film markets.  Toronto 2010 saw almost 30 deals close during the festival.  Sundance 2011 exceeded that mark.  Surely there were quite a few deals done post market too (I have not seen any reports to track this; let me know if you know any).  Coming off of two years where the prudent would not expect anything for US rights, this an exceeding positive change.  With a well produced and well positioned films, investors can reasonably hope to recoup — and then some.  Now the challenge for producers will be to be disciplined enough not to allow the budget creep to return.

There are other factors, beyond the sales market itself,  that heighten my optimism.  The

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Truly Free Film

Answering The Questions: “How do I make sure that in twenty years I will feel good about the choices I make today?”

Earlier this year I proposed what I saw as the five most critical questions for someone to answer in order to have a fulfilling and sustainable career producing films.  I went on to list out eighteen more. I think the answers to these questions don’t have a right or wrong answer; they should be profoundly personal.  Yet I also think it is very hard to answer these questions on your own.  Frankly, I think the answering of these questions should be part of any film school curriculum — but I am also not sure that film school is a necessary component for all producing careers.  Anyway, I thought it might be helpful for those considering this path to have someone try to answer these questions.  Today that someone is me.

Producing benefits from having addressed certain moral and ethical challenges before they actually confront you.  Hell, what field or way of life doesn’t?  I have encouraged the consideration of some of these “challenges” before in virtual party game manner, but I do think it is always worth considering.  I think it comes down to the questions of “what do you value?”  People? Money? Principles? Property?  And how much do these matter to you?

If you’ve set your values — or at least have a firm handle on them–, if you then seek to make the product of your labor (i.e for a film producer, your movies) reflect your values, you will be on your way to still feeling good about what you are doing twenty years from now. Essentially this is the “Know-what-you-care-about-and-reflect-that-in-your-work” approach.  But it alone is not enough to carry you through the twenty years.  It is the content driven approach and you will have to also consider the process and the environment you inhabit to stay satisfied.

To feel as good twenty years from now as you do today (and that is assuming you feel good today of course), it is not just

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Truly Free Film

18 More Important Questions For Producers

Two weeks ago , I offered up five of the most important questions I thought producers needed to answer to get a movie made and to have a pleasing life in this crazy pursuit.  But how do you stop there at five?  I promised 18 more, and well, how’s this for a list?

6. How do you earn a living and sustain a career doing what you love?

7. How do I determine if someone is truly worth collaborating with?

8. Why will someone choose to collaborate on a project?

9. Why will someone choose to collaborate with me?

10. What do I want from a partner?

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