Since my earlier e-mail generated a bit of traffic and comments, Ted asked me if I'd be willing to write a follow-up that addresses some of the subsequent points raised. I won't be commenting directly to any commenters, but in a more generalized manner.
Just to note, though I tend to write in a straightforward manner, I'm not angry with anybody or viewing things in black & white. And while I used my own work and experiences as a viewpoint for much of the preceding entry, I don't want there to be any confusion: Insofar as DIY filmmaking goes, over the past half-dozen years or so, I've been incredibly privileged and lucky. As well, my e-mail to Ted was not "unsolicited" -- I've known Ted for nearly 5 years at this point, as he was one of the first producers to offer to look at one of my screenplays.
Some commenters have been unfamiliar with my work and wondered how it can be seen. My website is The Mutiny Company (www.mutinycompany.com). Most of my web filmmaking has revolved around press opportunities (filmmaker interviews, film festivals), and in using that as a centerpiece, I've then created narrative short films and web series based around these documentary situations, functionally blending reality and staged fiction. This form of filmmaking arose out of plain pragmatism. In 2001, I worked as Jami Bernard's assistant, and from 2002-2004 I co-ran the website MovieNavigator.org, for which I was in charge of interviews and essays. By the time MN ran out of gas, the web was ready for large amounts of streaming video, so I tried to convince the film publicists I knew to let me shoot video interviews. However, at the time, independent cameras were not allowed at junkets and web video was not considered legitimate. This started to change in 2004 when The Film Society of Lincoln Center gave me carte blanche to shoot a 14-part web series from The New York Film Festival. Aside from their house videographer, I was the only other camera regularly shooting at the Walter Reade Theater. That led to a 6-month series in 2005 on Movie City News that expanded the established narrative/press format. In 2006, I started doing videos for Filmmaker Magazine, and in 2007, I began contributing to FilmInFocus. This niche of filmmaking has allowed my work to be posted regularly on many major industry news sites and blogs, guaranteeing a certain level of exposure.
There have been two basic strategies in the initial wave of digital DIY filmmaking -- one group immediately made no-budget features that didn't receive distribution and subsequently went to the web to gain exposure, and the other chose to start on the web to build exposure before making a feature. I belong to the latter category. I think a lot of the feature filmmakers weren't ready yet, either technically or in terms of contacts, and the lack of initial distribution success is a testament to that. While I would love to have made my first feature already, I'd rather be patient about it and do it right than to just do it. In the meantime, I can continue to polish my craft, gain greater exposure and make contacts.
DIY filmmaking has been uniformly revolutionary to the filmmaking process. Nowadays filmmakers can own their entire means of production and distribution: Prosumer cameras, affordable post software and, finally, the internet or DVD as a means of self-distribution. The industry as a whole has offered a surface embrace of this while actively seeking an offensive strategy against it (they talked up user-generated content, but their real agenda was to shift established/signed talent to the web rather than to promote upstarts). One thing that first-gen DIY-ers have invariably influenced is marketing. Personally, I haven't been too impressed by most of the filmmaking itself, but nobody can deny the success of Four Eyed Monsters' use of every social networking tool under the sun or Joe Swanberg's (always denied) mumblecore movement. In both cases, people remember the marketing a lot more than what was being marketed, and the legit industry has imitated and absorbed their techniques.
While the first generation's filmmaking output hasn't been terribly ambitious on the whole, I'd be willing to bet that's going to start changing. The recession is going to force a lot of aspiring filmmakers to fend for themselves rather than working their way up through an industry in a downturn economy. I also think that as more ambitious films start being made and noticed, this approach will no longer be so derided but embraced. You'll start to see more and more that filmmakers and production companies will own their own digital equipment, thus dropping the budgets. Furthermore, the movies produced will start to shed excess weight (crew) and become more stealth in their operations.
In general, I like the idea that filmmaking has become more regional, in that films can now be made anywhere at any time, exposing audiences to places they're unfamiliar with. The reason I refer to what's been going on as "regional folk art" is because most of the examples of regional filmmaking haven't had the ambition to be anything more than slice-of-life films made for niches. In theory, this is a phenomenal development -- filmmaking is down to the pencil and paper. The problem is that in the past aspiring filmmakers sought to impress their idols by displaying a great command of craft, but currently, many filmmakers simply don't have that ambition. I think there's room for both -- and both approaches are important. My point is that one needs to feed off the other; we need breakouts that generate enough attention so audiences are then made aware of the smaller pictures. Right now, we just have the smaller pictures. It's really just a marketing strategy.
While I don't think it's incumbent upon the older generation of indie producers and execs to nurture the younger, I brought that issue up because I think a lot of them really wish they could. I believe that new filmmakers are the lifeblood of indie film. I just think that when the dependent phase opened up, with it went a lot of the so-called community pillars, and there was a chasm left in the nurturing pipeline. Unfortunately, this occurred just as digital DIY filmmaking took off, which further exacerbated the situation by creating a de facto economic gap. Now that the dependent bubble has burst, a lot of veterans have been writing essays about how the indie model is broken. They sound a lot to me like print film critics complaining about younger bloggers -- and we know who's winning that battle.
The generational changeover is happening slowly, but it is happening. People have learned the new landscape on their own, and they'll be fine. The most important thing is for the veterans to learn from the new guys rather than feeling threatened. To me, one of the biggest red flags of disconnect was when Sundance hired established filmmakers to create a series of shorts designed for mobile phones. The whole thing seemed like an attempt to seem up to date. Had they really been on top of things and wanted to promote new formats, they should've picked upcoming indie filmmakers that were already using the web to hold up as examples. As these things go, a shift is already underway at Sundance now.
I actually have a lot of ideas about how to integrate DIY filmmaking into the traditional process and how to promote it and profit from it, but for the time being, as I'm developing some models on my own, I'd prefer not to get into that. Hopefully, sometime soon as I put my ideas to work, I'll be better able to discuss them.
One final note. I don't think that most of us are really that far apart in how we view things. A lot of what's being debated is really semantics. And I appreciate that most of the comments to my initial ramble were civil and respectful. Hopefully, that will continue.
Just to note, though I tend to write in a straightforward manner, I'm not angry with anybody or viewing things in black & white. And while I used my own work and experiences as a viewpoint for much of the preceding entry, I don't want there to be any confusion: Insofar as DIY filmmaking goes, over the past half-dozen years or so, I've been incredibly privileged and lucky. As well, my e-mail to Ted was not "unsolicited" -- I've known Ted for nearly 5 years at this point, as he was one of the first producers to offer to look at one of my screenplays.
Some commenters have been unfamiliar with my work and wondered how it can be seen. My website is The Mutiny Company (www.mutinycompany.com). Most of my web filmmaking has revolved around press opportunities (filmmaker interviews, film festivals), and in using that as a centerpiece, I've then created narrative short films and web series based around these documentary situations, functionally blending reality and staged fiction. This form of filmmaking arose out of plain pragmatism. In 2001, I worked as Jami Bernard's assistant, and from 2002-2004 I co-ran the website MovieNavigator.org, for which I was in charge of interviews and essays. By the time MN ran out of gas, the web was ready for large amounts of streaming video, so I tried to convince the film publicists I knew to let me shoot video interviews. However, at the time, independent cameras were not allowed at junkets and web video was not considered legitimate. This started to change in 2004 when The Film Society of Lincoln Center gave me carte blanche to shoot a 14-part web series from The New York Film Festival. Aside from their house videographer, I was the only other camera regularly shooting at the Walter Reade Theater. That led to a 6-month series in 2005 on Movie City News that expanded the established narrative/press format. In 2006, I started doing videos for Filmmaker Magazine, and in 2007, I began contributing to FilmInFocus. This niche of filmmaking has allowed my work to be posted regularly on many major industry news sites and blogs, guaranteeing a certain level of exposure.
There have been two basic strategies in the initial wave of digital DIY filmmaking -- one group immediately made no-budget features that didn't receive distribution and subsequently went to the web to gain exposure, and the other chose to start on the web to build exposure before making a feature. I belong to the latter category. I think a lot of the feature filmmakers weren't ready yet, either technically or in terms of contacts, and the lack of initial distribution success is a testament to that. While I would love to have made my first feature already, I'd rather be patient about it and do it right than to just do it. In the meantime, I can continue to polish my craft, gain greater exposure and make contacts.
DIY filmmaking has been uniformly revolutionary to the filmmaking process. Nowadays filmmakers can own their entire means of production and distribution: Prosumer cameras, affordable post software and, finally, the internet or DVD as a means of self-distribution. The industry as a whole has offered a surface embrace of this while actively seeking an offensive strategy against it (they talked up user-generated content, but their real agenda was to shift established/signed talent to the web rather than to promote upstarts). One thing that first-gen DIY-ers have invariably influenced is marketing. Personally, I haven't been too impressed by most of the filmmaking itself, but nobody can deny the success of Four Eyed Monsters' use of every social networking tool under the sun or Joe Swanberg's (always denied) mumblecore movement. In both cases, people remember the marketing a lot more than what was being marketed, and the legit industry has imitated and absorbed their techniques.
While the first generation's filmmaking output hasn't been terribly ambitious on the whole, I'd be willing to bet that's going to start changing. The recession is going to force a lot of aspiring filmmakers to fend for themselves rather than working their way up through an industry in a downturn economy. I also think that as more ambitious films start being made and noticed, this approach will no longer be so derided but embraced. You'll start to see more and more that filmmakers and production companies will own their own digital equipment, thus dropping the budgets. Furthermore, the movies produced will start to shed excess weight (crew) and become more stealth in their operations.
In general, I like the idea that filmmaking has become more regional, in that films can now be made anywhere at any time, exposing audiences to places they're unfamiliar with. The reason I refer to what's been going on as "regional folk art" is because most of the examples of regional filmmaking haven't had the ambition to be anything more than slice-of-life films made for niches. In theory, this is a phenomenal development -- filmmaking is down to the pencil and paper. The problem is that in the past aspiring filmmakers sought to impress their idols by displaying a great command of craft, but currently, many filmmakers simply don't have that ambition. I think there's room for both -- and both approaches are important. My point is that one needs to feed off the other; we need breakouts that generate enough attention so audiences are then made aware of the smaller pictures. Right now, we just have the smaller pictures. It's really just a marketing strategy.
While I don't think it's incumbent upon the older generation of indie producers and execs to nurture the younger, I brought that issue up because I think a lot of them really wish they could. I believe that new filmmakers are the lifeblood of indie film. I just think that when the dependent phase opened up, with it went a lot of the so-called community pillars, and there was a chasm left in the nurturing pipeline. Unfortunately, this occurred just as digital DIY filmmaking took off, which further exacerbated the situation by creating a de facto economic gap. Now that the dependent bubble has burst, a lot of veterans have been writing essays about how the indie model is broken. They sound a lot to me like print film critics complaining about younger bloggers -- and we know who's winning that battle.
The generational changeover is happening slowly, but it is happening. People have learned the new landscape on their own, and they'll be fine. The most important thing is for the veterans to learn from the new guys rather than feeling threatened. To me, one of the biggest red flags of disconnect was when Sundance hired established filmmakers to create a series of shorts designed for mobile phones. The whole thing seemed like an attempt to seem up to date. Had they really been on top of things and wanted to promote new formats, they should've picked upcoming indie filmmakers that were already using the web to hold up as examples. As these things go, a shift is already underway at Sundance now.
I actually have a lot of ideas about how to integrate DIY filmmaking into the traditional process and how to promote it and profit from it, but for the time being, as I'm developing some models on my own, I'd prefer not to get into that. Hopefully, sometime soon as I put my ideas to work, I'll be better able to discuss them.
One final note. I don't think that most of us are really that far apart in how we view things. A lot of what's being debated is really semantics. And I appreciate that most of the comments to my initial ramble were civil and respectful. Hopefully, that will continue.
-- Jamie Stuart
2 comments:
Jamie, I appreciate your response and I will head over to check out your work. I think you are correct in stating that we probably are not far apart in our views, but we still butt heads on a few things
I think the best thing about your initial post is that it did create a lot of discussion that needs to be out there.
I am often wary about writing responses because I am not a fulltime filmmaker but I am a passionate one. I often feel like I am writing in a vacuum most of the time that as I work hard to promote my own work with little means and so much noise in the background.
But I'll be OK.
Right now I feel like I am all "knees and elbows" trying to get my work seen, but I look at it as a new challenge with new tools and I am up for it. And really, that is one thing that hasn't changed since the old days – the fight.
I think that despite the sinking economy, independent film is still picking up some steam and moving forward. At least from here at TFF, we march ahead with Eyes Wide Open stepping over the bodies of the music industry and learning the lessons of what not to do as we watch the contraction of the main stream media.
I think you need to give the "regional folk art" some time to create its breakout. I think “Blair Witch” is a strong example, but a lot of people don’t think that is legitimate.
In 1985, I directed a no-budget horror movie called "Redneck Zombies." As filmmakers we knew exactly what we were making. It was shot on 3/4" video. It was a niche movie with what we thought had breakout potential and we not only made it for our friends, but with out friends.
After striking out at every possible distributor, Lloyd Kaufman of Troma picked it up. Soon after signing the deal, Lloyd wanted to make some changes many of which we agreed to. But there was one sticking point. He wanted to change the name.
"Nobody knows what a fucking redneck is in Japan! Rednecks are not show business material! Rednecks will NEVER EVER have their day!" he screamed.
But we held fast and time became our ally. The 20th Anniversary DVD of Redneck Zombies has just hit the shelves with a tone of extras and it is doing very well.
In ways it has made me a bit of a filmmaking pariah in many circles as opposed to a prodigy but that has had given me a thick hide which is very handy to have in our business. Thanks for coming back and responding. We should have drink sometime.
I think the following 2000's DIY features (out of the ones - a couple of dozen maybe - that I've seen) are all very impressive - as much as or more so than the breakout indie features of the 80's such as Stranger Than Paradise, She's Gotta Have It, etc.:
The Puffy Chair, Mutual Appreciation, Dance Party USA, Baghead, Medicine for Melancholy. Also 2 yet undistributed fiction features: Cookies & Cream, & Whale. That's just a few impressive DIY films that I've seen this decade - off the top of my head.
The world, however, has changed. There is no shortage of indie films now &, due to the success of some breakout indie features of the 80's, studios started making their own "indie" movies & that has resulted in actual indie movies having to rely on self-distribution or distribution on a similar small scale.
This is not really that bad of a thing, or, actually, if I had to choose between needing over $100K to shoot an indie feature (like Stranger) with the small chance of it getting wide distribution vs. being able to shoot an indie feature for under $5K (like Quiet City) & having to rely on distribution that is far more modest in scale I would choose the later option because it allows more people to make movies. Which in turn leads to a healthier industry & community. The reason music is a very creative & busy field of activity is because making music is relatively cheap - so a lot of artists or just individuals before they become serious about art/entertainment making - are attracted to that medium of expression - 'cause it is an affordable medium to work in.
Anyway, in the long run, the rise of DIY filmmaking & the fall of indiewood is probably better for the indie filmmaking world (& in turn for the entire field of filmmaking, also filmmaking & distribution related businesses). We'll have to figure out how to distribute our stuff well, make money from it if we want to keep doing what we love - making interesting movies, with or without Hollywood's help.
Remember - from the start of Hardcore punk rock in the late 70's/early 80's - DIY rock pretty much - it took over a decade for that genre & approach to music making to get refined into the punk/indie breakout that was Nirvana in '92 or so. In the meantime, the DIY musicians built a scene - networks, clubs, record labels, zines, etc. - that made it possible for thousands of musicians to make music, release albums, play to audiences & try to make money(and which, by the way, continues to this day - diy rock still lives), ultimately if that's what ends up happening with today's DIY filmmakers & our work & biz experiments, that's totally cool - even if there are no breakouts like 80's indie film breakouts. At least that's how I feel, then again I am totally cool with the idea of regional folk art - sounds a lot exciting than, you know, Juno or whatever :)
At the same time, there is nothing wrong with wanting to be rich & famous from indie/off-hollywood ('till they pick you up) filmmaking Jamie. I've seen some of your shorts, very good stuff. Good luck with creating the filmmaking career that you want - you can probably do it.
- Sujewa
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