Sklar & Workbook: Moving To Best Practices

Todd Sklar has finished has Range Life tour has a lot to tell you about what he's learned. He's posted it up at the indispensable Workbook Project: Part One, Part Two. 

Part One counsels filmmakers to build up their promo content and hold until the key release time.  He identifies two main tendencies to the contrary (and explains why you need to avoid them):

1. You jump the gun on building buzz and then lose momentum and interest before it’s time to utilize that buzz.
   
2. You jump the gun on your release and can’t support it with the necessary content or resources & planning b/c it’s a full time job just maintaining whatever momentum and interest your gaining from the film’s release.
   

In part two, Todd expands upon new rules:

1. You need to have a solid website 5 minutes after you’ve written the script.
   
2. You need to have a solid trailer 5 days after you’ve wrapped shooting.
   
3. You need to release your DVD within 6 weeks of your premiere.
   
4. You need to start making your DVD 6 hours after you’ve made your final cut.
   
5. You need to do your theatrical release within 2-4 weeks of your festival premiere You need to implement a festival premiere into your release platform, and there’s no better/other way to do it than utilizing it as the springboard for your theatrical release.
   
6. You need to look at the theatrical release as a brand building and audience building campaign and focus on exposure and press secondly.
   
7. You need to be ready to make your next one before your release this one.
   
8. You need to roll with the punches and remember to focus on your planning your work and working your plan.
   
9. you need sell DVD’s during your theatrical release.
   

Read the posts.  We all need to.

It Could Be Getting So Much Better All The Time #1: Google For Film

Oh, if only we in the States had government funding for the arts!  I would settle for government funding for the infrastructure for the arts.  The UK has it and here's a good idea that they funded that we could use here:

 A Google-esque application for film.  Check it out.

UK film buffs will be able to access a bespoke online search tool from today that will give cinema and TV listings, DVD, Blu-ray and download options for 34,000 films.

The £1m FindAnyFilm project has been developed by the UK Film Council over the past seven months and claims to be the first service of its kind to combine listings for multiple formats and links to retails sites and legal download services. It also includes more than 5,000 film trailers and an alerts service to notify users when titles are released in new formats.

It Could Be Getting So Much Better All The Time

What would you do to improve "indie" film?  Both the business and the films themselves?  This is not a rhetorical question; I would like to know, and I am sure you would too.

I am going to start a regular feature here on TFF on what can be done to improve things for everyone in the indie film space (perhaps starting by banishing that VC vernacular "space").  I thought everyone would have a distinct opinion.  It may surprise you, but I certainly have a few.  I sent out an email blast to fifty opinionated and passionate filmmakers and got next to nothing back.  Maybe everyone thinks things are just dandy.  Or maybe people think they need to hang on to their ideas in hopes of making a buck.  Or maybe everyone just wants to play the fiddle as we burn down down down.

I honestly believe that it could be getting so much better all the time if we all just shared our ideas and energy a little bit more.  So here's to hope for the future and to finding a few new ideas that could gain a foothold into the new year.  Be warned: I will begin posting shortly.

New Grants For San Fran Filmmakers

Nice time to be living by the Golden Gate bridge.  The San Francisco Film Society announced a new series of grants covering all phases of development and production.  

The SFFS/KRF Filmmaking Grants support films that through plot, character, theme or setting significantly explore human and civil rights, antidiscrimination, gender and sexual identity and other urgent social justice issues of our time.

Read all about them here.  What are you doing reading this? Go and start filling out the application!  The first application process opened yesterday!

Man, That Gets My Goat!

This past Sunday, the NY Times had one of those articles on how film "all of a sudden" looks like a good investment.  I am one of those who have always thought that film was a good investment when done properly, so you might think I was happy to hear them finally beating the drums.  Now, I could take it with a grain of salt and be happy that they are promoting what seems to be a good company run by good people and leave it alone at that.  At least that's what I wanted to do, what I suspected I'd do, until I got to the last lines:

“If you can find the right film executives, people who consider themselves fiduciaries more than producers, it’s one of the best bets you can make right now,” Mr. Crown said.

“Just remember that it’s over when you start taking yourself so seriously that the project stops becoming a commercial movie,” he continued, “and starts becoming an art project.”

This is myth making.  There is no opposite to what Mr. Crown is talking about.  What is he inferring here?  That some producers will sacrifice the money for the art?  The producer's job is to marry those two elements and one never needs to be sacrificed for the other.  To paint a picture that producers will leave the investors hanging, is not only wrong, but dangerous to the industry, the business, and the art.  

When he speaks of people not having a fiduciary responsibility, he certainly is not talking about any real producer I know.  Anyone that makes films for a living, who plans on making films for the rest of their life, knows that their films better deliver returns or else it is over for them.  Producers -- people who actually make films on a regular basis -- know that it is their job to deliver a return to their investors.  Producers can't produce otherwise.  Each film is connected to the next, and not only the ones that an individual producer makes, but all of them that everyone else makes, are part of the same continuum.  We have to produce returns.

But then again, as the NY Times told us on Monday, it's not Hollywood/Films that are the problem, it's New York and Big Media that's the issue.

To draw a line and pretend that there is a breed of producer who don't consider themselves fiduciaries first is to try to discourage investment in film.  If you survey ANY handful of producers who have been making films as of late, you not only would find people well versed on what they expect their work to return, where they expect those returns to come from, and when they expect those returns to come in, but they also would know how they can build on those returns from one film to the next.  

And most importantly, they will know how it doesn't require artistic compromise either.  Films are made to fit a budget, and a budget should be determined by what the market is.  Certain companies and investors can choose to reach above that, and great, truly remarkable work is generated that way, but for the rest of us mere mortals, this world demands that we be responsible.  My twenty years of making films has introduced me to an incredible breed of truly responsible people -- and they are called "Producers".  If the NY Times or others has a different opinion on what a producer is, I would be more than happy to introduce them to a few of my friends.

Win A Marketing Package For Your FIlm!

CrewCreative, who did great work for us on our film TOWELHEAD, are offering one lucky filmmaker a marketing package of a trailer, poster, and website for their film -- provided your film cost less than $5M to make.  So what are you waiting for?!!

Read all about it here.  You have only until April 20th to apply.

The New Crew Positions

In a post entitled "Issues Of Sustainability" on the Filmmaker Mag Blog, Lance Weiler  talks about how we as filmmakers can produce for today's evolving audiences. In talking to filmmakers, I still find they often don't yet fully conceive what it means to adopt a "transmedia" approach to storytelling and marketing.  On the other side of the spectrum though is what made Wired's recent post on "Why Hollywood Needs a New Model For Storytelling" such a gas  -- they've got it and got it good.  Check it out.  We may not need to build the ARGs and seed the story so heavily on blogs and elsewhere as Scott Brown writes about, but we do need to give serious thought about how the hell to build audiences for our stories.  

Let's face it: it just is not enough to have a good story well told anymore.  Sure I still believe in the basics first and building out you narrative on a cross-platform basis is simply not enough to cut it. And yes, the first step towards better filmmaking is to have good material that you have given serious thought to.   

I might harp a bit on the new approaches and filmmakers' lack of thought there, but to be frank that's because there still is a great deal of nothing going on in the old school department.  As good as I found this year's Sundance batch, and as hopeful as I am for SxSW's crop, how do we drill down to the basics and make sure we have our pants riding high?  I mean: what makes a good film good?  Some folks may know how to tell their story nine ways to Sunday, but it still won't sing, if ain't got that swing.  

I've have started a new series over on Hammer To Nail on "Qualities Of Better Film" and promise to go into over twenty such qualities that at the very least makes my motor run.  It may be basic stuff, but I still find these qualities in short supply.  Check it out over the next few weeks.  Let me know what I've missed.  I know that if everyone adopted the approach that I outline, I'd find more films I would want to give prizes to.  On the other hand, since I find it hard even to do that even with my films, maybe we all just need to wake up to how damn hard it is to make good films (let alone better ones), and slow the heck down.

But while I am on the self-promotion tip:  make a trip over to Filmcatcher where Christine Vachon and I hosted a couple of conversations with filmmakers and actors during Sundance (okay so only the teaser's up now, but it tells you what you can anticipate).  But that ain't all.... there's more to come on that front, or at least one similar to it, too.  Stay tuned.

The Sundance Panic Button Panel

Todd Sklar tipped me to the video of the panel I participated on at Sundance, and now you can decide: push or ponder?  

Part One:

IndieWire has covered it and condensed it, if you prefer your news in print and not to take an hour to digest -- but me I like the whole story, warts and all.

The panel was supposed to be on the future of film, but it was a bunch of old white guys -- and that's not going to be the future.  Christine Vachon and I, with some help from IndieWire, had lunch with a much different group, that was 100% filmmakers, which IndieWire filmed and will be posted soon (so stay tuned).  

As the sole filmmaker on the Panic Button panel, I found it particularly frustrating that there was so little concern expressed about how quality film will be generated, let alone exhibited.  It is all so connected: the big films to the little films, the financing to the distribution, the exhibition to the criticism.  The dots are connected but people want only to look at their domain.  That's not self-interest, that's short-sightedness.  And that's got to change, and I'm sure it will.

I get a kick out of watching/listening to these videos.  Among other things, it shows I have to work on my public speaking compared to these pros (and the control of my hair).  And it's impressive how skilled they all are about promoting themselves and their films -- and their way of doing business.  The distribs get the word out on their accomplishments, but I neglected to mention ADVENTURELAND (and did I tell you how it just killed at the festival?).  Granted, I hope to keep making films in the top indie budget range, but watching this panel, and despite some clear articulation of the contrary, it is still easy to walk away thinking there is only one way of doing business.

The important part of part one, which has gotten NO PRESS, is that Peter Broderick speaks of a number of filmmakers who have made over $1 Million on a single film on a single website.  How exciting is that?  Get your investors to talk to Peter now!  There's hope out there for a new way.

Part Two:

It's funny to notice as I post this that part one has about 20,000 views but Part Two is still under 1,000!  That said, I don't think I got my points across until that second half.  I guess the next time, I have to write some notes down like Mark Gill did and deliver a whopper right out of the gate...

There are some simple things that could really change things.  Around 11:45 or so, on Part 2, I raise the possibility of the distribs giving the exhibs back Monday night for community screenings.  This simple idea would move mountains in terms of specialized production and is doable now.  Jonathon Sehring follows this by stating that IFC will provide filmmakers with the data their film generates.  If this becomes the dominant position, filmmakers can really start to be in control.

And if you are just looking for the John Sloss bashing part of the program, that begins around 15:35 in Part 2.

Who Really Gives Back?

I can't help but walk away from the Sundance Film Festival amazed each year at what an incredible and wonderful thing it is.  And not just the festival but the entire Sundance organization.  This year it even expanded to go beyond the movies and the labs, to include the exhibitors too (I have written enough about the Art House Convergence for you to already know what I am talking about).  

Although the infinite web of Sundance wouldn't exist without many many people, I just can't help but get all impressed by what Robert Redford has done.  Although the media seems to still love to debate about what the festival is or isn't, the simple fact that Sundance is the greatest cultural institution for Indie Film (and maybe it doesn't need that qualifier) that there is in this country (and probably the world) can not be expressed enough.  It truly is mind-boggling in the best way what Redford has given us.

I started making films just as Sundance was revving up.  I probably would have gone into one of my alternative career paths (armed revolutionary, bank robber, toy inventor, or community organizer) if they, American Playhouse, and the IFP weren't around to rescue me and give me a glimmer of hope that truly free filmmaking was possible.  As much as I have benefited from a whole industry and community of support, it is Sundance that holds it all up and continually expands it, demanding us to reach higher.  Wow.  Thank you, Mr. Redford.

Yet each year I  wonder the same thing: why is Robert Redford such a singular example?  Why is everything else in this business driven solely by short term self interest?  I was invited on to the Sundance Panel "The Panic Button: Push or Ponder?" and after participating, I am more ready than ever to push that button.  Unless others follow Redford's example and start giving back, we are sure to have a film culture of extremes: the super low-budget self-financed personal expressions and farm-league calling cards and other industry-backed economically-safe re-imaginings of yesterday's hits.  

And it has to start with those with the most power.  We all need to ask and then act on what we can do to build this culture, allow it to become sustainable, and make it obtainable for all who are willing to work.  We have a long way to go.

Models & Experiments In Indie Distribution

I was bummed that I missed the Sundance panel on the New World of Indie Distribution.

Luckily, Scott Kirsner has the audio for download on his CinemaTech site.  If you see me walking to work, crossing on the orange hand, headphones burrowed into my ears, you know they are speaking well of the future.  Check it out (and I guess I should take a cue from Scott and start to record the panels I partake on...).

The Film Panel Notetaker has a few posts up too on some of the other panels.  There is enough going on in the panels to fill a full year of film school curriculium.  Still, I was hoping to find some more sparks.  

I participated in "The Panic Button" and for all the heavyweights participating, I would've thought they'd be more coverage; I guess The Inauguration pulled the press away.  Go figure. Maybe the biz is getting tired of hearing the old white guys speak.  Reuters was there though.  IndieFlix too. I did my best to get the business side (I was the only filmmaker) to recognize that they have to start giving back to the community a bit more if they don't want to see what's vibrant vanish, but Reuters only got the start of that argument.

Arin Crumley Responds To Art House Convergence Keynote

Four-Eyed Monsters' Arin Crumley commented on my recent speech over at IndieWire.  I reprint it here for your reading pleasure:

Great Talk Ted!

So here are the big picture to-do items from this talk:

• We need a third party entity to handle payments between exhibitors and filmmakers. (Note this is a very delicate thing as it has the potential to be totally corrupt if it’s not a non-profit organization or some how decentralized.)

• We need a repository of information that filmmakers share with each other. (workbookproject.com is the start of this.)

• Exhibitors need to get digital projection and digital delivery systems installed. There are some missing standards still since DCI seems like overkill. But it is possible to have dual systems, DCI for big films and plug another cable in to bypass that system to play back WEB delivered HD content.

• We need to protect the open freedom we currently have on the internet so that it can be used build social connections around film and so it can be used to get HD files to the theaters. We made a video about this you can see here:
http://www.youtube.com/watch?v=JP_3WnJ42kw

• We need the mechanism in which exhibitors and filmmakers can mine audiences and know who sees your film or comes to your movie theater.
In my mind this is simple, we just allow people to bookmark films they want to see and review films they’ve seen and have all that data be structured along with geo stamps. That way anyone online knows the films in each city people want to see. Then those people could ask to be notified based on variables they define. So they could set a service up that looks at the films they want to see and the local calendars and they could set an alarm that goes off when the two synchronize.

All of these ideas have been part of the think tanks we’ve been doing with From Here to Awesome and DIY DAYS and are simply awaiting sponsorship or funding to actually build the above missing components. Anyone who wants to jump on board with this effort should email fromheretoawesome (at) gmail (dot) com with your thoughts and what you can contribute and lets make this happen.

Ted can give us hope, but only if we all work together can we make these ideas a reality.

Arin Crumley
co-founder
From Here to Awesome
co-director
Four Eyed MOnsters
Director
As THe Dust Settles

Hope For The Future pt. 12: The List #'s 47 - 52

Fifty-two reasons to be cheerful.  Enough to get through all the weeks ahead, and even some that have already passed.  We complete our list just in time to not let Sundance get you down even if you didn't sell your film.  I didn't even list that are so many good films to discover at the festival.  Well, here's to a good year.  And to finding at least another 52 reasons in the months ahead.

47. Actors are truly embracing indie film and seem to be doing it because they love it. We know they don’t do it for the money or just because the schedule is short and shooting quick, but when you know they are getting offered bigger paydays and chances for true stardom and yet they still keep on doing indie movies, you have to accept they do it because it is the kind of cinema they adore. Michelle Williams , Paul Giamatti, Marisa Tomei, Peter Skaarsgard, Maggie Gyllenhaal, Sam Rockwell. Quality actors delivering quality work time and time again.

48. The Jacob Burns Center in Westchester has raised over $20M for a Media Literacy Center and it looks like an incredible addition to our culture and a wonderful model for others to follow. Imagine if every community had something like this! Check out the press release at:http://www.burnsfilmcenter.org/news/newsimages/MediaArtsLab_pr.pdf .

49. Power continues to decentralize. Time and time again it is proven that a good idea can triumph and change will follow it. Frank Leonard’s brain child, The Black List, the annual report that lists executives favorite scripts, has been instrumental in getting unique (dare we say “quirky”) projects appreciated, bought, and even made. Sundance was once the be all and end all of festivals. Virtual festivals like From Here To Awesome give everyone a chance at being seen now.

50.We are getting new film movements faster and faster. 2007 was the year of Mumblecore. 2008 was the year the neo naturalists broke (Wendy & Lucy, Chop Shop, Ballast, etc.). The speed of which common aesthetics form speak of better communication. Multiple filmmakers working in the same vein can only lift the conversation higher and raise the bar for technique. Work will progress faster and the audience will again benefit.

51. Life sustaining tools slowly are proliferating. The Freelancers Union Health Care program offers a good option for indie filmmakers looking to have basic health care coverage. Creative Capital alum Esther Robinson’s brainchild Art Home Online, offers artist financial planning services and consultation on home buying. As we live in a nation without real government support for the arts, creators have to assume they will be partially financing their work themselves -- developing the wherewithal to plan for the future and not put oneself at significant financial risk is part and parcel to being able to choose what stories you will tell.  Of course if we simply had state health care, not only would we be less at risk, but we'd have a significant percentage of our incomes that we could devote elsewhere.

52. The great beacon of hope I find in the film horizon is the often TFF-cited Lance Weiler and his gang of collaborators at The Workbook Project and From Here To Awesome. The open source generosity and advocacy stemming from their platforms provide a plethora of information and point to the real possibility that artists everywhere can not only create the work they want but have the ability to find, access, and join with audiences everywhere. They show that power is not in the hands of the establishment but in the community. Lance and his team having taken a host of good ideas and put them into action -- and it appears to be just the tip of an iceberg that we can expect to come from them. The revolution is being podcast; it’s time you got the URL tattooed onto your soul.

Mary Jane Knows: We All Need Each Other

If you haven't already, be sure to catch Mary Jane Skalski's Sundance Producer Brunch Keynote.

If Words Were Not Enough

The video of almost all my keynote address from the Art House Convergence just got posted.

Ted Hope Art House Convergence Closing Remarks from joe zina on Vimeo.

Hope For The Future pt. 11: The List #'s 43 -46

43. Both the creative and business sides of the film industry are embracing the streaming of features. Both Hulu and Snag are looked at as success stories, although the short form and clips remain most popular with audiences. The key to specialized films’ success has always been creating word of mouth. Regional screenings and publicity has always been an expensive undertaking, prohibiting niche film from truly undertaking such a campaign. Streaming makes it all possible. A limited streaming campaign could do wonders for building an audience’s desire to see a particular film. When directors like Michael Moore and Wayne Wang climb aboard the streaming bandwagon (as both did this year), one can only hope legions will follow.

44. Green awareness: slowly the entire industry is waking up to the fact that there is no away to throw to. Last year less than half of the distributors distributed their award screeners in cardboard packaging. This year all the major ones did. Granted you still have to police sets to make sure bottles are being recycled, and offices to make sure that paper is – but it is much improved from before. I still haven’t been asked to put a carbon offset into a budget, but I am confident that day will come. Green carpets became the vogue over red this year. At the very least, the industry seems to be embarrassed by their waste. Maybe the days of excessive consumption are numbered…

45. The career/financial sustainability of producers is at least now recognized as an issue somewhere in the world. In the U.S. we have watched virtually every studio cut virtually every producer-based overhead deal. On one hand it seems that the US film industry has forgotten what a producer does, but across the ocean, there is a ray of hope. It has been enacted as law that the UK tax credit must be counted as the producer’s equity, thus increasing the back end a producer would have on any given project. Once local municipalities in the US start providing prolific producers with office space then we will know we are on the right foot! The longevity of producers is the cornerstone of fostering a film community’s growth.

46. Filmmakers are recognizing the benefits of limiting the time spent between films. When the American Indie scene kicked into gear in the late 80’s, the directors were quite prolific. Up until recently, the new generations of filmmakers seemed to take five more years in between projects. The directors’ pursuit of larger budgets necessitated this to some degree, but also limited their ability to build a loyal following worldwide. Whether it is the Mumblecore crowd of Swanberg or The Duplass Brothers, or the world vision practitioners like Sean Baker and Ramin Bahrini , this new generation is aiming more for growth in their work than growth in their budgets. The audience will benefit as these directors mature.

Art House Convergence Closing Keynote Address

I had the honor of being asked to give a closing key note at the Art House Convergence today in Salt Lake City.  I have to admit, it was really inspiring and informative to hear it from the exhibitors' perspective.  And they really wanted to hear from us too, and where we thought that it was all headed.  Well, I had a few thoughts, so it was nice to be able to offer them.  This is my address to the exhibitors.

HOPE FOR THE FUTURE: Next Year's Filmmaker/Exhibitor Collaboration.

ARTHOUSE CONVERGENCE CLOSING KEYNOTE ADDRESS
SALT LAKE CITY
1/15/09

HOPE FOR THE FUTURE: Filmmaker and Exhibitor Collaboration

In case you haven’t heard, our business is in the midst of a transformation from a limited supply gatekeeper entertainment economy based on impulse buys to a new paradigm
based on creator-controlled content and an ongoing dialogue with the audience. This affects all of us: filmmakers, exhibitors, distributors, and film lovers.

It once was that distributors generally only made available films that fit their pre-existing marketing model. Their marketing spend was not based on the film’s content – but their acquisition or production of a film was based on justifying that pre-set marketing spend. We (both the filmmaking and film exhibiting community) are now just learning how to determine, and to access, what an appropriate marketing spend -- based on the film that was actually made – is, and in the process, we are learning how to prepare for, access, and exploit what have far too long been under-utilized tools and practices: community, collaboration, and appreciation.

Community, collaboration, and appreciation. These tools are the new tools. These are the good old tools. These tools are where our marketing money also now needs to be spent.

But let’s ALL step out of The Hell Of Now, and instead let’s imagine the future. Let’s imagine next year. Let’s imagine what the production/distribution/marketing/exhibition alliance could be like in a very short time. Let’s imagine what it would be like if we established a “Best Practices” for filmmakers and exhibitors alike and thus clarify what audiences can expect. These three entities --filmmakers, exhibitors, audiences -- that want to create, exhibit and appreciate diverse high quality specialized work to the fullest.

Let’s imagine that next year is actually right now. So what does this present (formerly the future) look like?

• Each side recognizes each other as a partner – a critical partner – a partner that wants to inspire the other to the highest level of work and experience.
  
• Filmmakers recognize that completing their film is only half the work. 
  
• They recognize that the other half of the job is both marketing their film and maintaining a dialogue with their audience.
  
• The filmmaker is taking responsibility for their work through the end (aka forever). 
  
• They no longer entertain dreams of riches exchanged for rights. 
  
• They no longer anticipate surrendering control of their film to distributors.
  
• The filmmaker now thinks of their ultimate creation as what will be their body of work. They no longer look at each movie as a stand-alone entity. They recognize it is all a continuum.
  
• They no longer see themselves contained with a single form of medium. They make long and short form work for different platforms and different audiences.
  
• They look at all their work as an ongoing dialogue with an evolving audience.
  
• The filmmaker has already established at least one platform from which to maintain an ongoing dialogue with their audience(s). This platform will be: Blogs and/or Social Networks. They maintain regular – daily or weekly – contact with their audience. They reward them, and visa versa.
  
• The filmmaker is no longer an isolated individual who only looks out for his or her own singular work. The filmmaker is a curator, championing others’ work. And others champion their work in return
  
• The filmmaker is an “expanded” collaborator who encourages audiences/fans participation, both or a richer dialogue and to mine their desires. She considers exhibitors’ needs in terms of reaching an audience. 
  
• The filmmaker thinks for the long tail and they ask how their film will be discovered in ten years. They ask how will their film be relevant in ten years.
  
• The filmmaker recognizes that their action affects others, and they will either build on success or be burdened by others’ failure. They recognize that financial outcome is one measure of success but that audience and infrastructure building is another. Mostly they want to encourage good behavior in others.
  
• The filmmaker knows that power is a collective experience not a private one. They believe in an “open source” culture. They share information with others who share information.
  

How does this filmmaker work? Before the filmmaker shoots a frame, before she raises any money, this filmmaker identifies the audiences for the film and where those audiences can be reached. This filmmaker finds where the discussion of the issues within the film are taking place, identifies possible promotional partners for the film, be they brands or advocacy organizations.

Again before the camera is turned on, this filmmaker builds:

• A team of passionate soon to be experts
  
• A website specifically for the film;
  
• Blog(s) addressing the issues within the film;
  
• Blog(s) addressing the audiences for the film
  

And this filmmaker prepares to build the film beyond the 90 minute border by creating shorts, ARGS (Alternative Reality Games), a Graphic Novel, various books, IPhone Applications and Casual Games, truly anything and everything to drive audience’s attention to and their appreciation of the film at every step.

During production, the filmmaker is looking for new ways to expand the audience ad the audience’s participation. This filmmaker provides the audience with access to production particulars, be they production information or location specifics. They grant true fans access to the script and encourages them to go shoot their own version. The filmmaker tries to increase the audience’s rewards for their appreciation, and provides for them exclusive behind the scenes footage or maybe the filmmakers’ journal. Really what ever they can do, the filmmaker provides their true fans with access to the process in an unprecedented manner.

After the film is shot -- and before it is ever publicly screened anywhere --the filmmaker has:

• Listed the film everywhere online (IMDB, Wiki, Databases)
  
• Tested the film themselves before audiences
  
• Cut a trailer and put the trailer on their website and elsewhere. This filmmaker is even prepared to refresh that trailer upon release.
  
• Designed a poster (or several) and put the poster on their website and elsewhere/
  
• Designed a collectors’ edition DVD complete with lots of additional material
  
• Manufactured unique merchandising items
  
• Written a film clubs’ study guide
  
• Selected a stills collection and put some stills on their website and elsewhere.
  
• Selected clips and put the clips on their website and elsewhere.
  
• Manufactured DVDs and offered them for sale personally at early screenings.
  
• Locked a DVD manufacturer and fulfillment center.
  
• Locked a Digital Download partner.
  
• Locked an Online Streaming Partner.
  
• Built a highly selective festival strategy and is prepared to both execute it and support it.
  

After the first festival screening, in order to facilitate and grow positive word-of-mouth the filmmaker has:

• Set a pre-release publicity building speaking tour.
  
• Built a chain of Living Room Theaters through non-retail DVD sales.
  

During the release of the film, the filmmaker is prepared:

•  To travel to anywhere that covers their expenses, even in part.
  
• To collaborate with other filmmakers in a traveling festival road show.
  
• To provide an I-Chat dialogue with audiences.
  
• Maintain dialogue with the audience throughout the release.
  
• Release new short-form work to heighten interest in the long-form.
  

What does this filmmaker want? The same thing as the exhibitor, the same thing as the audience. This filmmaker wants to make movies an event again. And you know what? This isn’t the future. This isn’t even next year. This is right now. This is how filmmakers are currently thinking. And the question we all need to ask is how do we collaborate with them?

******************

So let’s look at how can the filmmaker and exhibitor collaborate? The exhibitor should redefine the theater in the audience, filmmaker, and industry’s mind that it is not just for exhibition any more. So what is it?

• An Indie Merchandise Store selling T-shirts, collectors DVDs, and indie film specific publications.
  
• The Theater is a gallery displaying traveling exhibits on indie history, and film-based artwork.
  
• It is a Preservation Center, leading the charge for preservation of indie and digital film. From this platform, the theaters will facilitate the vote for indie works in the National Film Registry.
  
• The theater is the community’s Media Literacy Center forever asking how can filmmakers further contribute?
  

What new practices will earn exhibitors the filmmakers’ love?

• Data-mining & transport. Filmmakers want to learn the details: Who comes to the theater and why? What gets an audience at a particular theater. Exhibitors who share this data back and forth with the filmmakers will be rewarded with the filmmakers’ loyalty.
  
• Throw out the old way and bring more filmmakers in earlier for shorter terms. Book your own “festival”. Utilize Filmmakers pre-release publicity tours. Set a subscription model with your audience freeing you to pursue the distributor-less film on your own.
  
• Recognize that your audience, your community, is your greatest asset, but respect their indivuality and recognize their loyalty to you. Facilitate access to and dialogue with your audience by the filmmakers. After all, you can’t keep them secret or hidden. Sooner or later, everyone will eventually find each other.
  
• Create your own social network. Supply it with new information regularly. Share it with Filmmakers. Share it with other theaters. Build this network that the Art House Convergence has brought together.
  
• Establish A Third Party Collections & Remuneration Agency so you don’t have to deal with filmmakers on payment and other back room issues.
  
• Establish best practices on what Exhibitors want from filmmakers and then get that word out to them (I would be more than happy to help).
  
• Establish an info on your community’s film tastes so filmmakers know what won’t work at your theater.
  
• Filmmakers are like any other entity. Dialogue with them does not have to be painful or intimidating. Good fences make for good neighbors, right?
  

What additional exhibition practices will filmmakers reward?

• Think Big. Don’t internalize the last two decades of neglect and despair. Share your dreams of growth 
  
• Think Differently. You don’t really need to screen the same movie all week long, no matter what the distributors say. Build audiences for the classics. Ask local notables to program. Give them what they can’t get at home.
  
• Focus on community building. Can Monday be dedicated to Community programming at all the art houses. Share your mailing lists with filmmakers if they share theirs. Encourage others’ choices, reach out, and mobilize.
  
• Design for the audiences needs with flexible screening schedules. Shouldn’t the moto be: “What they want, when they want”?
  
• Communicate with the filmmakers and let them know want you & when.
  
• Accept the mutual responsibility to build the new infrastructure. Be willing to test the new infrastructure.
  
• Find new and build new alliances, be they Advocacy Groups or Corporate Sponsors. Use them for or Screening series and for Specific Films. These groups come with their own audience and a desire to build further upon it. Every theater should have ongoing media alliances so when a filmmaker visits they expect that they will go on radio show and record a podcast for a local website.
  
• Whatever you can do, invest in technology. Whether it is digital production or Digital Delivery everything points to that the physical will soon be gone. Costs will come down and new opportunities like more flexible programming and booking policies will become expected.
  
• Whatever can be done to wean oneself from Specialized Distribs Hit menu represents freedom. It is not healthy for anyone to be so dependent on a singular supplier.
  
• Fight to preserve Net Neutrality. It will soon come to a vote and an open internet is necessary to source, inform, and aggregate audiences. 
  
• Educate and encourage people to make a choice, not an impulsive decision in all they do. Isn’t that one of the definitions of art film? A film that people must decide to view ahead of time.
  

With all that has occurred, all that has gone wrong, with the devastation that has been wrought on this country and our culture, WHY DO I REMAIN HOPEFUL?

Last month as the year ended, I asked myself that question, and in one hour came up with 52 reasons, one for each of the weeks to come (and all are available on TrulyFreeFilm.blogspot.com).  And truly, the main reason, is right here in the room, at the first meeting of the Art House Convergence. It is all of us. It is we who have come here and it is the reason why we came here. We recognize the potential we hold. And now that potential is becoming a reality.

I believe in – and I know you do too, or else you wouldn’t be here now:

• The power of organization.
  
• The influence of collective action.
  
• The incredible results of collaboration. 
  
• And all that entire great cinema inspires.
  

I know there is a great new era of art film on the eve of occurrence. I know this
because I have met the new generation of filmmakers and I know who they are.
And I can tell you that these filmmakers are:

• Individuals with far more diverse stories to tell than we imagined.
  
• Artists with a commitment to quality and innovation.
  
• Not just feature orientated.
  
• Recognizing that making the movie is only 50% of the job and that the other half is marketing.
  
• Early adopters of new technology.
  
• Committed to Social Networks.
  

And I know these filmmakers want to work for YOU, the exhibitors.

And I know we aren’t going to run out of great movies. Last year was the best year ever for American film made for budgets of under $1M. Internationally, new directors produced exciting new work and established auteurs expanded their range. Not only are these great works not currently reaching audiences, but now with the major corporations stepping out of the specialized space hopefully will give a chance for this harvest to really bloom!

Theaters are often said to be our place of worship – but they are really our community centers. Theaters are where we all come together to share our dreams, to experience what it means not to be defined as a demographic but to be recognized as the expansive, passionate, engaged, and connected individuals we are. As far as I can tell, exhibitors have been left to their own devices for all these years – and so maybe there’s hope for indie film because you have managed to survive, even prosper. And now you are working together. You are working with filmmakers. Wow. What’s to come?

I love movies. Obviously.
And: I love making them, but even more: I love watching them, but even more than that:
I love talking about them, sharing them.

Let’s stop thinking of theaters in terms of exhibition and instead recognize them, you, the theaters, for what they truly are – the heart of our community and our life line to the audiences.

Thank you. I can’t wait until next year.

Peri's Back & Hopeful For The Future Too (Pt. 2)

The other day we had Pericles' first five "Reasons To Be Cheerful".  Now we chime in with the balance of the ten. (Ted)

Ten Things That Make me Hopeful for the Future (Pt. 2 of 2)

Pericles Lewnes

6. LED Lighting - The TorchLED TL - 50 is a daylight balanced compact LED light fixture for under $350. It has an intergrated rechargable battery that will give you 2.5 hours of operating time. The light output can be controlled with an onboard dimmer. As LED lighting technology advances, lighting panels and fixtures will drop and so will the gross weight of your gear. Lightweight and less heat make LED lighting a 'good get' for the DIY filmmaker.

7. CurrentTV -  Current TV is an Emmy award winning independent media company led by former U.S. Vice President Al Gore. current TV is both a web-based and a 24 hour cable channel available on most cable systems. Most all of Current's programming is Viewer Created. There are several ways to get on television. You can submit a story which you have found on the internet and submit it under a profile you create for yourself. If that story is voted to the top in a given time period (Every hour or two) Curret TV news editors will edit a news "pod" package crediting you with your avatar at the top of during the broadcast's news segment. You do that for free. However, Current also pays! If you submit a non-fiction piece in the 7 minute range, you can specify whether or not want it to be qualified for broadcast. Each month, one non-fiction peice is chosen and the filmmaker gets $1000. (One Thousand Dollars). But that's not all... Most all of the commercials are also viewer created. Current will list several clients such as Nikon and L'Oreal and if you want to participate, you are free to upload an ad and compete. If it airs only on Current, you get $2,500. If it gets airplay elsewhere, you can get up to $60,000. Uploaded video quality is pristine and can be either linked or embedded. You can see my 5 minute short Freedom Plaza with a "plug" for Truly Free Film on the current website and then you can see an embed example of the file at my blog Pericles Shrugged. But be forewarned, comments are not moderated and current can be a "tough room," but all in all I find it to be a great site with many users who will pass along your work to their connections if they like it.

8. The Portamic 5.1 Holophone - You can have the prettiest movie ever and if your sound is bad, it doesn't matter. It's always best to have a dedicated sound person with booms, lavs, and mixers. But there may be scheduling problems, or your sound person might get a last minute paying gig. Then there's always the shotgun... However, I think this is an interesting on-board mic solution for the 'one man band.' I would love to test it myself, but it seems that the holophone with six separate mic elements set-up in a 5.1 suuround configuration sounds promising. I haven't been able to wrap my mind around it yet, but it appears that you can send it all to two channels or use a decoder to bring it back to six. What will they think of next?

9, ikan Camera Cradle - This is a "beanbag" type camera support. It wraps around your camera and will give you lots of love when you are mid-zoom in a "no tripod" zone or you are trying to nail some shots from a car. The microbeads in the cradle buffer movement and can conform to just about any situation holding the top of a chain link fence or the headrest of a compact car. For less than $90, this can turn into your best friend in a tight spot.

10. Building the New Infrastructure to Film Freedom - I think as artists, we are finding ourselves at a crossroad. The concept of building our own infrastructure for the production, distribution and exhibition of our work is an incredible opportunity and available for the first time ever. The concept of preserving Net Neutrality and creating alternate venues and distribution models for each other, instead of against each other, is the reason I have any hope at all. If we stick together and work together we can literally help bring independent filmmaking back in from the cold. Iron Sharpens Iron.

-- Pericles Lewnes

Hope For The Future pt. 10: The List #'s 39 -42

39. Producers are being recognized for doing more than just sourcing or providing the financing and administrative structure to a production. A good producer makes a better film and not just by making it run smoothly. Sundance – who has been recognizing producers’ contributions for years -- just held its first Creative Producing Initiative. There still remains a lack of clarity in the public’s mind as to what a producer does, but when leading organizations like Sundance take the effort not only to clarify that producing is a creative act, but also help producers to build their creative skills, change will come. This clarity and the restoration of the integrity of the producer credit won’t just restore producers own recognition of self-worth, but will lead to stronger films.

40. Senior film organizations, like the IFP, Film Independent, and IFTVA/AFM are working together, along with advocacy organizations like Public Knowledge to try to maintain key policies crucial to indie’s survival like Net Neutrality and Media Consolidation. If everyone with common interests learned to work together…. Wow.

41. There appears to be real growth beyond navel gazing in terms of subject matter among the new filmmakers. Filmmakers aren’t just interested in whether the boy gets the girl or the boy gets the boy. We seem to be moving beyond strict interpersonal relations in terms of content and looking at a much bigger picture. Chris Smith’s THE POOL, Sean Baker’s PRINCE OF BROADWAY and TAKEOUT, Lance Hammer’s BALAST, and Lee Isaac Chung’s MUNYURANGABO to name a few, point to a much more exciting universe of content to come.

42. New technology makes it all a whole lot better. Whether it is new digital cameras or formats, digital projection, or editing systems, it just keeps getting better, faster, lighter, cheaper. Reduced footprints, sharper images, and quicker turnaround: who amongs us does not believe all these things lead to better films?

What Are They Saying About You & Your Film?

I like to know, both the love and the hate.  It's debatable whether this sort of knowledge is a good or bad thing for a filmmaker, but for me -- as a producer -- I find it invaluable.  Yeah, I have Google Alerts set for the films I have coming out, and the filmmakers generally too.  But I have often wondered what's being said in the social networks.  What's being said there?  

Beth's Blog tipped me to Whostalkin.com and the answer is now easily found.  With a festival premiere coming up, this seems invaluable.

Hope For The Future pt. 9: The List #'s 35 -38

35. Film schools are waking up to the need to educate students on how to survive – it is not enough to know how to direct or produce, graduates must have real world skills too. Jon Reiss is developing a specific curriculum on this, and I have heard from others who are looking to do the same.

36. Filmmakers are recognizing that film festivals are more of a launch platform than a marketplace. More films have trailers available prior to Sundance than ever before. Some wise filmmakers even come to their festival premieres armed with DVDs to sell. Will this be happening at Sundance? Are there any filmmakers reading this who plan to? Let us know.

37. Cultural institutions are stepping into to fill the void left by mainstream media’s abandonment of the art film space. MOMA in NYC now schedules films for regular runs. If we want to see art, why not go to a museum? We need shrines to see beautiful projection and I hope there are many other institutions picking us MOMA’s lead. It could become an actual circuit.

38. The fight to restore integrity of the producer credit continues. The PGA continues to lead the charge here and looks poised to step it up. The recognition of the need to a specific financier credit is becoming part of the conversation – namely that the Executive Producer credit should not be used for line producers but preserved for those who help finance. There is so little dignity left in the role of producer, one hopes that the rest of the industry recognizes how they are all vested in restoring integrity to the credit. Granted there are times when more than three individuals truly are producers on a project, but twelve? Wouldn’t it be a great world if even the distributors committed to stopping over-inflated credits? If an organization like the PGA actually went after the individuals and companies who push for such false credits? Real producers are always in a vulnerable position when looking for cast and financing and a soft position will not get this done. Why does a distributor or sales agent seek such credits anyway?

Live From Park City!

I am particularly excited about Sundance this year. Beyond the films, there is a whole series of events that I will be participating in, and I look forward to all the people I will meet and good ideas that I will get to hear.  Please come ready to share some thoughts; my ears are open.

I am now the Closing Key Note speaker at the Art House Convergence (which is actually in Salt Lake City) on Thursday January 15th prior to the festival itself.  I do feel we are on the verge of a new collaboration between filmmakers and exhibitors and am eager to share this vision.

I will also be participating in a panel at the AHC on "New World Distribution" organized by Connie White & Jan Klingenhofer on Wednesday at 5P at The Peery Hotel in SLC.  This panel also features Bob Berney and Peter Broderick who are always sure to be brilliant. All of this really makes me feel like a change can truly come with all of our efforts.

The Convergence is geared to the exhibition and booking community but speaks well of the growing relationship between filmmakers and theaters -- devoid of any force keeping them apart. I don't think it's too late to register for the convergence although the focus is on the theaters. You will be sure to learn something nonetheless.  And if you aren't going to make it, just let me know if there is anything you'd like me to address here.

But it's not all lectures and learning.  The IFP, Filmmaker, The Salt Lake City Film Center, the new media communications concern SMA, and This is that have all come together to sponsor the first annual filmmaker/exhibitor/booker mixer on Friday night, January 16th 6 - 8P -- so you get a chance to party. I had hoped that something like this would come together. The bridge between these groups is one thing preventing us all from connecting all the dots. Here's hoping that a sponsor emerges and this can become an annual event. I hope to see everyone with a film or a place to book one there.

I will also be participating in what looks to be a great panel at Sundance "The Panic Button: Push or Ponder?" at 1130A at Prospector Square on Monday, January 19th.  The assorted old guys like myself include Mark Gill (The Film Department), James Schamus (Focus Features), Michael Barker (Sony Pictures Classics), Jonathan Sehring (IFC Entertainment), Marcus Hu (Strand Releasing) and Peter Broderick (Paradigm Consulting).  It's moderated by no less than Sundance Film Festival Director Geoffrey Gilmore.

I have always considered myself a man of action -- i.e. not one to sit and ponder -- but also never believing there should even be a button to push. I promise to make this a fun and lively event. If there is anything you would like me to be sure to discuss, please let me know as soon as possible.

There are a few other things in the works too -- just in case you miss me at these venues -- for later on at the festival.  Stay tuned.

Add More Indies To The NATIONAL FILM REGISTRY

I have to admit that I generally like what films get selected for preservation via the National Film Registry.  I don't know if you saw the latest list of what got selected for 2008, but you can look at it here.  They add twenty five titles a year.

But what I bet you didn't know you vote for what is to be added.  Or so their website says.  All you need to do is send your nominations in to:

sleg@loc.gov

You can only nominate 50 films a year.  They have a handy dandy list of suggestions too.  They generally do a pretty great job.  There are a few areas though that need greater emphasis.

Indie films definitely need help.  Without the studio support, they tend to be a little less organized and being held under worst conditions.  The studios aren't going to let a moneymaker fall into disrepair.  A filmmaker who may own their negative but not the house they live in might just be a little different story from the one owned by the mega corp.

I have suggested they add in 2009:

Melvin Van Peebles' SWEET SWEETBACK'S BADASSSS SONG (1971)

Susan Seidelman's SMITHEREENS (1982)

Bette Gordon's VARIETY (1983)

Alex Cox's SID AND NANCY (1986)

Spike Lee's SHE'S GOTTA HAVE IT (1986 )

Whit Stillman's METROPOLITAN (1990)

John McNaughton's HENRY: PORTRAIT OF A SERIAL KILLER (1990)

Todd Hayne's POISON (1991)

Hal Hartley's TRUST (1991)

Gregg Araki's THE LIVING END (1992)

Allison Anders' MI VIDA LOCA (1993)

Ang Lee's THE WEDDING BANQUET (1993)

Tom Noonan's WHAT HAPPENED WAS... (1993)

Terry Zwigoff's CRUMB (1994)

Todd Solondz's HAPPINESS (1998)

Not bad for an initial fifteen.  Granted quite a few serve my self interest, but...  Let me know what I should suggest for the next 35.

Putting It In Perspective: Jarrod Whaley

Jarrod Whaley of Oak Street Films had an excellent -- and passionate -- response to my query yesterday on how and why filmmakers should use Twitter.  I am particularly pleased that Jarrod posted here as it introduced me to his writing.  Check out his thoughtful and well-articulated blog.

Pericles Is Hopeful For The Future Too

I knew it wasn't just me. I knew there was a plethora of silver linings out there. One of the pleasures of all this blogging and social networking is finding and getting in touch with friends from the past. Peri and I crewed together back in the day. He recently made a DIY feature called LOOP and we have been corresponding. He had no problem coming up with 10 things to add to the list. I think that puts the grand total up to 63 (Ted).

Ten Things That Make me Hopeful for the Future (Pt. 1 of 2)
courtesy of Pericles Lewnes:

1. Filmmakers can collaborate virtually. On my DIY feature LOOP, I was fortunate enough to meet a talented animator named Courtney Hoskins when we submited entries to the same contest. I saw on her contest profile that she used Maya and After Effects and began to tell her about some FX needs I had for my movie. She got into the concept and decided to help me. Without ever meeting her or talking to her over the phone, she was able to create a scene LOOP that everyone talks about. When you see LOOP, I think you will know which one it is. The collaboration was kind of like Four Eyed Monsters with all of the love being heaped on the movie.

However, there are many ways to collaborate, the simplest being screenwriting which has probably been going on now since the internet began. But what about stock footage? Do you know anyone in DC who can grab a shot of the Capitol dome? New York Exteriors? Colorado Rockie Mountains? I do. A director friend of mine in California watches his editor in Minnesota work on their project. They use a sharing program that lets the director see the editor's desktop as he edits while they chat on the phone. As technology advances, more opportunities will develop that Indy filmmakers can take advantage of.

2. File Transfer Services - The are different ones out there. Yousendit, Sendspace and Sendthisfile are but a few. You can send up to 100 mb of material free on Yousendit and up to 300 mb on Sendspace. I pay for a plan at $9.99 a month on Yousendit which allows me to upload up to 2GB of data which will be available for up to 500 downloads for 14 days. This is really good for Artwork, EPKs and just plain old back and forth video tweaking. For shorts, it is great if you need to get one somewhere fast. Most can be compressed well under 2GB. Features are trickier, but possible. I might put LOOP out there if I can get my compression settings right.

3. Pocket Projection - I was looking through a magazine and found this: The Optoma PK 101 This is a DLP(!) projector that is the size of a pack of cigarettes and is listed at $399. It can project a picture up to 60" from a variety of devices like iphones, PSP's and DVD players. On the bottom of the projector is a tripod mount that will let you mount it on a basic tripod to allow for leveling. Why am I excited about this? Because if I had one I could have micro cinema screenings! Being the infamous director of Redneck Zombies, I have been known to hang around a convention or two. With this projector, a dark hotel room, and a little speaker rig, I can theoretically screen LOOP on a piece of foam-core to a small invited audience. I'm sure there are limitations to this projector and that this technology will improve, but I am also sure that this projector has a "sweet spot" that will be suitable to project LOOP. A tripod+pocket projector+mico mini stereo+DVD player+foamcore in a dark room= micro-cinema screenings on the fly. THAT'S CRAZY! Which is why I am exploring it.

4. Magic Bullet Suite: This is a great all multi-purpose application that allows you to color correct, deinterlace, and create different looks for your project. It plugs into Adobe After Effects CS3, 7, 6.5, Adobe Premiere Pro CS3, 2.0, Apple Final Cut Pro 6, 5.1.4, Apple Motion 3.02, Avid Xpress Pro/Media Composer 5.6+,2.6+. BUT - it needs horsepower and it is always wise to check on the hardware requirements before taking the plunge. MBS includes five programs which can be bought individually. My opinion is that this set of tools is worthy in every respect. It is user friendly and the results are over the top. If you are a DIY filmmaker like me, sometimes it's just you, your computer, and your editing software. An easy to use and powerful set of tools can give you options that you might think are out of reach. It can be pricey, but it can be bought one component at a time and they run a lot of specials if you get the newsletter. I don't work for these guys, but I love the software. Download their Magic Bullet Looks demo and give it a test drive.

5. Toolfarm - Toolfarm is an excellent resource for the DIY filmmaker. Not only will you be able to find the perfect plug-in you need for software, but there are experts and tutorials of every flavor. The forums are legion and active. Boris? Final Cut? Trapcode? After Effects? Expert help is only a few clicks away. They have excellent podcasts, mailing list, and an all around helpful bunch experts. Say hello to Michele Yamazaki for me.
--Pericles Lewnes

Make The Physical More Beautiful

I just got married.  I am thrilled.  We even got some gifts out of it.  We now have the Bergman Archives next to our Kubrick ones.  These are beautiful books reinforcing my love for great movies.  They make me want to see more great movies.  How can this phenomenon be carried over to other aspects of film culture.

Why does only Criterion make fetish objects out of their video releases?  It seems that this should be a real area of focus for Truly Free Filmmakers.  When I really connect with a film, I want something special that enhances my appreciation for it.  I would love to find some good examples of what filmmakers have done to make the packaging of their video something truly special.

This was also recently focused a bit on in Roger Tinch's 2009 Trend Prediction for the CineVegas blog.

Spreading The Word

How do you get people to know about your film?  To want to see your film?  For a film to work we have to get the word out well beyond the film community.  Whatever the content of your film there is a community who has a direct relationship to it.  Where do they live?  What else are they talking about?

Movie Marketing Madness and ReadWriteWeb each have had good posts on how to find the top blogs regardless of the topic.  So now you can go out and find those folks and start talking.  Get them talking about your movie.

Why Filmmakers Need Twitter

Okay, I haven't written that article yet.  Maybe someone else has and I just haven't looked for it.  If you find it let me know, but I did find Why Studios Need Twitter (via Movie Marketing Madness) and Guidelines For Brands Using Twitter.  Mash them up and filter it through your cinema-obsessed mind and see if it has a beat you can dance to.

They Want To Give You Money

Netflix and Film Independent have teamed to offer a first time feature filmmaker a production grant worth $350,000.  And you will get it distributed on Netflix too.  The application is here.  The deadline is February 9th.  Get to it.

Promotion Partners: Spout & MeDeploy

MeDeploy is an online distributor.  Join the Spout community and you get your MeDeploy setup fees waived.  You also get a Macrovision identification number assigned -- something that helps your film get listed in all databases.  

Read all about it on Spout here.

How About Some Bad News For A Change?

Where does the money come from that funds all those indie films applying to all those festivals?  I am imagine 80% of it is somehow related to the directors of the work, but I have never been so lucky to have that situation. 

Most of the movies we make over at This is that are funded at least 50% by private equity.  We haven't gotten money from hedge funds or venture capital groups, but still these stories/figures below gave me some cause to pause.  And not that it was anything that everyone didn't already suspect, but still unsettling none the less.  Here's hoping that there are still high net worth individuals who believe in the power of art and the future of entertainment.  Feel free to give them my number when you meet them.

From your friends at Dow Jones:

Private equity firms raise 18% less in 4Q 08

US Venture-backed liquidity down 58%

We have a lot of great projects to make this year.  It's going to stay interesting that's for sure.

But then again this kind of news is pretty crushing:

Unemployment Hits 16 Year High

Web Resources

This was supposed to be a blog about film and building the new infrastructure for what truly could be called independent film.

Sometimes I feel that the web side of it all is completely taking over.  It's a given that gaining a rudimentary understanding of what is possible using the existing internet tools will be key to building that new infrastructure.  To that end, all of our job descriptions should include a specific amount of time per week (per day?) devoted to that education.

To that end we will be providing a new column on the right specifically for "web resources" -- those sites that aggregate all that is happening in the field and are worth a filmmaker's regular visit.  Stay tuned, for that, and hit us with your suggestions.

To that end, check out ReadWriteWeb which tracks technology, social media, and social network trends, and has a lot of great How-To posts too.

New Sundance Trailer

We've been trying to keep track of what films are really ready for this new version of Sundance (you know, the one that no longer is a sales market).  Variety has The Greatest up (hat tip: Filmmaker):

But my favorite trailer is John Water's advice for Obama.  Check it out over at TheseAreThoseThings.

Hope For The Future pt. 8: The List #'s 30 -34

30. Some of the major specialized distributors recognize the need to build film education and appreciation into their job description. Focus Features “Film In Focus” website, in partnership with Faber & Faber, demonstrates this impulse beautifully. Independent, Specialized, Art, Foreign, and Truly Free Film all need an audience who acts out of choice not impulse. They need to remain review driven despite the loss of so many critics nationwide. They need to be able to recognize what qualities make a film better or unique. They need to recognize what makes a film art. They need reading that helps their love of cinema grow.

31. The need for digital preservation of indie films and their history is slowly being recognized. Granted this is a little hard to document, but I have had a handful of conversations this year with organizations contemplating both the preservation of specific films and of filmmakers’ archives. In this digital age, preservation is all the more difficult due to the lack of physical copies. Additionally the technology changes, and what was stored on form of drive is not compatible with another. Blogs are born daily and evolve so quickly, we are left wondering how to chart their progress.

32. Communities are renovating their historic town center theaters and turning them into community centers, with capabilities of film and/or digital projection. The great old movie theaters are the shrines to the first century of cinema, and a truly wonderful way to see a film.. Organizations like the League Of Historic American Theaters and the Theatre Historical Society Of America which are dedicated to the restoration and operation of these palaces. Often situated on the old main streets of many American cities, the restoration can often be the cornerstone for the revitalization of the old downtowns. But apart from being great for the local municipalities, for filmmakers these palaces are the antithesis of small screen viewing experience that most seem to think has become the defining indie experience – they are places of worship.

33. Theater owners and managers recognize the need to make the community vested in their success. I have heard of theaters giving back Monday nights to different community groups to program and in doing so building loyal audiences. Michael Moore’s Traverse City theater has 25 cent admissions for childrens’ matinees and Wednesday classics – investing in the youth and education of their community. New and best practices are developing and the theater community is sharing it’s knowledge.

How Festivals Can Really Help -- By A Festival Itself

Joanne Feinberg of the Ashland Independent Film Festival writes in...

Referring back to your post "Who Do you Really Need to Meet at Film Festivals?" I wanted to talk about how we (film festivals) can be helpful to filmmakers beyond the hope of a big distribution deal... I think I can speak for most of us when I say that festival programmers are in this because we are truly passionate about film, and really want to help films find their audience. I think there are many ways that festivals can help independent filmmakers reach out into our communities and build their audience. Our audience here in Ashland is hungry for truly independent film (and for the interaction with filmmakers that is such an essential part of the festival experience). I hope that we can continue to work with filmmakers to develop new business models that will benefit both their distribution efforts, and a healthy future for film festivals and independent theaters, as well.

You asked for some suggestions... I mentioned recently in a response to your blog (http://www.ashlandfilm.org/News.asp?NewsID=30), that our festival helps to bring back festival films for theatrical runs at our home base, the Varsity Theater (part of the Coming Attractions theater chain). We work with their Programmer by giving suggestions of films we think are appropriate, and then we help them by publicizing the films to our mailing list (building on the word-of-mouth that was created during the Festival), and by use of in-kind advertising that we have with local media.

I've heard many positive stories from our filmmakers about meeting up with other programmers and exhibitors during the festival who have then gone on to book their films at their festivals and theaters. These are people who are often on our juries (another benefit to having your film at a festival - a great way to build relationships and get exposure to people in the industry). For example, Richard Beer, the Artistic Director of Film Action Oregon/The Hollywood Theatre Project in Portland (and part of The Art House Convergence
happening at Sundance this month) is on our Advisory Board, has been a juror at our festival, and he and I often share ideas about films we are excited about. This has been mutually beneficial for our programming here at the festival and at the Hollywood Theater, and especially for the filmmakers whose films we both screen. Recently Richard told me that after meeting director Todd Darling at our '08 festival, he programmed SNOWMOBILE FOR GEORGE as part of his weekend documentary series, and after seeing THE CAKER EATERS here, he invited it to POW Fest (where it won Best Feature) and will be giving it a theatrical run this spring.

Filmmakers have told me about selling large numbers of dvds after screenings (in our lobby), collecting emails from the audience to continue their outreach, and of making contacts with attending press (also often on our jury). I think the Art House Convergence at Sundance is a very exciting opportunity for programmers of festivals to network with exhibitors, and for filmmakers to meet us all.

Personally, I'd love to hear more from filmmakers about their successes and especially about what festivals can do to help self-driven distribution efforts, so we can offer more than the hope that "your film [will] be discovered and you [will] be given a pot of gold and the keys to Hollywood." :-)

.......................................
Joanne Feinberg
Director of Programming
ashland independent film festival
8th Annual, April 2-6, 2009

joanne@ashlandfilm.org
www.ashlandfilm.org
P.O. Box 218
Ashland OR 97520

non-profit (501) ( c ) (3)

Ted adds:  Joanne's wish to hear more from filmmakers about how the festivals can help is ours too hear at TFF.  What ideas do you have?

Hope For The Future pt. 7: The List #'s 26- 29

26. Collaboration among filmmakers is recognized as being a necessity among filmmakers. Todd Sklar’s tour of films with their filmmakers brought vital work and their creators to places that generally went lacking. The teamwork approach benefited everyone. One can easily imagine that this model, like the collaborative finance model, will extend to production too, and not just in the aforementioned crowdsourced way, but in ways that will make individual personal films stronger too.

27. The Independent community has demonstrated that it is quick to action and embraces both tolerance and strength. Over five years ago, the indie film community joined forces to defeat the Hollywood Studios’ and the MPAA’s Screen Ban, but despite a lot of activist attitude they have not joined forces in a significant way since then. But it doesn't mean it can't, or won't.

The indie film community was very vocal about their opposition to California’s Proposition 8 referendum, but never in a unified way. Similarly, many major figures within the community defended the LA Indep. Film Festival’s head’s, Rich Radon, right of political expression when it was revealed he had donated funds in support of Prop 8, refusing to engage in blacklist tactics. In the end, the obvious conflict of an organization that defines itself by tolerance, being then led by someone supportive of a discriminatory act, albeit on what is called religious grounds, seemingly led that individual to resign. There was no true organized effort by the film community itself either to defeat Prop 8 or to remove Radon, but one suspects the outcome of each will bring more unified action in the months to come.

The community’s embrace of a new issue will be a test of their abilities to act in a unified way.

28. The embrace of the “1000 True Fans” model: filmmakers are recognizing that they need to engage in regular communication -- via a regular output of varied material – with their core audience. Not only is necessary because it speaks of a model of how filmmakers can earn a living , but it also offers a manner of working that will allow filmmakers, and artists in general, greater variation in the type and form of work they do. The dialogue with the audience will also keep filmmakers more attuned to what their audience responds to and why, all the while, strengthening the bonds between artists and their community.

29. Rational consolidation and expansion is taking place in the blogosphere. Indiewire, the premiere indie film news site, was acquired Snag Films, the leading documentary film streaming aggregator. GreenCine, one of the leading sites for art film appreciation, had its lead blogger go over to IFC's IndieEye – greatly strengthening that site. Movie City News got another great editor. As these core film appreciation sites improve, we all benefit. Audiences need to know where to go to find the type of films they love and this bit of consolidation could help.

What works: ITVS Digital Initiative

I wish I had spotted this earlier.  

ITVS hired Scott Kirsner to find out what digital tools filmmakers were using and what was working.  The report focuses on three main changes:

1. Opening Up Production to Participation
   
2. Finding New Audiences
   
3. New Distribution Opportunities
   

They have five top strategies for social issue filmmakers.

And they have five case studies to read.  Here's the one on TFF Hero Tiffany Shlain.

One thing that particularly resonated for me -- and I have heard from other filmmakers as well -- is that the filmmakers wish that they had DVDs for sale at their premiere.  I wonder if any filmmakers at Sundance will head this advice...

What are you waiting for?  This is Required Reading.

Sundance Trailers

2009 can already be marked as the year that filmmakers and distributors launched trailers prior to Sundance and Slamdance. We won't yet have the majority of filmmakers being truly prepared, but new ones seems to debut daily.

I imagine next year the festival catalogue might link to the trailers. Hopefully at least the online version. Maybe they will link to clips too. For now though, we have to be content to find them ourselves.

A few weeks back we posted about Cinematical's growing list. We can now add six more to it:

Dead Snow; dir by Tommy Wirkola (hat tip: TrailerSpy)

Dead Snow Trailer

Disturbing The Universe: William Kunstler; directed by Sarah & Emily Kunstler

Manure (teaser); directed by The Polish Brothers (hat tip: /Film)

Roseancrantz & Guildenstern Are Undead (slamdance); directed by Jordan Galland

Taking Chance; directed by Ross Katz (hat tip: /Film)

We Live In Public; directed by Ondi Timor (hat tip: Thompson On Hollywood)

We live in public trailer from RADAR on Vimeo.

Once again though it should be noted that The Workbook Project is on it for you.  For those of you that are thinking of next Sundance already, Zak Forsman has a post on how to cut an effective indie trailer.  Check it out.

Data Portability, Facebook, & Filmmaker

Filmmaker has a post on Lance Weiler's upcoming article on data portability.  I have been hungering for this one for a long time now.  Data portability's a key issue for all of us.  It would have been on my list of what I want our film culture to be but I thought it was an issue or practicality more than a way of being.  Open source practices and general transparency in actions and practices is something though that is essential to a truly free film culture and it definitely should have been on my list (I have now added it).  What else did I forget?

Scott's post goes on to discuss Facebook's policy of dropping the accounts of those who have grown too large.  It's an irksome situation and something to be aware of.  Check it out.

Hope For The Future pt. 6: The List #'s 22- 25

22. Financiers are collaborating with each other. Groups like Impact Partners that provide regular deal flow, vetting, and producerial oversight for investors with common interests lowers the threshold number for investors interested in entering the film business. IndieVest is another model based on subscription, deal flow, and perqs. The high amount of capital needed to enter the film business has limited its participants. The film business has its own vernacular, and mysterious business practices. It is an industry of relationships. Collaborative ventures like this help to solve many of these threshold issues.

23. The US Government, at the city, state, and federal levels, recognize the positive economic impact of film production and have created a highly competitive market for tax subsidies and credits. The vast amount of experimentation in this field has allowed for it to grow forever more efficient. Although these benefits are designed to attract the highest amount of spend, and are thus most beneficial to Hollywood style models, the steady employment these credits have helped to deliver, develop a crew and talent base more able to also take risks on projects of more limited means. The “soft” money they provide a project is often key to getting the green light.

24. A greater acceptance of a variety of windows in terms of release platforms is emerging. Filmmakers were once the greatest roadblock to a pre-theatrical release DVD. Filmmakers are experimenting with everything from free streaming to the filmic equivalent to a roadshow tour. It is only through such endeavors that we will find a new model that works.

25. Industry leaders have said publicly that they will share the meta-data that a VOD release generates with the filmmakers. Although license fees have dropped considerably, filmmakers have new options on what to ask for in return. I spoke on a panel with two notable industry leaders who said they would put it in their contracts that filmmakers can receive and share the data the VOD screenings of their films generate. This information will become important the more filmmakers seek to maintain direct communication with their audiences.

Printing: Posters & Postcards

As mentioned a few days back, our Film Festival Strategy brainstorm continues...

Jon Reiss offers this up:

A very necessary expense in your publicity campaign are postcards and posters. These can be expensive but fortunately there are a number of on-line printers that are relatively inexpensive (eg 4000-5000 postcards for $100). One hidden cost when it comes to printing is shipping so I do recommend using a printer near you - so before you buy - make sure you include shipping in your cost estimate. I actually send an assistant or intern to pick up my printing from "Next Day Flyers" since the shipping almost costs as much as the printing. Sometimes your local printer will even match an on-line printers prices - or come close enough to make it worth your while. But they won't cut their prices unless you have a comparison price.

Regarding Postcards - they are cheap enough online that you could print them for each festival or theatrical screening even if you only print 500 at a time. The old way of doing this was to order a ton and then use stickers for your specific screening time. Unless you have some slave labor around - buying new postcards for $50 is going to be cheaper than paying someone to print and apply stickers to each post card - you have better things to do with your time.

Three important notes about posters:

1. Most on-line printers will not print one sheet size posters.

2. Printing standard film size posters - 27"x41" - is very expensive (for film festivals you only need one or two which will cost about $50 each - but for a theatrical release you will need more than that). The reason that these posters are so expensive to print is that they are too large for standard offset printing (the cheapest kind of bulk printing). However nearly all theaters (all the ones that I dealt with) will accept posters that are 24.5"x37.5" which is the largest size that you can have printed offset. This will save you thousands. (Although the best price I found was $1200 for 2000 posters - a pretty good price).

3. You can get a lot of mileage from 11x17 posters. Most storefronts won't put up a standard or near standard one sheet when you are promoting in a town. But they will put up a 11x17 poster. And these are much cheaper. You can get a 1000 for around $300. They are also good for wildposting/wheatpasting as they fit on most electrical boxes. (18x24s are also a good size for this) But be careful with wildposting - you can be fined thousands of dollars for illegal posting if there is anything on the poster that will track back to you or the theater!)

Printers:

Next Day Flyers based in Compton California

Got Print based in Burbank California

jon@jonreiss.com

What Got This Blog Started (For Me)

The conditions were there.  People were already talking.  Everyone over at The Workbook Project and FH2A were already leading the charge.  More voices were needed though.  And I was asked to give this talk, see...

Now you can truly see how much I need my hands to be able to speak.  This is just part one of six.  And  yes, it is my way to stay nasally through all six.  The rest are all there on Vimeo -- so I just learned.  Check them all out, or not.

What of course will keep this blog going in the new year will be your participation.  We have so much ground to cover.  What is working well?  What isn't? What are the goals and what are the steps to take us there?  We can't wait for someone to lead us.  We must collaborate.  

Independent film culture -- its content and its infrastructure -- is at stake.  

I tell my son that it is a great time to be young because there is so much exciting stuff that MUST get done to save the planet.  Okay, so I give him a bit bigger agenda.  All I want from  you is to save indie film.  Happy New Year!

What Do You Want Our Film Culture To Be?

Is this the time of the year that we are supposed to reflect?  Or is it that the point when we get to dream?  Is any point in time truly different in this regard  -- or has the calendars and clocks once again fooled us into thinking we are supposed to do something different based on what has passed?

Well, since we can only really move forward in this game, I am going to choose Door #2.  What are we reaching for? We can build anything, right?  So: what do we want our film culture to be.

It probably makes sense to know what we want to build or at least build towards before we start building.  We are moving on from a limited-supply, gatekeeper-controlled, impulse-decided entertainment economy into something new.  The more we ask ourselves what we want this new paradigm to be, the better off we will be once we have created it.  I wonder how much closer we can get this year.  How would you define this new paradigm?  Hmmm....   

How about:

1. Diverse stories.

2. Diverse methods -- be they structures, techniques, tools,or platforms -- of telling stories.

3. Accessible when I want it.

4. Accessible where I want it.

5. Audiences able to "try on" different films for low cost.  Very low costs.

6. Narrative worlds that are accessible across many different platforms, being told in different ways on these different platforms, with unique content for each of them.  

7. Filmmakers accepting responsibility for accessing audiences.

8. Filmmakers devoted to maintaining relationships with their audiences.

9. FIlmmakers united in sharing their audiences with other filmmakers.

10. Filmlovers dedicated to curating for their social circle.

11. No rigidity in terms of "windows" for different platform releases.

12. Audiences initiating some projects, be it through content or financing.

13. Exhibitors working together to strengthen audiences' bond with indie/free/art film.

14. A return of critical community that helps us recognize what is artful and ambitious in a particular work, how it fits into our times, and how things might have been different.

15. A creative community knowledgeable of the vast communication tools available on the web.

16. Filmmakers knowledgeable on how to lead a long and sustainable life creating challenging work.

17. A business infrastructure that is focused more on quality and long-term sustainablity than quantity or immediate financial gain.

18. A festival apparatus that is based on a short and intense flurries of making work available to an unprepared audience but instead on year-round aggregation and enhancement of that audience.

19. Open source practices and general transparency in actions and practices is essential to a truly free film culture.

What have I forgot?  What should we add to the list? And why did the answers get longer as the list itself got longer?

Oh, and Happy New Year!  Thanks for reading and energizing this quest for change and growth this past year.  How can we make an even bigger push this coming year?