Checked in and registered this a.m. at the Puck Building where the 29th IFP Market and Conference takes place. It's not too late to come out and see screenings at The Angelika Film Center on West Houston, or attend one of the many panels happening all week with the coolest cats in indie filmmaking right now, from all disciplines--I think the panels will be a big draw for most. The theme for the day was "Making Your First Feature," which is friendly and welcoming, as it should be.
I also checked in with the No Borders strand and attended the introductory panel with 11 of the participating partners, introduced by
Michelle Byrd. There are 37 projects participating this year, both US and international productions in various phases of completion, all looking for co-financing deals. It's the only international component of the market and almost 900 meetings were already set by opening day for these projects; there are going to be some very busy people this week. Several of these companies have projects in the market that they are supporting, as well.
I spoke briefly with No Borders curator,
Susan Boehm about this year's projects, and I will be speaking with both partners and filmmakers about their experience here over the next few days. There's an impressive lineup of projects from both established filmmakers and first-timers. For a very comprehensive glance of who's here this year, you can go to the IFP web site and click
here. Most of the panelists were jet-lagged, but obviously excited to be here and all will be staying the entire week, which is a good sign that this is an important market, small though it may be.
I went to the "Music Makes the Movie" panel which was very well-attended. It was a stellar panel made up of
Doreen Ringer Ross of BMI, director
Tom DiCillo,
Tracy McKnight of Commotion Records, composer
Anton Sanko and musician
Moby. None of these folks was a shrinking violet when it came down to expressing how each of them believes that your music makes your movie, more times than not, and to really consider strategies as to how you can use that music in your film all the way through production. In other words, if you can avoid using temp music before officially scoring your film, do. Moby also said, "Be adventurous, not lazy. Use unconventional music. It'll be a better cost and will make a better film. Be innovative. Don't pander to the marketplace."
After that, zipped back up to the 7th floor to talk to more filmmakers participating in the No Borders strand. Meetings were quietly, but intensely, taking place behind me in a walled-off section where people could have a bit of privacy, but still take in the excitement of negotiating as your peers look on, and carve out some mutually-agreeable international partnerships to make the movies we all want to see. They just need some moola and good guidance to get there, and that's the hope that most bring to the market. I'll try to grab some quick downloads from folks as I see them wobble in a daze to Subway to get a sandwich before they take more meetings.
The event, as far as I've been able to tell, is organized beautifully, with quietly efficient minions running around making sure everyone's happy. We'll see how the staff maintains its composure as the market goes on, but one gets the feeling that this is it--they, too, are excited by all the amazing projects there and have great cheerleading chops for filmmakers.
Caught the 4:00 p.m panel "Finding Your Audience." The panelists are part of a group of real pioneers of online-based, fan-based DVD services, blogs, communities, etc.
Will Battersby and
Tory Tunnell of Safehouse Pictures moderated panelists
Brent Hoff of
Wolphin, director
Todd Rohal,
Karina Longworth (who looked like a superstar girl reporter),
Mark Rosenberg of
Rooftop Films, and
John Vanco of
IFC Center. The proposition put forth was: "With box office numbers down, increased competition for audiences and a myriad of media platforms vying for viewer attention, what distribution models help independent filmmakers get the most out of their projects both creatively and financially?" An issue, by the way, that I'm exploring with increasing frequency--coincidence? Don't think so.
John Vanco says that, "Our competition is the couch," when he speaks of the indie movie house he runs and talks about not being able to emphasize enough that grassroots marketing, in any way you can, is what's going to make or break your distribution and exhibition deals. So here's some effective grassroots marketing from
Guatemalan Handshake director, Todd Rohal: this first-time feature director, created a fictional character named, Tony Clifton. Clifton is Rohal's "booking agent." Different email address and everything. And the ultimate defining factor? "He uses emoticons; I never would." But he said it was effective in having to be both creative- vision-man and dollars-and-cents-man. Difficult in the best of circumstances, indeed when you don't have a track record to speak of and no money of your own. Even Todd's hometown movie theater in Ohio turned him down. That's harsh.
At the end of the panel, the panelists got to plug themselves a bit, which I think is always nice--after all, they're donating their time. To find out more about their companies, you can click on the names above and learn more.
Short day, but long week ahead. More tomorrow.
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posted by Pamela Cohn @ 9/16/2007 03:56:00 PM
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