MEDIA CURRENT: AT YOUR OWN PERIL

By David Rosen

If there is one industry report that you absolutely must read this year it is Digital Dilemma 2: Perspectives from Independent Filmmakers, Documentarians and Nonprofit Audiovisual Archives, from the Motion Picture Academy’s Science and Technology Council.

The study was conducted with the assistance of Filmmaker as well as the IFP, Film Independent, and many other organizations and individual makers. Its message is short and simple:

“Most of the filmmakers surveyed for this report have given little thought to what happens to their work once it is completed. …  [F]ew store their film masters in proper environmental conditions or manage their digital masters using appropriate preservation practices.”

Indies drive the film business. In 2010, 532 movies were commercially released and the six Hollywood studios (and their subsidiaries) accounted for roughly a third (174) with indie works made up the rest.  According to the Independent Film & Television Alliance, a trade association, indie makers produced more than 400 features in 2009.

However, stats from the 2011 and 2012 Sundance festival are more revealing: for 2011, Sundance received 10,279 submissions for all categories and screened only 194 works, less than 2 percent; this year, it received 4,042 feature submissions and selected nearly 3 percent (110). What happens to the rest?

The shift from analog film stock to digital media has revolutionized film production and distribution – and (for the long-term preservation of a maker’s work) storage. It has led to a proliferation of formats, often incompatible and not forwardly migratable. The study assessES 11 storage media: film, digital Betacam, 1” videotape, HDCAM, VHS take, D-5, ¾” U-matic, DVD, Betacam SP and others.

The report makes painfully clear that there is much confusion with regard to digital storage technologies. It asserts: “… digital data of any type is subject to invisible failure mechanisms at many levels – the actual recording media, the data reading and writing system in the digital storage device, the data interface that connects the storage device to a computer, the computer network that connects individual machines, and the many levels of software that control the overall system.” Further, it warns: “If preservation actions are not … Read the rest

IFP INDEPENDENT FILMMAKER LABS OPEN FOR SUBMISSIONS

By Scott Macaulay

The IFP’s unique Independent Filmmaker Labs are now accepting applications for the 2012 programs. The Labs, which consist of year-round mentorship for first-time filmmakers along with focused seminar and instruction weeks, have recently seen alumni success at Sundance (Terrence Nance’s An Oversimplification of Her Beauty), Slamdance (Keith Miller’s Grand Prize winner Welcome to Pine Hill), in theaters (Dee Rees’s Pariah) and, upcoming, at Berlin (Lucy Mulloy’s Una Noche), SXSW (Matt Ruskin’s Competition title, Booster), and on TV (the POV screening of Michael Collins’ Give Up Tomorrow).

From IFP:

IFP’s unique year-long mentorship program supports first-time feature directors when they need it most: through the completion, marketing and distribution of their films. Focusing exclusively on low-budget features (

… Read the rest

ADAM BOWERS EXPLAINS “WHY FILMMAKERS DON’T NEED MONEY”

By Dan Schoenbrun

Over at IFP, filmmaker and comedian Adam Bowers has a hilarious new blog entry entitled “Why Filmmakers Don’t Need Money.” In the post, Bowers argues that poverty breeds creativity.

As he writes:

“Think about it: when do filmmakers make their best movies? When they’re at their most miserable and desperate. Raging Bull pulled Scorsese out of his biggest career slump, and Beethoven’s 4^th saved David Mickey Evans after the disastrous Beethoven’s 3^rd, which obviously suffered from too many studio notes (“Can we have him destroy FEWER dining rooms?” What idiots!). So, if you really want to help a filmmaker create their masterpiece, the least you could do is slash their tires. I’ve currently got a Kickstarter going to make that happen for myself.”

It’s a timely piece of satire, especially considering the industry focus on price tags amidst Sundance buying season. Towards the end of the piece, Bowers breaks his ironic tone to make a genuine (or somewhat less ironic) plea to his indie cohorts:

“It’s time that we, as a community, come together on this and say “No more.” We need to let the world know that we’re artists, and artists use a different currency than regular people.  Our pennies are the looks of wonderment on audiences’ faces. Our nickels are theaters full of laughter. Our quarters are when someone is so caught up in a story that they’ll sit for two hours with a bladder full of Mountain Dew.”

Bowers, who took his no-budget comedy New Low to Sundance in 2010, is currently developing his sophomore project, We’re A Wasteland with Adele Romanski and Brad Petrigala. Read his full post over at IFP.… Read the rest

THE IFP ON BINGHAM RAY

By Scott Macaulay

The following statement was issued by Joana Vicente, Executive Director of the IFP:

The board of directors and the staff of the IFP are shocked and extremely saddened by the death of indie veteran Bingham Ray. Bingham was a stalwart champion of independent film throughout his lifetime. He was an honorary board member of the IFP and was honored with a career tribute at the 2002 Gotham Awards.

Bingham brought the independent film community together and always reminded us of the highest standards we should pursue as filmmakers with vision. He was not only an extraordinarily passionate figure, with an encyclopedic knowledge of film, but he was a beacon of independent visions the world over.

He is sorely missed by all of us in the film community. Our most sincere condolences to his family, and to his extended family, which includes all of us.

… Read the rest

IFP LABS: VARIANCE FILM’S DYLAN MARCHETTI OFFERS MARKETING ADVICE

By Dan Schoenbrun

Dylan Marchetti, founder of Variance Films, donated his afternoon Wednesday to mentoring filmmakers at IFP’s Marketing & Distribution Labs. Variance, a distribution company that has overseen the releases of niche indies and foreign imports like Guy and Madeline on a Park Bench, Littlerock, and Elite Squad: The Enemy Within, has built a reputation very much in line with the trailblazing, DIY-attitude that many of IFP’s lab filmmakers hold dear. And it was a great match, as Marchetti spent the afternoon listening to these filmmakers discuss their marketing and distribution strategies, offering tailored advice about the distribution paths that he felt might best suit each project.

Perhaps most universal were Marchetti’s insights into marketing. As each filmmaker screened a trailer or showed some of the key art options they were working with, Marchetti interjected with suggestions. Here are some highlights from the session, tips about gathering marketing materials that might not be obvious to emerging filmmakers:

When cutting a trailer, less is more
It’s common practice for filmmakers to cut a trailer in prep for a festival premiere. This is especially useful to have to show to distributors, sales agents, or other potential partners you might meet at said festival. At the Labs, one filmmaker screened a trailer that clocked in at two minutes and thirty seconds, prompting Marchetti to advise that this type of trailer should be as brief as possible, definitely under one-minute. Marchetti argued that industry are so bombarded with projects that they will generally only give a trailer a very short amount of time to win them over. “A trailer isn’t about the film, it’s about how to sell it,” Marchetti argued.

When designing key art, more is more
There’s no reason to be coy or secretive when designing your printed promotional materials. “Key art should clue the audience into what your film is about,” Marchetti told one filmmaker. Be as direct as possible about what the film is about; try to hook an audience in with an eye-grabbing, representative image.

Find unique backing music for your trailer
During Wednesday’s session, Marchetti critiqued one … Read the rest

IFP LABS: HOW TO MERCHANDISE EFFECTIVELY

By Dan Schoenbrun

A recurring topic all last week at IFP’s Marketing and Distribution Labs was how indie filmmakers can get the most out of their film’s release, both monetarily and in terms of marketing. Friday morning the conversation turned granular (but no less interesting) with lab leaders Jon Reiss, Amy Dotson, and Milton Tabbot discussing the pros and cons of various forms of merchandising.

Stressed repeatedly – the key thing to remember is that each film requires a distinct merchandising campaign. Think about your film’s core audience, and what kinds of products they would most likely be interested in. Then plan accordingly.

Here’s a list of merchandising opportunities that filmmakers should consider when taking their film out on the festival (or screening) circuit.

Sell DVDs at Screenings
If you’ve already had DVDs pressed by the time your film is screening, you should seriously consider selling them directly to the audience after the film. It’s a golden opportunity to reach fans directly, and one of the only instances where you’ll get to keep one hundred percent of the profits. Probably best not to sell at your festival premiere, but at subsequent theatrical screenings, it’s a tactic that could prove lucrative.

Important: If you’re in the process of negotiating DVD distribution, make sure to find out from the distributor if they’ll allow you to sell DVDs in this kind of scenario.

Equally important: You should make sure to negotiate a price below market value at which you can buy mass quantities of your DVD directly from the distributor.

Print Postcards, Business Cards, or Both
This will be essential to the marketing campaign surrounding your festival appearance(s). Make sure your postcards are visually appealing, and that they advertise the time and location of your screening. There was some debate this morning about whether postcards or business cards were ideal for this sort of marketing. Business cards, one filmmaker argued, are less likely to be discarded because of their wallet-friendly size. Whichever option you go with, make sure that your physical marketing materials clearly and effectively get the word out about your film, and about how … Read the rest

IFP LABS: A BRIEF GUIDE TO PLANNING YOUR FESTIVAL PREMIERE

By Dan Schoenbrun

There was an elephant in the room during day one of IFP’s annual Marketing and Distribution Labs, and that elephant’s name was Sundance. The majority of the Lab’s 21 attending filmmakers submitted applications earlier this year, each one hoping and secretly sort of expecting an acceptance letter. What they all received instead was a courteous but crushing rejection.

Today’s afternoon session started out as something of a venting session. As the lab leaders tried to reassure these first-time filmmakers that their careers were not over, that they had many options still on the table, the mood in the room only seemed to worsen. Then, one filmmaker raised her hand and asked a question: “But what should we do when we actually are accepted into a festival?”

Yes, Sundance unfortunately only accepts a tiny fraction of the films that apply each year. But there are festivals – hundreds of festivals both in the U.S. and worldwide – hungry for that other 95%. If a filmmaker is talented and persistent, his or her film can and most likely will find a home.

Soon the focus of the conversation shifted. The lab leaders in the room – Jon Reiss, Scott Macaulay, Milton Tabbot, and Amy Dotson — brainstormed a list of essential points to consider when prepping for a film festival premiere. That acceptance letter is coming eventually, they stressed.

Here’s a to-do list that you should pull out when it finally does arrive:

Do your research
First things first, you need to learn the ins and outs of the festival you’ve been accepted to. In reality, very few fests are buyers’ markets. If you’re not playing one of the half dozen fests that the buyers are attending, it’s unlikely that you’ll be able to leverage your screening towards a sale. That doesn’t mean there aren’t other huge benefits that B-level festivals offer. Some fests are known for being attended en masse by critics, others have a huge industry presence. Sure, you might not make a sale, but you could do a great deal of networking and perhaps even make some relationships that’ll … Read the rest

IFP GOTHAM AWARDS: “BEGINNERS” DIRECTOR MIKE MILLS RECAPS HIS TWO WIN NIGHT

By Mike Mills

That was quite surreal. I’ve been to just two events like that before, so the red carpet shenanigans, seeing so many “movie stars” and directors you’ve listened to on DVD commentaries, and being in a room with so many people you’ve tried to get financing from – is really a strange experience. The kind that makes you all wild eyed and sweaty palmed. But mostly I was really truly just very happy to be there and felt very safe that we weren’t going to win anything and that I was just lucky to be included, to be in the group, to get to see this crazy kinda show in my life. When we all sat down, I told some of my producer filmmaker comrades that I hadn’t prepared anything to say cause that just felt so hubristic, and gauche, so vain, and weird – every time I tried my mind just derailed itself.

They said “Yeah, there’s a lot of love for the film, but we’re not going to win anything.” I thought they must know something I don’t, was hurt for about 30 seconds but then went easily back to being quite relieved I wasn’t going to have to go onstage in front of  Jim Jarmusch (to name one of my heroes there).  It was lovely to be there with my filmmaking family, some of our actors - Christopher Plummer, Mary Page Keller, and Kai Lennox - from the film, and just be in this weird scene.

When it came time for Best Ensemble, I was all set to applaud for one of the other wonderful nominees, and was very, very, very astonished to hear the word Beginners called out. I adore these actors, we had so much fun together, such a wonderful creative time, how wonderful to see them honored, but, Jesus, I’M TOTALLY UNPREPARED! Luckily Christopher is such a gentleman, so gracious and inclusive, so nice to me, and he lead the way. But I didn’t shout out to my great friend Ewan McGregor who’s in Uganda working with Unicef, I didn’t shout out to Melanie Laurent who’s in Paris where her … Read the rest

IFP GOTHAM AWARDS: REFLECTIONS FROM AUDIENCE AWARD WINNER JUSTIN LERNER

By Justin Lerner

In early 2009 I took my childhood friend Evan Sneider, a 31 year-old with Down Syndrome, out to lunch to see whether he’d be interested in letting me write a feature length film for him to star in, Girlfriend.

“It’s going to be a little dark, Evan,” I said to him. “There’s going to be violence, and maybe even a little sex.”

“That’s fine with me,” Evan said with a smile while finishing a steak and cheese pizza. “Sounds like fun.”

Five months after that lunch we were casting the other roles and had found three willing actors – Shannon Woodward, Amanda Plummer, and Jackson Rathbone – to act alongside Evan and a group of non-professionals I hand-picked from our hometown of Wayland, Massachusetts.

Four months after that we were shooting, and year after that we were world premiering at the 2010 Toronto Int’l Film Festival.

And then, another year and some film festivals later, we were walking down the red carpet at the 2011 Gotham Independent Film Awards as a nominee. With Evan by my side, along with my producers Shaun O’Banion and Kristina Lauren Anderson, we walked through the press line behind Evan Glodell, director of Bellflower and Matthew Lillard from The Descendants.

Back in 2009 I was skeptical about even being able to find the money to shoot (my producers eventually rounded up the $200,000 or so that we needed), and enough shooting days to do it right (we shot the film in exactly 19 days). After the shoot, it was at times frustrating, sometimes lonely – the entire experience put me through a series of psychological and emotional tests.  Whether in the editing room, trying to raise the rest of the money to finish it, clear music rights, and pay publicists for our Toronto premiere — the furthest thing from my mind was that our journey would end on a stage in Manhattan, in suits, holding a trophy in front of actors and filmmakers whose I work I grew up watching.

We all went into the evening of the awards just trying to appreciate … Read the rest

IFP GOTHAM AWARDS: “BEGINNERS” IN GOOD COMPANY

By Mike Mills

I was very very lucky. First, because I was blissfully unaware that the Gothams would announce the nominations on that day. In fact I was trying to get used to the idea my film — Beginners— had run its course and now it was time to put it to bed, move on, stop worrying about that project. Which isn’t easy. I started this in 2005, I’m used to putting everything I have into it, and the film contains so many people and places and things I truly love (both the real people who inspired the story and the filmmaking family that made it come to life) so it’s bittersweet to say goodbye. I didn’t tell any of my friends or even my wife of the nominations for a few days. I’m the kind of squirrel that hides away any acorns he may get, stuffing them quietly into a tree, so no one can take them away. I was also very very lucky because my film came out in June and is, let’s be honest, still pretty “small,” and let’s be even more honest, if we didn’t get nominated with these other great films, this would have perhaps really been the end of the road! And then, the real lucky part is harder to describe; I think a big reason I make films is to be “with” all the films and filmmakers I love: (Istvan Szasbo, Agnes Varda, Woody Allen, Milos Foreman, Frederico Fellini) — it’s like having comrades (even if they’re dead, or I never met them, or they would never give me the time of day if I did meet them, or they’re just so much better than me!) despite all that when I make films I feel I’m with them, alongside them, or at least I have the same job! Being nominated here is that same feeling of being “with”, being in the group.

It’s crazy we’re nominated alongside the guy who made Days Of Heaven which I’ve been swimming in for years, and the guy who made Election which taught me so much about freedom, and the woman … Read the rest