LADY VENGEANCE: LAST MINUTE GIFT GUIDE FOR GENRE BUFFS

By Farihah Zaman

Still not sure what to get your comic-book-obsessed little brother? Forget to pick up something for mom that satisfies her cinematic blood lust? The following gifts are Lady Vengeance approved, and most arrive just in time for December 25th.

For the Low-Brow Art Lover:

Crazy4Cult: Cult Movie Art (Gallery 1988/Kevin Smith, $25)

The currently out-of-fashion but undeniably hard-working Kevin Smith has teamed up with the LA-based Gallery 1988 to collect the best in good, pulpy, sometimes downright dirty artwork inspired by cult films. The aesthetic style and subject matter is fairly diverse, meaning there’s something for everyone.

For the High-Brow Art Lover

Stanley Kubrick Photograph (Stanley Kubrick, $250)

From 2001: A Space Odyssey to The Shining, Kubrick was the master of thoughtful, witty, and unnervingly beautiful genre film. VandM and the Museum of the City of New York show us he was also a damn good photographer, exhibiting that penchant for the bizarre, the menacing and the secret as he did in his beloved films.

For Those who Didn’t Mind the Revised Spelling of Syfy:

Sharktopus Double Bill: DVD (Declan O’Brien, $8) and T-shirt (NBC Store, $26)

In honor of the DVD and Blu-Ray release of another fantastic low budget Syfy original revolving around a crazy beastie hybrid, give that special someone a one-two punch with a copy of the film (thanks, Anchor Bay!) and the graphic t-shirt they should obviously be wearing while watching it.

For the Thoughtful Comic Book Collector:

MetaMaus: A Look Inside a Modern Classic, Maus (Pantheon, $25)

Art Spiegelman’s all-mouse graphic novel about the holocaust is legendary, and his reflections on the book and its influence are equally sharp and articulate. This behind-the-scenes book is also unique in that it comes with a DVD-R with related historical documents, audio interviews with Spiegelman’s father, the artist’s sketches, and more.

For the Politics Buff who Has Everything:

On the Art of Cinema (Kim Jong … Read the rest

KEVIN SMITH TO SCREEN “RED STATE” IN NATIONWIDE SIMULCAST

By Jason Guerrasio

Kevin Smith continues his maverick release strategy of his latest film Red State by announcing today that he’ll be screening a one-night only nationwide simulcast of the film on Sept. 25. at Quentin Tarantino’s New Beverly Cinema in L.A.

The film will screen at select theaters nationwide through a unique partnership with Ira Deutchman‘s Emerging Pictures theater network, including the post screening Q&A with Smith which will be digitally streamed live from the New Beverly into all of the participating theaters, allowing audience members to interact directly with Smith utilizing Twitter.

Red State had its VOD premiere yesterday after grossing over $1 million to date in 22 single engagements, according to the release. The film is currently undertaking an Oscar-qualifying run, though Smith has tweeted that it’s for the actors not him.

Smith’s unique DIY release of the film began at this year’s Sundance when after putting together an auction for the rights to the film dramatically bought it himself $20. Then in March, Smith began a 15 city tour that kicked off at New York’s Radio City Music Hall, which grossed $162,000 during one show. Though the film is currently available on VOD and will be release on DVD and Blu-ray through Lionsgate on Oct. 18, Smith has tweeted numerous times that he plans to screen the film at arthouses for years to come.

To learn more about the Red State simulcast and stay up to date on screening dates go to coopersdell.com.

SEPTEMBER VOD CALENDAR

By Jason Guerrasio

Now on our VOD calendar are titles available for the month of September.

Some highlights: You’ve heard about Kevin Smith putting together an auction at Sundance for his latest film, Red State, only to buy it himself and go on a self-distributed nation-wide theatrical roadshow. Well, now you can see what all the fuss is about as it premieres on VOD today. There’s also Richard Press‘ doc Bill Cunningham New York on the iconic New York Times photographer; Andrew Haigh‘s fest favorite, Weekend; and Cameron Crowe‘s doc Pearl Jam Twenty, which gives a candid look at the legendary band.

For titles from previous months go to our VOD Calendar homepage.… Read the rest

YOU HAVE NO BUSINESS BEING IN THIS BUSINESS

By Gregory Bayne

I have been thinking about Kevin Smith quite a bit lately. Beyond the obvious happenings with his film Red State and his decision to follow in my footsteps (wink) by embracing the Topspin platform to go about his business of building a media empire, I’ve been a bit in awe of how this guy from New Jersey, who began his journey with a $27,000 ’90s Sundance hit that many in the artistic film world passed off as garbage, has weathered many a storm, some arguably manufactured, to be quite possibly the last man standing and perhaps most forward thinking in an independent film industry that can’t seem to get fully back on track.

I know there are many a ’90s & ’00s Sundance alum out there still working, making films, making TV, making it, but none (that I’m aware of) have taken such distinct advantage of their first outing to have turned it, and/or themselves, into such a full force media-making machine so in control of their own destiny that if they cut off ties with everyone they know in the industry today they would be able to continue working, making exactly the type of film/tv/art they want to, while making a very healthy living at it. Smith and Co. have done that.

My “history” with Smith begins all the way back in Vancouver, B.C., where we both attended film school in 1992/’93. He in Class 23 with my fellow Idahoan David Klein, and me in Class 24. Our only interaction was being on an elevator together and only connection was my friendship with Klein, who shot Clerks and many other of Smith’s films, and Scott Mosier, who produced them. When they hit in 1994, I was back in Idaho attempting to wrangle together my own ’90s indie hit to no avail. After the requisite amount of youthful envy, I stepped back and just enjoyed watching these guys capture early success and in that was able to witness the early steps toward where Smith finds himself today. Say what you will about the films — I know I’ve … Read the rest

THE MICROBUDGET CONVERSATION: WHAT ARE FESTIVALS GOOD FOR?

By John Yost

Sorry to all for the week off. A little festival called Sundance was happening, and this column would have been lost in the hustle and bustle. PLUS, I’ve become agoraphobic after editing Orphaned for three weeks straight now. I no longer possess social skills and hygiene. (But the movie looks good so far!) After our second article posted, Blake Eckard contacted me and thought I needed to talk to someone ASAP. It could only be one person, Jon Jost (pictured below). Jon is one of Blake’s favorite film directors and he is a legendary indie filmmaker. It was a no-brainer. But what did he want to talk about? Jon (who’s last name is eerily similar to mine.) was on his way to premiere his latest film Imagens de uma cidade perdida at this year’s Rotterdam Film Festival, and had festivals on the brain. He sent me his thoughts on festivals in general and I’m sharing them below. Jon raises some great questions, critiques, and suggestions just in time for the aftermath of Sundance 2011.

Jan 23, Amsterdam.

In a few days I’ll be going to Rotterdam (all the way from Amsterdam where I’m visiting a friend from very long ago). In the last weeks I’ve been bombarded with festival things sent with the best of intentions, but to the wrong person. These are requests from the Rotterdam staff for publicity things, posters, information for distributors, and all the things that say “your film is a commodity.” Unfortunately, or perhaps from another view, fortunately, it is not. I won’t raise a finger to promote it, sell it, find a distributor, or otherwise try to shovel warm butts into seats. So a few desperate newbie distributors who sent feelers and offers to sell will be disappointed. I won’t.

Not that long ago, for someone like me, festivals, or some festivals, represented a tangible something that might lead to another tangible something — say, for example, exposure to people who might want to take a shot at distributing your film. This of course still goes on, but not for the kinds of things I do. It goes on only … Read the rest

“RED STATE” | writer-director, Kevin Smith

[PREMIERE SCREENING: Sunday, Jan. 23, 6:30 pm -- Eccles Theatre]

When we unmasked the Bog Monster and it turned out to be old man Whithers, we were literally dumbfounded. Why? Because he OWNS the allegedly haunted amusement park. We should’ve seen it.… Read the rest

THE MICRO-BUDGET CONVERSATION: WHAT IS MICRO?

By John Yost

Here is the introduction to a series of posts from filmmaker John Yost on today’s micro-budget filmmaking scene. Check back each week for John’s conversations with various filmmakers debating issues related to the making and distribution of ultra-low-budget movies. — S.M.

What is micro-budget filmmaking? What makes a film micro-budget? Is it simply the amount of money spent? Is it the quality of the story, image, and sound? Is it a cliché at this point? Where did it come from? What about the word “indie”? Is “indie” just a buzz word now? Is the sky falling? Are we going to be able to make better films in the future as equipment and resources become cheaper? Who is going to help us show these stories once they’re finished?

This series will try to answer some of these questions by having current micro-budget filmmakers talk about their experiences with their own process and journey. We urge you to share thoughts in hopes of uniting the countless number of new talented filmmakers out there changing the face of independent cinema. The best way to do that is to exchange ideas, learn from each other’s mistakes, and support each other’s accomplishments. As the series progresses, each filmmaker included in this series will discuss a current aspect of “four to five figure budget” filmmaking and its effect on their process, the industry, and their lives. It is my hope to connect us all through our efforts to do something new and bold.

My name is John W. Yost and I was first introduced to the idea of filmmaking as a career after watching Kevin Smith’s Clerks. This may make me a walking cliché, but hear me out first. Unlike some other filmmakers, I did not grow up destined to make films at an early age. I never picked up a camera at the age of 3, and I certainly never watched a French New Wave film before I was 20. I grew up watching Hollywood films as fast as they could make them. My father was a photographer and I had no plans to … Read the rest

KEVIN SMITH REVEALS “RED STATE” POSTER

By Jason Guerrasio

Here’s a little treat for ya on Halloween!

Today on Kevin Smith‘s blog, Silent Bob Speaks, the outspoken writer-director put up a teaser poster of his next film, Red State, his first foray into horror. In the past Smith has described the film as being loosely based on religious extremism, and its one he’s talked about making for years. If you follow Smith on Twitter you know he finally found enough money to shoot it over the summer, and according to his blog post, principal photography is now wrapped.

Smith on the poster:

Moody, weird, and pitch-perfect for the tone of the film. If I went out to an ad agency here in town, I’d be billed close to 20 grand for a campaign that’d maybe… maybe… include this poster. But this piece of artwork (I call it “The Holy Ghost”) didn’t come from a top-tier ad agency: Jon Gordon is my RED STATE producer, and this poster was created by his assistant, Melissa Bloom. So we’ve got a marketing image that was put together by someone who was on set every day, integral to the process that produced the film which inspired this image. This isn’t the work of some gun for hire who’s doing six other campaigns; we’re not just one of many. The marketer is actually family, RED from pre-production all the way through wrap, so she’s got an insight into the flick that no ad agency could ever boast.

When I interviewed Smith about Zack and Miri Make A Porno for the Fall 2008 issue of Filmmaker, he gave me little insight on Red State.

It‘s about fundamentalism that goes to a heinous degree. After Sept. 11 we were looking for the enemy outside and this is about looking for the enemy within. Before we discovered international terrorism on our home soil we‘ve been multiple victims of domestic terrorism. It will be very traumatic and very horrific. It‘s either going to work like gangbusters or people are going to be like, “Go back to comedy, you idiot!” It‘s going to be

… Read the rest

AM I A FILMMAKER OR A BRAND? WHY NOT BE BOTH?

By Jon Reiss

A year ago, I brought the preview copies of Think Outside the Box Office to sell at Independent Film Week, straight off the press. This week in addition to being a lab leader and mentor of the new IFP Filmmaker Labs, I have the honor of being paired in a Cage Match on Thursday with Michael Tully from Hammer to Nail, and Michelle Satter from the Sundance Labs on the subject: “Am I A Filmmaker or Brand”. I thought I would throw down some thoughts on the subject.

I don’t think that “filmmaker” and “brand” are exclusive of one another. I think that all filmmakers, in fact all creative artists, have the opportunity to be both. For many filmmakers, the sooner they realize this potential, the happier they will be.

I can understand the knee jerk reaction to the concept of “filmmaker as brand”. For years filmmakers, especially independent filmmakers, have resisted being pigeonholed. “We’re artists with a broad eclectic taste. I can’t be pinned down to any one type of film.” I can also see how “brand” runs smack against the concept of “independent” which has always had some synonymous relationship to “freedom”. “I can’t be a free artist to express myself, if I tether myself to some concept of who I am imposed by others”.

In addition filmmakers and many other artists are uncomfortable with the concept of “branding” because it is a concept that corporate America uses in their never ending quest for consumer “mindshare”. As a ex punk rock neo Marxist anarchist who made a film about the global explosion of street art and graffiti culture and the resultant battle over visual public space, I understand this point of view. Ironically it is a battle over public space because graff writers and street artists are trying to convey their brand as much as the corporations in their own never ending desire to get up.

Filmmakers need to get over the art vs. commerce false opposition fast. Marketing is about audience connection. I make films because I want to express myself creatively and communicate my ideas to … Read the rest

FILMMAKER FLASHBACK: WINTER, 1996

By Scott Macaulay

Spike Lee was our cover in Winter, 1996, and there were two tie-ins. First, his movie Girl 6 was about to be released. And, second, John Pierson’s Spike, Mike, Slackers and Dykes was just being published. For Filmmaker, Pierson gave us an expanded version of a talk he had with Lee and Kevin Smith that includes this interesting note from Lee. I had forgotten that Lee’s intended first feature was Messenger, an autobiographical tale about a young bicycle messenger. The film collapsed in pre-production when financing was pulled.

Kevin: I want to do goofy young filmmaker questions, the kinds of things that I would really like to know too. If you had done Messenger first as planned, would your career have been any different?

Spike: Yeah, I might not have a career. [laughter] It was too ambitious, and it would not have been a good film. It was not a great script. Once again, there’ve been too many things that have happened in my career that couldn’t just be happenstance or coincidence. Something’s definitely been guiding me. God, or whoever, knew that [cracks up with laughter] if I’d done that film it would’ve been suicidal. That’s why that film did not happen.

There’s not much else online from this issue, but it’s interesting to see interviews with Todd Solondz, Chris Smith and others making their first and second films. Also, we had a piece on a new filmmaking group calling themselves the Cambria Liberation Collective. The director in the group was Dante Harper, and he made an amazing, neglected indie called Delicate Art of the Rifle that still holds up today. Recently when we were compiling our “25 New Faces” list I spoke with an industry colleague, a producer at a really big production company. He said, “There’s this guy you have to put on, this screenwriter who in a couple of years has racked up these amazing deals.” The writer turned out to be Harper, and the films he’s been developing include Black Hole for David Fincher, Hansel and Gretel: Witch Hunters for Tommy Winkola, … Read the rest