April 11 at 11:07am

The TAKE-BACK Manifesto

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I wish I had published this earlier.  It comes from Michael Tully, our editor over at HammerToNail. It was originally published on his blog, Boredom At It’s Boredest, on Indiewire. It takes a much different tact than most of what we’ve been discussing here.  I totally get it; discussion and strategy about reaching audiences, is exhausting.  For some, it will never create better films, or even bring them to audiences.  Yet, courtesy of HTN, I have come in contact with a plethora of good films that are not being seen by audiences.  I love the spirit of this manifesto, but….

The Take-Back Maifesto

By signing the following petition, we film lovers of all types—critics, reviewers, screenwriters, directors, producers, production assistants, grandparents, art history snobs, coach potatoes, Multiplex squatters, etc.—believe the following to be true:

— We realize that bringing any film into fruition, however great or small the budget, is an outrageously difficult task. We realize this, and yet we don’t care. The final product is all that matters.

— A production’s back-story only becomes relevant after—not before—one has watched the film on a screen. Once we see your film and like (or dislike) it, that is when we will decide if we want to learn more about how it came to be. Not everyone can be Werner Herzog.

— We know that making thought provoking, ambitious, challenging, adventurous films is complicated by the fact that cinema is such an expensive art form. We know this, and yet we say so what. Everyone is a martyr for their art.

— We don’t want to help pay for your movies. Either: 1) We have our own movies to finance; or 2) We feel like an active enough participant in the process by watching your finished film and being affected by it. That is the extent of the participation we seek.

— We understand that we are living in a constantly evolving technological world and that there are kinks to be worked out. We trust that the sharpest, most appropriate brains will solve these problems. Convening weekly panels about how to use Twitter is not the answer.

— We admire and respect many of those who have given birth to this new panel industry, but we also understand that we now have access to most, if not all, of those participants every day, on a minute-to-minute basis, through their Internet voices. Because of this technological advancement, these panels have begun to feel increasingly unnecessary, a summing up of the latest ideas rather than a newly informative experience.

— We believe in the mystery, the power, and magic of cinema, and we feel strongly that the more one reveals about one’s production—at least when it comes to this recent phenomenon of obsessive
reporting and documenting of every step of the filmmaking process—the less powerful the impact will be. Exposing the process is only for Christo.

— From this point forth, we are only interested in the film itself. By marketing your marketing, you are only alienating us. If you are doing anything, you are making us not want to watch your film.

— We call for a ban of the conversations/panels/symposiums/etc. about “How To Market Your Indie Movie In The New Media World!” until at least 2012, when these troubles will naturally work themselves out.

— All of this talking about “finances” and “connecting” and “publicity” is the insidious language of a corporate, numbers-before-content mindset. Truly personal, independent cinema has never been preoccupied with these details, and making us feel guilty for not caring about them is not the answer. You’re only driving the most talented souls away.

— Can we get back to talking about movies, please?

Signed,

Michael Tully (Hammer to Nail)
Vadim Rizov (more here: http://daily.greencine.com/archives/007781.html)
Tom Russell (Turtleneck Films)

(If You Wish To Be Included, Add Your Name In The Comments Section Below here)

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  • Must admit that I didn't read the sarcasm either and it got my back up at first. I guess if you live in LA or NY and are invloved in the industry then there must be enough of these panels and events to the point of boredom. I can tell you in my corner of the world there is naff all and its the videos and discussions from these panels that keep me going sometimes although It's also true that I find myself faffing about on FB when I should be faffing about on final cut - there's a balance of course. I can see how it could be galling when suddenly every joker jumps on the bandwagon and it's not just film http://www.facebook.com/notaph... Anyway, back to work!
  • Hey Tully, this is late in coming, but thanks for the reply to my comment! Your rant really did help to balance things out a bit.

    It's funny, I've been feeling really overwhelmed lately about the whole DIY marketing/distribution thing, so your rant was very timely for me! Thanks again...
  • I'll just comment once here:

    Chris Dorr - Do you know what the words 'sarcasm' and 'irony' mean? I guess I forget that people don't immediately grasp my sense of humor, but the point of writing this as a 'manifesto' was not genuine. I thought that was obvious, or maybe that's just my own inability to take the concept of a "manifesto" seriously—especially one written by snarky honkies who have nothing to "manifesto" about. The bitterness and sentiment were genuine, however. Believe me, I realize that what we're doing here—even those of us who make money at it and call it our living—are merely riding a silly little privileged merry-go-round.

    FollowMyFilm - EXACTLY. This was indeed a frustrated rant, in the guise of a corny manifesto, to try to recalibrate and simply get us to remember that MAKING GOOD MOVIES is ultimately the most important thing. I am not opposed to marketing—I am not opposed to marketing along the way, actually. I just want a filmmaker's primary energy to be exerted on making the best film possible. That's all. If anything, this was more of a call-to-arms to filmmakers to tell them it's okay if they feel insecure and smothered by all this talk about how they have to be as good at self-promoting as they are at directing. I still firmly believe that these are very different brain types and it's just as okay to align yourself with someone who has a knack for marketing/producting/etc. instead of doing everything yourself. Don't make me feel guilty for having no interest, desire, or ability to hand a stranger a flyer and tell them to watch my movie, or to spend three days adding Facebook friends that makes for a good virtual number but doesn't prove anything concrete about how literally I've "connected" with audiences.

    That is all. Keep the comments coming. The ultimate irony in all of this is that by writing this thing I've only added to the clutter. Sorry, Earth.
  • can we get back to making movies, please?
  • doghouse
    It may well be true that all the "new paradigm" talk is just self-serving blather -- if the promoters of these theories actually believed them, they'd be investing in films, rather than charging consulting fees --
    but the manifesto ignores the fact that in countries like the U.S., which lack both public film subsidies and a tradition of private arts' patronage, there is no way cinema outside Hollywood is sustainable as an art form if virtually nobody recoups investment, beyond flukes, deserving and undeserving.

    So if you give up on making money, you might as well give up on the art as well. This may explain why the quality of independent film in the U.S. has always been far inferior to the work being done in art forms, where the "martyrdom" is achieved with large time commitments and forfeited income, but where the not production costs are not beyond the means of most individuals.
  • Carson McCullers
    Manifesto?

    Action. Take action. Real action.

    You want a revolution?

    Get together and start buying the theaters.

    Control the means of production.

    Don't be afraid.

    The indie filmmaking of the past is gone.

    Accept it.
  • Indie filmmakers have been concerned about financing and publicity forever. We were excited when VHS came out in early 80's because we thought we might have a new way to get our films distributed by not having to go through the studio system. We could have if we wanted to make porno back then and later shlocky horror films. Money was and is an issue for indie filmmakers and so is how we get our films sold/screened. The only new concept is the one about connecting. I agree it has become an overused word but at least now we have a way to connect to help grow an audience for the quality of films you want to create.

    For me, the real value of the panels are the people you meet at these events. I think the online social tools available to us are great but nothing beats face to face to learn more about what filmmakers are doing and to help build a stronger film community. This community can help shape how the future will look for indie filmmaking and perhaps they are the sharpest brains.

    That being said you are obviously passionate about the art of filmmaking and I agree we can't lose sight that the film itself is the most important part.
  • mutinyco
    I'll throw my two cents in.

    I pretty much agree with Rizov's GCD rant. I think all of these DIY panels are nothing more than old time revival tents, and the panelists are the traveling preachers.

    There is one reason, and one reason only, why indie film is in a rut: It's the movies.

    DIY filmmakers are not making innovative or aesthetically pleasing films that people are willing to pay money for.

    Dump the distribution panels. If you want to do something useful, then you need to level with people. Instead of telling them a new dawn is on the horizon and everybody will use the internet to be self-supporting filmmakers, tell them that most of them will never make it as filmmakers because they have neither the talent or will.

    People are acting like a bunch of deluded hippies circa '69, convinced that the world is about to change. Or like '80s corporate believers walking across hot coals.

    That's all.
  • Jon
    Perhaps the solution to this marketing issue that seems to have so many filmmakers torn to pieces is to get back to basic business street sense.

    That means you don't live beyond your means. You don't make six or seven figure budget films when you have a few grand to your name, if that. You don't count your chickens. You do live within your means. You do have to have a compelling project that arouses interest.

    I made a feature doc that you can see for free now at http://gothealthcaremovie.com. it cost me $3000 including the camera and computer editing system and software. In other words the cost after those two expenses was purely the DV tape and driving to locations. OK, I also put out some bucks for festivals and getting the DVD available online. But that's still peanuts, a few hundred at most.

    You can make a movie for the cost of the media you record it on. Start with that premise. If you find more resources or backers then great, expand. If not you still should be able to pull it off. You have to be or have a creative producer. You have to limit your story ideas to fit your resources.

    The key is to have a project that excites people, besides yourself. Mine was political so that's a given. But narratives have the same potential. You can get SAG actors and even crew for free if you know how to work it and if you have a compelling project. And if you can't, then go back to the script and make it compelling or start over.

    Yes, Hollywood has a gambling paradigm that only multi-billion dollar corporations can afford to play in. We can't do that.

    My project has yet to see any financial success. But it has seen the light of day as a completed feature film now available to the public, and I think it's good. So do the few reviewers who have given me feedback. So at least I made a film and got it out there.

    I think the answers are simple. Twitter and DIY conferences are not a waste of time. They are useful to find the tools others have successfully exploited. But I don't think that can work without having basic business street sense going in. Have a compelling project, and live within your means.
  • This sounds more like a personal rant versus a manifesto (if there is difference).

    Personally, filmMAKERS appreciate the film MAKING process and are encouraged by the making of other people's films. - yes, during the process.

    Is this for real? I hesitate to even take it seriously, though I must say, I really appreciate the section about panels!!!
  • Alejandro Adams
    Tully's manifesto is at the center of this Twitter showdown:

    http://slapbit.com/collections...
  • "Everyone is a martyr for their art"? Are you serious? Do you know what this word even means?

    Are you someone who has been persecuted, tortured or died for your beliefs? If not, then you are not a martyr.

    This use of language typifies the pretension that surrounds some of those who wish to sanctify themselves by using the term "independent film" as some sort of cloak they throw over themselves. This notion that somehow the mystery of cinema is to be preserved is even more absurd. Your argument that because some one knows how say, Stanley Kubrick made his movies, lessens their emotional power is simply wrong on the face of it. This means that movies are immune to criticism and thoughtful discussion.

    I think not. Perhaps between "martyr" and "mystery" you should have the Pope bless you as your language is more germane to a discussion about religious belief than independent film. And I am all for religious belief, as well as independent film. It is just important to know the difference.
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