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I have been falling behind on my blogging; I admit it. Luckily, information never goes away. Nor is there anything like a shortage of things that need to be said. We have so many hurdles to jump in the indie film world. Or is it walls to break down? Even after we made it through once, the same challenges face us again. Even when one or two lead the way, the path gets overgrown immediately, and the rest seem to be lost all over again. So here’s to the better late, than never camp, a post on some old but still relevant news…
Brent had some thoughts to the question of what’s needed now:
I completely agree about what’s needed. If you notice, Pitchfork is a conglomeration of so many sections, from lists to music videos to interviews, etc., that it becomes a one-stop shop for visitors, or at least a magnificent starting point to news, reviews, features, interviews, videos, etc.
This could be done for our community, but adding a local basis with subdomains. So NYC film events and reviews of films playing here is one subdomain, LA, Seattle, Boston, Philadelphia, Orlando, Austin are others. They could all share content but arrange it based on the local scene and screenings and then could add local content.
Getting audiences to a specific time and place to see a film is just as crucial as getting them a review of that film. Imagine a public iCal or Google Calendar with film schedules, not showtimes necessarily, but dates and schedules, so we can see, for example, The GoodTimesKid is playing only FOUR DAYS this week at Anthology while Pleasure of Being Robbed is playing for the next 10 days at IFC. One calendar with all the theaters’ schedules. Is there anything like this?
Right now in Google Reader I have all these feeds in a folder. But the problem is that things disappear as I read them, and then articles and features don’t get the face time that they do on Pfork or in a more traditional magazine format. So I read a Hammer to Nail review and then the next day I don’t have that review or that screenshot from the film there to remind me that the film is playing, nor do I have a schedule of how long I have to see that film. RSS readers and scroll-down blogs are magnificent, but again, they don’t lend repeated viewing–they’re designed to do the opposite.
Pitchfork is setup so well I prefer going to it rather than subscribing to its feed. It encourages browsing and promotes repeated viewing of its features. I think for our purposes, Pfork is arranged better than content in an RSS reader or scroll-down blog. If I go to Pfork, I get new content as well as another reminder of that record they loved and reviewed 3 days ago–while I didn’t have time to seek it out and listen then, I do today. The more we see something, the more inclined we are to look into it or at least remember it.
Building something like this for my own use is possible if I scour the web daily and go crazy coding something myself or figure out how to customize iGoogle or My.Yahoo, but maybe it could be stronger if there was one central build of it, at least for each metropolitan area. I know the web is very much about letting users decide on their content, but I think it’d be more effective in promoting the lesser-talked about films if it was moderated by a party with that goal. Pfork is still not user-generated in the least, but it’s absolutely a community and beyond, because record stores notice their sales heavily correlate with Pitchfork’s content and because there is such a large anti-Pitchfork crowd.
I ask again, is there anything like this?
Another scary thing about the NYC DIY Dinner discussion is that essentially it’s asking filmmakers who’ve likely just worked for several years for no money to now take further losses and develop things they have no intrinsic passion for, just so that thing they do have passion for gains validity.
How do we improve this? Your idea about helping each other is a start. I suppose if it weeds out the ones with fleeting delusions of grandeur and dreams of wealth, that will help. If it means less films are fast-tracked, more time is spent on each film, then each becomes that much more focused and worthwhile in terms of individuality and distinction, then there is something to be hopeful for.
If you want to expand your so-called brand while creating “content” and label yourself as a “creative” (in reality, it’s not a noun) or just want to create infinite ways and media for telling a story, then you’re in this field, so these are some options, these are the issues. If so, then it’s likely none of these marketing terms seem pejorative to your craft.
But many do find these terms pejorative. If you lean towards uninterrupted, feature length art films that show restraint and dexterity in the information provided to an audience, believe in the quality of a screening environment, are not about pushing as much content and info as possible but rather about expertly pursuing a craft you and many others still love but realize there are new opportunities for these works to be seen, then there is this discussion over here, these are the issues on this side of the situation.
These two worlds remain very closely aligned in discussions, and it seems not fully distinguishable from each other just yet, but also not completely on the same page. We need to clearly delineate and grow from there, learning from both sides but never assuming these schools are the same.
Scott Kirsner wrote a book called “Inventing the Movies” which details the history of cinema from Thomas Edison to Steve Jobs. Within the book he describes three types of people – those who innovate, those who persevere and those who sit on the sidelines waiting. When I read your critique of the NYC DIY Dinner it is clear you fall into the preservation camp. Personally, I love films and prefer to see them projected when I can and when it makes sense. But I also grow tired of watching filmmakers struggle to get their work seen and to sustain. And the sad truth is that many talented filmmakers have fall prey to exploitation.
The reality is that the system is overloaded. Everyday 50,000 more videos are uploaded to YouTube. There are more choices (tv channels, countless blogs / sites, dvds, VOD etc.) that compete for peoples time. Theatrical bookings are very difficult. I know, I’ve personally booked my films into art-house and independent cinemas across the country. I’m a fan of independent cinemas and even though my work has cross-media components it will always have live event elements, and those live events will include theatrical screenings.
But this I think is our key difference and correct me if I’m wrong. But I don’t consider myself a filmmaker – I don’t shoot on film, I don’t cut on film and I don’t work on a single medium anymore. I believe in story and the emotional connection that an audience experiences from great writing, strong direction and wonderful acting. But I also believe that the form is changing and that is what excites me. It’s not one way or the highway. It’s a reality. Art forms change and audience’s relationships to the way stories are told change. The birth of 16mm cameras ushered in cinema verit. Desktop systems and advances in imaging technology have empowered a diversity of voices that have never had access. Last month, I was in Copenhagen for a film festival and I connected with friends from all over the world, many who I met online or via social networks. One friend is from the Philippines. In the last 12 months there’s been an explosion of DIY filmmaking there – doc, narratives, experimental works. The films are unique, artful and passionate. But yet they have not been seen here in the states. We live in a global film community, it is not just about the US it is about allowing voices to be heard all over the world. The social networks and online outlets that you consider to be nothing more than popularity contests are so much more. They are a voice, a way for people to connect. Yes some people use them for status but others use them as a way to understand other cultures and share experiences. It’s not a contest its a connection.
And when it comes to brands let us be honest. Many of the films that you love from well know writers and or directors were brought to you by some brand some where along the way. It might have been a critic, a well know film festival, or the publicity machines that rollout films both big and small or maybe even the art-house theaters that screened them. The fact of the matter is that “filmmakers” need to take some time to understand how various aspects of the process work. If you want to be a good director you need to understand the roles of your collaborators. And similar to how you crew up for a film ( producer, production designer, dp, ad, gaffer etc.) when we discuss the role of technology or branding or marketing we are calling attention to a part of the process that needs new “crew” positions. We’re not saying that an individual “must master” them or they are destine to fail. What we are saying is that if you ignore or consider it to be someone else’s duty or job then often you will be disappointed with the results. What is often ironic is that I’ve know many filmmakers who entered into deals with distributors only to find themselves doing a loin of the share of the work anyway. In some cases out of despration when they realized for whatever reason that their film wasn’t getting the push that it really needed. It is about understanding what is needed and having an open discussion about it. That way new processes can be discovered. Learning from each other is what will make the stories better, our work stronger. We need to build an infrastructure that will in turn help to establish a foundation for a truly free film community.
We are standing at an unprecedented time in history. We can for the first time reach and communicate directly with our audiences. There doesn’t have to be gatekeepers or middle men or filters. It can finally be about connections. People connecting to the stories that move them. So in some ways maybe you’re feeling overwhelmed by the possibilities – many within the industry are. But in uncertain times some amazing things have been innovated. In the economic downturn of the 70’s, apple computer which started in a garage and was born out passion, creativity and a desire to empower people. The beautiful thing is there are no rules, no right or wrong way. There is just progress. In the end the audience will decide what they want to see, how they want to see and where they want to see it. So I say its time to innovate and seize the opportunity instead of waiting for someone else to shape the future for us.
And Brent I’m more than happy to answer any technical questions you may have. And over at the Workbook Project we have a number of folks who know how to use social media, build audiences, create brands and release films in alternative ways – all of them would be willing to do the same. DIY DAYS, the Workbook Project and From Here to Awesome are based on open source philosophies, ones that encourage community and sharing. That being said, now seems like the perfect time for this new emerging truly free film community to help each other make great films – we just need a little bit of innovation to make it possible.
- Lance WeilerTweet
Brent’s critique of the NYC DIY Dinner continues…
Still by the third video, the discussion is about filling a marketing niche or void, not telling a personal story in innovative ways. It feels like it’s just making a film about a new subject in the same way, something I react very strongly against.
Unfortunately right now, when Arin Crumley and Slava Rubin make certain points, I don’t feel they’re talking to me or to the other people who are in independent film because they — the filmmakers — are neither good at nor interested in marketing or commodities-focused careers, nor are they interested in being cool or popular–which is the image of a new-media-social-networking-guru-web-celebrity.
Further, I am not hearing a director with a distinct artistic vision when Arin talks at this dinner, and I’m unfortunately not interested in his films because of their popularity — popularity based on Arin’s new pioneering new distribution and crowd participation methods. So if I’m not his audience, then perhaps his audience isn’t mine, and so my thinking then becomes one of retraction and distancing myself from the new mechanisms. Also, when Arin talks about reaching an audience, I feel like he is capitalizing on his marketing expertise to profit off them, not putting his soul on film–which is where my taste lies. I appreciate his work for filmmakers, but when he starts leaning towards telling a filmmaker how to be a filmmaker, he’ll have trouble getting his message across.
Lance Hammer is clearly an artist with a distinct vision, an artist whose film I saw multiple times at Film Forum and recommended over and over to friends, posting on my website and Facebook to GO SEE THIS FILM. Same with Pleasure of Being Robbed and Wendy and Lucy. I’ve still not seen or heard anything from the makers of Four Eyed Monsters that makes me take interest in their work or view them as an artist. I’ve only heard that their distribution is what makes them impeccable. Cart before the horse?
I know Arin is very intelligent and successful in his own way, but some of what he says comes off as disrespectful of that thing so many of us fell in love with and have chosen to devote our lives to as viewers and filmmakers, and unaware of that much of the things we’re told we must do to our films are things we find less than appealing and against the films’ nature.
Personally, I was initially resistant to social networking for a couple reasons. One was that it feels like a celebrity culture or popularity contest. I can see that my friends have hundreds and hundreds more Facebook friends than I do. So I see their friends count and think, wow, they should make a movie instead, since they have more people who’d go see it. Only it’s usually superficial friendship, just as popularity and celebrity appeal is. So then I think, is this person I’m asking to be friends with really my friend, do I really want to catch up with them after ten years out of high school, or am I only requesting their friend status because I know that once my film comes out I can put a message on their Facebook wall? If I want to be honest with myself, then how do I come to terms with having to strive for superficial popularity, something I jettisoned in high school as I was, well, coming to terms with not wanting it and forming my artistic temperament? Is this still a world where the most popular people are offered the widest financial rewards and/or avenues of self-expression, just like Hollywood, television, and high school? Is art film no longer a venue for the introverted artist seeking personal expression in a way that maybe socially he or she could never achieve? Isn’t that the core of art and artistic language? Aren’t a large amount of artists poor with social skills–choosing to express themselves other ways–probably for a reason that manifests itself in their work? Do we not care to hear their voices? Of course we do, but if this audience building is truly as it is shaping up to be, how do these artists with less than impeccable social skills compete?
As a viewer I’m not a populist. I seek out artists and works with dexterous intent, control over form, style, and content that shows the artist knows his or her stuff as well as has a distinct individual voice. How do we preserve and embrace our individuality if all we’re doing is becoming advertisers who seek popularity? If auteur-driven films is one’s passion, audience participation in their creation is a tough sell at any meaningful level. I’ll see Lance Hammer film or a Bresson or a JP Melville film, but not a crowd-sourced film because of what it will lack: a singular honest soul.
I guess the point here is, how do we clearly, firmly, and concisely establish that the net should not be determining the content nor the artist’s temperament, that films like Ballast will always have a market, that artists are always needed and appreciated for their individuality? The fear and resistance comes when feature length art-house filmmakers start hearing their content must be dictated by a market and then their film is only valid if they’re famous in some way.