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The best things in life bring multiple rewards.
If you can solve a problem by improving other things simultaneously, you know everyone is going to win. Besides, we all have way too much to get done, that it only makes sense to kill two birds with one stone whenever humanly possible. I think the San Francisco Film Society and I may have just accomplished this remarkable feat. Let’s see [...]
Sometimes it serves us to let our dark paranoia run rampant. I have always had a love affair with conspiracy theories, but it is one of longing more than indulgence. If only governments and people in general cared enough about other people to actually strategize to the extent needed to control things to the level most conspiracy theories fantasize. But maybe instead of politics and community being the focus, the conspiracies exist in the pursuit of profit. Sometimes looking at the result of business structures as their intent instead of their coincidental effect sheds further light on a complicated situation.
We all know that there is a substantial flaw to our film infrastructure: artists and their supporters are not rewarded for the work they generate. I speak of this as a problem. If the industry actually tried to make sure that the people who made the work benefited from the work, we’d have more money in the system, and it would probably be smarter money (that knew enough to let the filmmakers have creative control — or at least more of it) at that. But all evidence points to the fact that the film industry wants to prevent creators from financially benefiting from their work. We can change that (and I am going to try), but that’s for another post about why I have chosen to work for a not-for-profit.
Let’s let our dark side work for us for a moment: if the model is not broken, but actually works, what is it trying to do? Why would the film business not want creators to benefit? Is it to give more people the opportunity to become filmmakers and investors since the current system virtually drives out all the experienced filmmakers and investors? Ah, alas, much evidence exists to show that access and opportunity is not of interest to film business leaders (like the disproportional representation of white males — such as myself). So what could it be?
What happens to those that survive in the film business? If filmmakers can’t survive by making feature films, how do they survive? There’s been one business strand that long has been there with a helping hand to the creative class and it seems like even our greats have long had to indulge in their offerings. Is the whole of film culture designed to create cinematic masters who then must be slaves to Madison Avenue and their international equivalents?
Evidently these bank commercials were the last films Fellini ever made, and they aired after he died.
I don’t think commercials kill directors, but I do think [...]
Or for that matter, what do you think can really change and move things forward in both the near and distant future? If we could ask five key people what they saw on our various horizons, what would they show us? Who should we ask? One of the great things about being pointed in a direction, is that it is almost a path. Could we have walked down that road when Francis Ford Coppola predicted YouTube in 1991:
It is not easy to just boil down to one specific all the various change that is swarming over us at this point. I see major shifts coming in so many different aspects of cinema: discovery, consideration, value/return, participation, collaboration, transitioning, immersion, and many others. [...]
I don’t have that answer and I will leave it to the others (at least for today) as so many are offering options:
- Francis Ford Coppola has got his opinion (and it sure got a lot of comments when I posted it to Facebook).
- The New Yorker ran a funny piece on the state of publishing that read a bit like Scott Macauley’s Letter From The Near Future.
- Power To The Pixel just delivered three awesome days of discussions of new forms (Check out their recommended reading).
- Arin Crumley and Jamie King have some interesting solutions.
- The industry can’t figure out formats yet again.
- the change social media has delivered is pretty astounding.
That’s Aza Raskin from Mozilla. And this is an attempt to explain Google Wave:
What are the other five tools that will make sure tomorrow does not look like today that I should be posting about?