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Truly Free Film

Want A Distributor For Your Film?

For the last two years, approximately half of the films that played Sundance got picked up for distribution. Yet as Thom Powers pointed out recently, no distribution deal is a heck of a lot better than a bad distribution deal.
 
Still, knowing how much work is required to directly distribute your film, and in particular the great challenge it is to market your film, filmmakers regularly look to team up with distributors.  The dream sort of goes first to write a script, then to make a film, then to get it funded, then finished and in a festival, and finally settling on getting a deal.
 
Granted there’s a big flaw in the dream as it

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Truly Free Film

How To Get Ready For That Film Festival

You are in, and now you have all sorts of wonderful problems — the kind most filmmakers wish they could enjoy.  You know, you have to do all the things you have to do for a film festival.  I have tried to collect the various blog posts I have written or have found written by others that will really prepare you.  There’s a lot more to be written.  But this is a good start:

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Truly Free Film

Brave Thinkers Of Indie Film, 2010 Edition

We have a bit of a redundancy in the recognition of those that create good work, but that good work does not end with what is up on the screen — which is the part that everyone seems to want to write about.  I feel however that we must recognize those that focus not just on the development and production of good work, but those that commit themselves to ALL of cinema, including discovery, participation, appreciation, and presentation — what I consider the other 4 pillars of cinema.

Last year at this time, I put forth a list of inspiring folks, people who by their acts and ideas were giving me the energy to keep striving for a better film culture and infrastructure, one that was accessible to all, and slave to none. We are closer to a truly free film culture this year than we were last year, and I remain optimistic that we can be a hell of a lot closer next year than we are today, thanks in no small part to the 40 I have singled out these two short years.

This list, like last year’s, is not meant to be exhaustive. Okay, granted I did not get to the quantity to the 21 Brave Thinkers that I did last year, but the quality is just as deep.  Regarding the lesser amount, I don’t blame the people — I blame the technology (of course).  I wish I had better tools of discovery that would allow me to find more of the good work and efforts that are out there. I know I am overlooking some BTs again this year. But so be it — one of the great things about blogging is there is no need to be finished or even to be right (although I do hate it when I push publish prematurely — like I did with this — when it is still purely a draft).

I know I can depend on you, my dear brave thinkers, to extend and amend this work into the future.  I do find it surprising how damn white & male & middle aged this list is.  And that I only found two directors to include this year.  Again, it must be the tools and not the source, right?  Help me source a fuller list next year; after all, it is as Larry K tweeted to me about regarding who are the most brave these days: “Those whom you don’t know but who continue, despite the indifference of all, to create work that is authentic,challenging and real.”  How true that is!

Last year I asked and stated: “What is it to be “brave”? To me, bravery requires risk, going against the status quo, being willing to do or say what few others have done. Bravery is not a one time act but a consistent practice. Most importantly, bravery is not about self interest; bravery involves the individual acting for the community. It is both the step forward and the hand that is extended.”

This year, I recognize even more fully that bravery is a generosity of spirit, as well as a generative sort of mind.  It is extending the energy inside ourselves to the rest of the world.   I often get asked why I blog (or why so much), and I have no answer for those folks.  It can’t be stopped, for I believe if we love the creative spirit as much as the work it yields, if we believe we create for the community and not for the ego, how can we not extend ourselves and turn our labor into the bonds that keep us moving forward.  In other words, no one can afford to create art and not be public (IMHO).  If you want a diverse and accessible culture of ambitious work, you can not afford to simply hope it will get better — you have to do something (or get out of the business, please).

So without any further adieu, here’s my list of the nineteen folks who have done more on a worldwide basisto start to build it better together,

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Truly Free Film

Independent Documentary Thriving in Brooklyn

Guest post by Steve Holmgren.

We are back to our regular twice weekly events at UnionDocs, a documentary arts space in Williamsburg, Brooklyn. UnionDocs’ microcinema continues to be an exciting place to see important nonfiction films: from classics made by the likes of George Stoney, Rosa von Praunhiem, and Pare Lorentz to underseen crtical favorites like October Country and The Carter to boundary-pushing experimental work made by artists like Lynne Sachs, James T. Hong, and Ken Jacobs. In addition, UnionDocs presents panels and lectures, including talks last year on distribution and access (Richard Amromowitz, Todd Sklar, Ashley Sabin) and documentary criticism (Thom Powers, Richard Brody, Lisa Rosman, Ed Halter), as well as nonfiction photography, audio, interactive art, and writing. Always followed by engaging discussions with presenting artists.

We also host a year-long program for twelve emerging artists called the UnionDocs Collaborative. The participants collaborate on interdisciplinary group nonfiction production, and also attend private weekly workshops, sometimes with visiting artists. Between the collaborative, and the artist conversations, UnionDocs is a site for conversations about the future of documentary.

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Truly Free Film

More Thoughts On The New Film Festival Model

“Blood Simple” was the first film I bought a ticket for at a film festival.  It was screening at the NYFF and I soon came to recognize that the films accepted to that fest were of a exceedingly high quality.  The curatorial taste behind that festival choices was something I had confidence in.  They gained my trust precisely because they have never tried to be all things for all people, and for that I have always been willing to pay a premium for. The NYFF was, and is, a trusted filter.

Too many festivals these days program too many films without revealing, or reveling in, their curatorial hands, diminishing the power of their brand in the process.  If festivals are going to become the new curators, that will have to change.  Festivals must emphasize their unique taste, if not overall, then within sidebars at the festival.