Seed & Spark | Following Up

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[Reblogged from Renegade Cinema]

It’s been 30 days since I launched my Seed & Spark campaign to raise fundingfor the post-production phase of my feature indie film The Spaceshipand as promised, here is my follow up review of the service.

The funding campaign didn’t make the required 80% minimum it needed to receive a green light and I’ll talk about this in a moment. First, I just want to give the people over at Seed & Spark props for the service and their killer efforts to make this campaign a success. They really went above and beyond the call of duty to help me get the word out.  They were actively tweeting, re-tweeting, favoring tweets and FB likes – and a few staffers even pledged (try getting a Kickstarter staffer to pledge – it won’t happen).  In the campaign’s second week, they elected my campaign to be featured as a “Staff Pick” which was incredibly generous and helped us gain some traction… Read the entire article at Renegade Cinema…

[Reblogged from Renegade Cinema]

No Budget Filmmaking

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[Reblogged in its entirety from Renegade Cinema]

No/Low budget independent filmmaking is a necessity for most filmmakers who want to produce work that will help break them and their friends into the film business, or at least, be recognized by what’s left of the film business. Robert Rodriguez, the king of no budget cinema and the master professor on how to avoid spending money on your indie project even goes as far as to feature a “Ten Minute Film School” on the DVD release of his breakthrough film El Mariachi. The audio commentary in and of itself is one example after another on how to cut costs down to zilch. Although I am a film school graduate, the Rodriguez approach has always been far more helpful and yielded far more positive results. I’m not alone.

There has always been a basic system in place, a journey so to speak, that every filmmaker attempts to traverse: a filmmaker gets a bunch of people together, all with different talents and interests and all of them go out and make a movie. This is one of the hardest activities in the world to engage in because a lot of these kinds of projects are achieved through trial and error and generally go against the grain of society’s normal functions. Those with the knowledge and experience to make life a little easier for these cats only work for financial compensation. More on that later. So let’s say that the movie does find its way to completion. That movie enters the festival circuit and wins a few awards or at the very least gets an honorable mention, which in this day and age is considered an award in and of itself. This recognition is not lost upon distributors and soon the film gets picked up and everyone wins. Sure it’s an outdated, bullshit system that doesn’t really work as much as it used to, but the route is still possible and still attempted by many independent filmmakers.

It would seem that the production culture of some of these smaller films have driven the “professional” and “working” freelance community to the point where there is now an unofficial and unannounced war against these no/low budget filmmakers.  It would seem that, at least in the big cities, anywhere a filmmaker can go to find help with his or her project is being taken over by freelancers who are crying fowl, engaging in vicious attacks against the filmmakers. An example of this is the decreasingly popular website Craigslist,  where both no budget and low budget filmmakers can list their projects and production needs for any and all to respond to. CL even offers the option to list an ad as “Pay” or “No Pay”. It would seem that some of these pay only freelancers are sick and tired of sifting through the hundreds of no-budget calls for crew and the CL website has unofficially developed into a sort of anti-no-budget zone.

New Jersey filmmaker Chris Notarile said, “I believe that while it is improper to abuse or take advantage of free labor, a filmmaker should not be penalized for being resourceful and making a no budget film with willing participants.” Notarile went on to say, “If we just blindly crack down on all no budget productions, the only people we hurt are ourselves and our own community.” Notarile is correct. Without an outlet for filmmakers to inform the community that they are making a project and that they have a need for various talents, the very existence of independent filmmaking is threatened. Of course there are some that would welcome this depletion of projects from the pipeline. Another crewing website, Mandy.com, no longer allows for the listing of No Pay productions at all, unless it’s a short or student film.

Beanie Barnes for Salon.com, pretentiously wrote an article, labeling independent film as America’s “next Wal-Mart”, arguing that there needs to be less independent film made for the entire film industry to survive. “Anyone who says we need more of this, without offering any solution to make it better, is part of the problem.” Barnes wrote. “Many in the industry still refuse to acknowledge that film is subject to the economic laws of supply and demand.” For Filmmaker Magazine, John Yost tackled the subject of low/no budget indie filmmaking by taking on the no pay aspect, in his article The Microbudget Conversation, Unpaid Crew vs Underpaid Crew. Yost wrote, “It’s amazing how much of a difference even $50/day will make to some of us. Just knowing we’re not working for free goes a long way in making us more likely to give our best effort to some poor, inexperienced, yet passionate filmmaker. ” While there is a sort of wisdom and logic behind this thinking, and a great deal of collective examples of this, across many industries, this is only a fraction of the truth. In my experience and in the experience of others I’ve collaborated with, the animosity from crew members who weren’t my friends previous to the project, were nearly identical in both no pay and low pay productions. The common mentality with these specific crew members who were getting paid x amount a day was that they felt they were getting stiffed, regardless of the amount. They’ll always think you can afford to give them a little more and that’s problematic when there are so many other expenses on these projects than payroll. Going back to some of Robert Rodriguez’s comments on the El Mariachi commentary, “once you start spending money you’ll never stop” and this is absolutely true.

The other side of this is a much more serious problem. So many filmmakers are not capable of raising what the freelance collective would consider “proper financing” for their projects and some of these worker bees, while incredibly talented, are a bit sociopathic about this reality, insisting that if you can’t pay everyone to help you make the film then you shouldn’t make it at all. This line of thinking is incredibly dangerous, both to film and the art world as a whole. Many filmmakers take their projects very personally and some that I have talked to have no interest in having people on board their projects who’s dedication to the film is only commensurate with the capacity of a paycheck, or exists only when a paycheck exists. No money = no passion is not something that sits right. “You can pay a person to do anything” says one independent filmmaker who asked to remain anonymous, “anything goes, if the price is right. There’s something different about films made by people who are engaged in the project for reasons other than what they can get from it or whether or not it gets picked up.”

While I’ve dedicated my life to the pursuit of understanding and demystifying film through making films and writing about film, I have no intention of surrounding myself with people who’s hearts aren’t in the right place. With that said, I agree with both sides of the aisle because I am both an indie filmmaker and a freelance editor. How do you establish a peaceful balance with both sides when freelance film and video makers and pseudo journalists are rising up against the very existence of no and low budget filmmakers, even going as far as to relabel these cats as “bum filmmaker wannabees”, who also often become the victims of cyber bullying in the very forums where they post ads seeking out collaborators. How do you establish an acceptable balance when the hatred for one-another continues to grow. How do you establish a mutual understanding when these same freelancers are publishing media content like the spiteful and mean spirited video that has been gaining views on YouTube. It’s clear that a peaceful discussion among filmmakers and would be collaborators and service providers is desperately needed. Money is tight but we shouldn’t let that threaten the output of independent cinema. From a personal perspective, if I had waited until I had sufficient funds in place for all of my projects, I’d have no projects at all to speak about and I can safely claim that my truth is the truth for most filmmakers.

Bibliography: Salon | Filmmaker Magazine | Filmmaker Magazine |

[Reblogged in its entirety from Renegade Cinema]

Festivals & Filmmakers: Here is FilmFreeway.com

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Reblogged from RenegadeCinema.com | Festivals & Filmmakers: Here is FilmFreeway.com

If you’re a filmmaker or film festival that has grown disgruntled with the online submission service WithoutABox, you’re not alone. Thousands of filmmakers from around the world, including yours truly, have grown tired of the overpriced and appalling service the Amazon owned website provides and up until recently there hasn’t been any viable alternative. No competitors were willing to take WAB head on. Of course there has been the increasingly popularFilmmakers & Festivals Against WithoutABox, but the petition-oriented site which is more of a declaration platform, doesn’t provide any real world solutions to the problem. The status quo remained the same for many years: there had been no other trustworthy, online solution for filmmakers and filmfestivals to connect with one another.

Thankfully times are changing and the good news for all of us is that FilmFreeway.com has launched and acquired quite an impressive crop offestivals. The new service is in full operation and today I had the opportunity to interview Zachary Jones, one of the founders of FilmFreeway, about this very ambitious project.

Renegade Cinema (RC): What inspired the idea of creating the long overdueFilmFreeway website?

Zachary Jones (ZJ): FilmFreeway was created, quite simply, as a solution to a problem.  In our view, festival submissions were broken.  The industry was dominated by a market leader with grossly outdated, dreadful technology, a miserable user experience, backed up by an unfair, predatory business model.  We saw an opportunity to create a product that would make film festivals’ and filmmakers’ lives easier.  FilmFreeway was created to simplify and improve film festival submissions with modern technology with a fair business model.

[read more at Renegade Cinema]

DMW’s Future of Music Event – Coming Next Week!

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DMW MusicOn February 20-21, Digital Media Wire (host to Future of TV and Future of Film) combines Digital Music Forum East and West into one large event simply named DMW Music. The event will be taking place at the Museum of Jewish Heritage, 36 Battery Place, New York, NY. Film Anthropology will be in attendance of the event.

DMW Music still has open availability for music industry professionals interested in attending, along with 500+ of the most influential music and digital media leaders as they gather in Downtown New York to socialize, share ideas, do deals and learn about new technologies and services. This year’s event will be packed with great content, stellar people and a lot of companies that are new on the music-tech scene.

Register here: http://dmw-music.com/register/ For FilmAnthropology subscriber discounts, e-mail info (at) norcrossmedia (dot) com.

Future of Film Photos

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Here is a link to a Flickr set with the photos we took while at the FUTURE OF FILM SUMMIT in Beverly Hills last week. The photos were taken throughout the day to provide a broad perspective of what went on throughout the day at Sofitel.

The event was put on by Digital Media Wire and Variety and sponosored by a number of organizations (including Film Anthropology).

Direct Link URL to the Flickr Set: http://www.flickr.com/photos/norcrossmedia/sets/72157632220102662/

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Future of Film Summit Recap

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The 2012 Future of Film Summit in Beverly Hills was a busy, informative series of panel discussions that didn’t fail any of the attendees. Many Los Angelenos mixed well with filmmakers from all over the United States, including representatives of production companies in San Francisco, Chicago, Arkansas, New England, New York (yours truly) and a few international producers, specifically from France and Great Britain.

As expected, the most attended event of the day was the keynote discussion with Ralph Garman and Kevin Smith. The discussion revolved around Smith’s experience going from an indie filmmaker to a full fledged highly recognized Hollywood Director. Smith was honest in talking with the crowd about his “Cindarella story” and how the way he was discovered and handed a career is no longer an option for new filmmakers because they have to work harder for the recognition. Smith went on to make some poignant quotes, which we’ve not failed to
tweet and retweet, among our favorite is: “the audience will always take you further than someone in a position of power”.  You can read more on FA’s Facebook and Twitter pages.

-Eric M. Norcross
Via cellphone from Hollywood, California

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Follow Us December 5th | Future of Film 2012

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Hey everyone,

This is a friendly reminder to follow our activity on December 5th (this Wednesday) as we’ll be Tweeting, Facebooking and Blogging the topics of the day, live from the FUTURE OF FILM SUMMIT in Beverly Hills, California.  Trending topics will be marked with the hashtag #futurefilm.

This is relevant to all filmmakers whether you work in Hollywood or on the Indie Scene | the Future of Film affects all of us. The annual event is hosted/produced by Variety and Digital Media Wire.

-E

Future of Film Keynote Speakers: KEVIN SMITH & RALPH GARMAN

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FUTURE OF FILM

Kevin Smith | Luigi NoviFilmmaker Kevin Smith will join with Ralph Garman for the Future of Film Summit‘s Keynote discussion.  This is followed by what I presume to be a very popular discussion for the convention: SCORING THE GREENLIGHT: WHAT ARE THE LATEST SOURCES FOR FINANCING & PRODUCTION PARTNERS? The Summit’s Website writes: “Good ideas are only as strong as their financial champions, and a diverse crop of investors worldwide are becoming critical to studio pipelines. Traditional lending has not come back from pre Great Recessionary levels, yet equity investors, soft funding, debt financing and more can be had for the right project. Who are today’s critical financial partners who can help nail down a film’s greenlight? What types of projects are winning backing? Top studio business chiefs, finance and legal leaders will identify the new money flow for film“.

For those interested, here is the full program:

8:00 to 9:00 Registration / Check-In / Morning Networking

9:00 to 9:15 Opening Remarks

9:15 to 9:30 Research and Case Studies

9:15: “BitTorrent as a Marketing & Distribution Tool: How BitTorrent is Creating Value for the Film Industry”
Presented by: Matt Mason, Executive Director of Marketing, BitTorrent

9:30: Case Studies/Research

9:45 to 10:15 Keynote Conversation with Tom Bernard, Co-President and Co-Founder, Sony Pictures Classics

10:15 to 11:00 State of the Film Industry
The increasingly digital-savvy and global movie fan is creating immense choice in the how studios manage film slates – creating a rainbow of strategies in development, finance, production, marketing, distribution and more. How are studios, production companies and financial partners creating business growth within this industry, considering the film community’s to nurture worldwide franchises that win over fans for years across theatrical and other platforms? As audiences are splintered across increasing screens and entertainment choice themselves, how is our industry working to boost their movie appetite? Studio leaders will debate what it means to be successful in film now and into the future.
Moderated by: Steve Gaydos, Executive Editor, Variety
Confirmed Speakers:
Tucker Tooley, 
President, Relativity Media
David Shaheen, Managing Director & Head, Entertainment Industries Group, JP Morgan Chase
Jeff Small, COO, DreamWorks Studios
Jeffrey Godsick, President, Consumer Products, 20th Century Fox

11:00 to 11:15 Networking Break

Track A: 11:15 to 12:00 Facts on Pacts SuperSession-  What is the Future of Studio Production Deals?
The studio production deal can coveted by the corporate exec and creative alike – studios gain first dibs on product from their in-house producers, and producers enjoy the luxury of developing with staffs, offices and other on-the-lot resources. Post Great Recession, the numbers of production deals have been on the rise, but what does this mean for studio film pipelines? What is the latest criteria for producers to score these deals and accomplish their filmmaking goals? Producers and their studio partners will explore the state of their relationships and what this means for enhancing overall film business.
Moderated by: Dave McNary, Reporter, Variety
Confirmed Speakers:
Chris Bender and JC Spink, Co-Founders of BenderSpink (The Ring franchise)
Dana Brunetti, President, Trigger Street Productions (The Social Network and Captain Phillips)
Paul Green, COO, Anonymous Content
Jason Blum, Founder & CEO, Blumhouse Productions (Paranormal Activity franchise, Insidious)

Track B 11:15 to 12:00 The Social Marketing Revolution – What’s Working Among Fast Multiplying Apps and Services?
Films now require social media strategies built into their campaigns – but what activity is actually working the best in driving film revenues? As 5.3 billion people worldwide have smartphones as their constant companions, how is advancing mobile technology impacting the social campaign? Should you release your trailer on Tumblr, Facebook, Twitter, Instagram or something else? Will there ever be working templates for social media marketing success? Top film digital marketers and their technology service partners will explore how social media can reliably be used to drive box office success
Moderated by: Josh Dickey, Film Editor, Variety
Confirmed Speakers:
Danielle Strle, Director of Product and Partnerships, Tumblr
Elias Plishner, SVP, Worldwide Digital Media, Sony Pictures Worldwide Marketing & Distribution, Sony Pictures Entertainment
Danielle DePalma, SVP, Digital Marketing, Lionsgate
Andrew Stachler, VP, Interactive, Warner Bros. Pictures

Track A 12:00 to 12:45 China and the Emerging Market Opportunity:  What is Success in this Fast-Growing Global Film Business?
With eased quotas and better revenue-sharing terms, China and has become an exciting partner for the overall film industry. Growing economies in Russia, Brazil, India and elsewhere also are opening doors for growth. To ease cultural distinctions between U.S. and other countries, there are increasing numbers of firms whose primary focus is connecting the larger film community to such international co-production and distribution opportunities. But what partnerships are succeeding? How are we expanding U.S. content to Chinese, Latin American, Indian audiences, as well as helping non-U.S. companies find new revenue streams with Hollywood film companies? Pioneers in U.S. and emerging market filmmaking collaboration will explore how to strike meaningful relationships.
Moderated by: Peter Caranicas, Deputy Editor, Variety
Confirmed Speakers:
Chris Fenton, President, DMG Entertainment Motion Picture Group & GM, DMG North America
Peter Shiao, CEO, Orb Media Group
William Yuan, Chairman, Affinity Media Capital / Fortress Hill
Jim Stern, CEO, Endgame Entertainment
Eric Mika, CEO, Magic Storm Entertainment (joint venture between Stan Lee’s POW Entertainment and Ricco Capital Limited)

Track B 12:00 to 12:45 Trendsetters of the New Platforms
Original online video has exploded of late, featuring high-quality cast and production values. With these new opportunities for driving entertainment revenues, who is succeeding with original programming? What are the creative and monetary goals for the talent and Web site executive chiefs? How do these new content players fit into the overall entertainment landscape – are they complementary or competitive to studio product? Top Web creators and new media chiefs will explore the burgeoning new world of online originals.
Moderated by: Andrew Wallenstein, TV Editor, Variety
Confirmed Speakers:
Alex Barkaloff, US/EMEA Head of Tom Hanks’ “Electric City” (Reliance/Playtone)
Brian Robbins, Creator, Awesomeness TV for YouTube/Executive Producer Smallville
Michael Gallagher, Co-Founder & Creative Executive, Maker Studios/Creator of Totally Sketch Web series
Lydia Antonini, Executive Producer Halo 4: Forward Unto Dawn
Marc Lieberman, Head, Business Development, The Onion

12:45 to 1:45 Lunch

1:45 to 2:30 Keynote Conversation with Director-Writer Kevin Smith and KROQ radio’s Ralph Garman

2:30 to 3:15 Scoring the Greenlight: What are the Latest Sources for Financing and Production Partners?
Good ideas are only as strong as their financial champions, and a diverse crop of investors worldwide are becoming critical to studio pipelines. Traditional lending has not come back from pre Great Recessionary levels, yet equity investors, soft funding, debt financing and more can be had for the right project. Who are today’s critical financial partners who can help nail down a film’s greenlight? What types of projects are winning backing? Top studio business chiefs, finance and legal leaders will identify the new money flow for film.
Moderated by:  Rachel Abrams, Reporter, Variety
Confirmed Speakers:
Matthew Erramouspe, Partner,  O’Melveny Meyers, Century City
Brian Stearns, Co-Head Entertainment Industries, Bank of America Merrill Lynch
Brian Oliver, President, Cross Creek Pictures
Scott Parish, COO/CFO, Alcon Entertainment
Milan Popelka, COO, FilmNation Entertainment

Track B 2:30 to 3:15 The New Distribution Formula – What is the Best When,  Where and How?
As studios look to minimize risk as well as to broaden films’ reach worldwide across windows, there is no standard operating procedure with film distribution. Increasingly films are launched internationally or on VOD platforms prior to a U.S. theatrical premiere – and in some cases virtually simultaneously across these different avenues. Studio distribution chiefs and their partners will analyze how they are deciding the best way to deliver their films to today’s audiences, and maximize revenue across windows.
Moderated by: Andrew Stewart, Reporter, Variety
Confirmed Speakers:
Tom Quinn, Co-President, RADiUS-TWC
Jason Janego, Co-President, RADiUS-TWC
Jamie McCabe, EVP, VOD and Digital HD, Worldwide, Twentieth Century Fox
Todd Green, GM, Tribeca Film
Rob Sussman, EVP, Business Operations, Development and Strategy, EPIX
Daniel Solnicki, Head of Worldwide Franchise Development, DreamWorks Animation

Track A 3:15 to 4:00 The Art of Storytelling  – The New Idea Vs. The Known Brand – What’s Working?
Major studios are finding it increasingly profitable to focus on known entities, such as adapting literary successes, re-inventing past box office and TV hits, or introducing new franchise installments. But entirely new concepts can be great business as well, such as this summer’s Ted or Magic Mike. What is important in connecting with audiences with projects for ongoing film business growth? Top screenwriters, producers, and studio production leaders will debate what is working best in storytelling.
Moderated by: Peter Debruge, Senior Film Critic, Variety
Confirmed Speakers:
John August, Screenwriter (Frankenweenie, Corpse Bride, Big Fish)
Reid Carolin, Producer & Writer (Magic Mike)
Ron Yerxa, Partner, Bona Fide Productions (Little Miss Sunshine, Ruby Sparks)
Darin Friedman, Partner, Management 360 & Founder, Film 360
Bennett Schneir, Head, Hasbro Films

Track B 3:15 to 4:00 Monetizing Film and Video Content in a Digital Age
This panel of film, online video and payments experts will give you a glimpse into the future of monetization and provide many good examples of what payment models will and can work for the film industry going forward. From mobile wallets, to subscription services, advertising and rewards, it’s a brave new world there as consumers demand convenience and immediacy. So, what are the biggest challenges and opportunities for getting paid for film and video content in a digital age?
Moderated by: Ned Sherman, CEO & Publisher, Digital Media Wire, Inc.
Confirmed Speakers:
Randall Cox, President, RogueLife & RogueDigital, Relativity Media
John Penney, EVP, Strategy & Business Development, Starz Media

4:00 to 4:15 Networking Break

4:15 – 5:00  The Film Producer Supersession
Honorees from ‘Producers to Watch 2012’ feature will share their stories in building and breaking through with their movie projects.

Lynn Hendee, President, Chartoff Productions/Producer (Ender’s Game)
Toby Halbrooks, Producer, Ain’t Them Bodies Saints
James Johnston, Producer, Ain’t Them Bodies Saints

5:00 Networking Reception

About the FUTURE OF FILM:

Produced by Digital Media Wire and Variety, this high level event brings together an exclusive group of industry thought-leaders to discuss the current state of the industry, and how film and transmedia deals will be struck in the coming years.

This is a unique opportunity for creatives, producers, buyers and film financiers to hear about and discuss current issues relevant to the film industry from top studio executives as well as independents.

From changes in production financing to new opportunities offered by digital distribution, this event bring experts from all areas of the entertainment industry together to provide insight in a relaxed, yet exclusive atmosphere.

Keynotes and panel discussions are followed by audience Q&A, providing unrivaled access to top Hollywood execs and talent. We encourage frank discussion as well as deal-making during a networking lunch, plenty of networking breaks as well as a networking reception at the end of the day.

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Future of Film Summit 2012

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Industry News:

FILM ANTHROPOLOGY will attend the FUTURE OF FILM SUMMIT in Los Angeles on December 5th.  Some of the topics will include: “What Is The Future of Studio Production Deals?” “Trendsetters of the New Platforms” “What Are the Latest Sources For Financing & Production Partners?” plus a whole lot of others. For those interested in attending, you can register at: http://www.regonline.com/Register/Checkin.aspx?EventID=1136105

Film is an ever evolving medium and the film industry occasionally needs to take stock of all the changes.  While Hollywood is always quick to take advantage of any new innovations that can be used to enhance production value, such as 3D, CGI, or, many years ago, sound, they can be slower to embrace new innovations that affect aspects of the industry beyond production.  In the last twenty years there have been massive changes in the way films are financed, marketed, distributed, and more.

Reading memoirs that detail life in the old studio system, they often seem like one of the “days gone by” anecdotes, like how they used to buy hot dogs for a nickel.  It seemed ridiculous, how could just a few studio executives control the lives of so many people?  Why didn’t all those audiences just rent a video?  There’s the never ending question of, if those execs knew how the industry would function today, would they have done things differently?

If, twenty years ago, industry professionals could predict how the internet would affect distribution, might they have altered the distribution model ahead of time or would they have put their resources into fighting the internet like they did?  The Future of Film Summit doesn’t discuss the existential questions of “what if“.  However, they do discuss the possible directions the film industry could head and how to utilize all the new innovations to anticipate the tomorrow.

Leading up to the summit we’ll be posting about their agenda here, so check back frequently or better yet, subscribe!

-E

Truly Independent

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Canon XH-A1Over the weekend I was asked by a fellow filmmaker, what I mean when I write or say “truly independent“. For those of you who have been following this blog or my work with some of the film festivals, I will often write or say something like “oh yeah, they show truly independent film” with a huge emphasis on truly.

My intention in integrating the word truly, whenever I utilize the term: independent film, is nothing more than a device to emphasize the level of independence involved in the production, while avoiding an emphasis on the monetary value of a film’s production (as happens with the term low budget film).

With the proliferation of HD technology, the line between independent film and low budget/no budget film is slowly but surely becoming blurred. There are some impeccable looking films out there that were produced without a budget – aside from the cost of an HD camcorder and some great locations and actors (who were probably all volunteers anyway). The independent aspect of it is when the filmmaker is just that: the filmmaker. engaged in all aspects of the production. Sometimes it’s one of two people collaborating but independent is as independent does.  Not just a director with a staff working under him, which too, can be a production regarded as independent in the 1990’s sense of the term. I do not consider these movies independent though, even though they are produced outside of a studio, they’re still financed and the filmmaker is typically not doing all of the leg work on his or her own. It’s this level of non-studio film making that I refuse to describe as independent, but instead employ the term: micro-budget.

There needs to be recognition of these separate types of non-studio films within the festival and distribution systems, for no other reason than to allow each film to be judged on its own merits, whether by a festival jury or by the ticket buying public. It’s a mechanism that, at its core, would allow viewers to understand what the difference is between a multi-million dollar Hollywood film, a hundred thousand dollar low budget film, a twenty thousand dollar micro-budget film and a no budget indie. If we can begin to educate the public on this, then perhaps we can stimulate a bit of appreciation for the truly independent films – and maybe, just maybe, we might be able to create a stronger market for the work being created at the individual level.

-E