Google Wave and Open Source Filmmaking

Here is a cool article from the Candler Blog about Google Wave and how it relates to filmmakers. Check some of it out after the jump:



"Last week, Google announced an upcoming product called Wave which the tech giant refers to as “what e-mail would look like if it were invented today”. By that they mean a communications system with all of the acquired knowledge of the 21st century without the hangups of the 20th. For detailed info you should really check out the official Google Wave site, but I’ll try to keep the pre-required knowledge to a minimum here.

This isn’t a tech site, it’s a film site. So what on earth does this have to do with cinema? Google is inventing this to revolutionize communication and productivity which has essentially been stagnant for decades if not longer. E-mail, as one example, is sent back and forth between one or more people just as the letter or the memorandum was before before it. Wave basically breaks that wide open, offering contextual live editing of a single communiqué. Now, while this can certainly help in producing a film just like it could help any general office task, the overall Wave concepts could be applied on a grander scale for filmmakers."

Read the full piece HERE.

Sing it Harmony!

Harmony Korine discussing making movies at the speed of thinking of them, while talking "trash" at NYFF.



Watch the rest of the Q n A here: http://blogs.indiewire.com/thelostboy/archives/harmony_korine_talks_trash_at_nyff/

Cookies & Cream in Boise Weekly

Cookies & Cream, along with other films that I've been able to see and enjoy here at the Idaho International Film Festival including Drawing With Chalk and Official Rejection, is mentioned alongside those and other good films in Boise Weekly. Go check out the article and some trailers of the other films HERE.

New Wu Skateboard Sneaker

Arguably the Hip-Hop group with the most product collaborations over the years, The Wu-Tang Clan’s latest team-up comes together with footwear company Dekline. The shoes themselves feature the iconic usages of black and yellow with branding on the tongue, lacelocks and heels.

The Wu-Tang Clan gets together with an interesting choice, a skate company by the name of Dekline to produce a new sneaker by the name of ‘Killerbee’. Using a classic Wu color scheme [yellow and black], the kicks feature the Wu Tang symbol on the tongue, lace lock and heels. Available at Millennium Shoes’ various locations with a suggested retail price of $70 USD.



Make sure to FOLLOW WU WEAR on Twitter HERE!

"Black 2 Sugars" Teaser

Here is the teaser to Kent Sutton's very well cast, upcoming short film called Black 2 Sugars. The short stars Michael Gentile, Michelle Cox, Jace Nicole (Cookies & Cream), Gabrielle C. Archer (Miranda, One Hour 2 Live), Maria Guzman (Miranda), and more. Neil Gordon is cinematographer and editor on the film.

Kent is currently editing Black 2 Sugars, while gearing up to finish the production of the feature film version of Miranda, which he is also editing into a short film version before going into the completion of the feature.

For a photo album of the film plus the teaser, go HERE.

Mistress

Want to know exactly what its like getting an "Indiewood" movie made? I could personally sit down with you and tell you my current horror stories (and good ones) one by one, or you could see for yourself and rent/buy this hilarious 1992 film called Mistress - this week's Throwback Sunday choice.

Director: Barry Primus
Cast: Robert Wuhl, Martin Landau, Eli Wallach, Danny Aiello, Jean Smart, Jace Alexander, Tuesday Knight, Robert De Niro, Sheryl Lee Ralph, Ernest Borgnine, Laurie Metcalf, Christopher Walken



www.netflix.com
www.amazon.com

The BlackRoc Project

This sounds incredible. Damon Dash presents. Check it out:

Blakroc Project from Myrhax on Vimeo.

Paranormal Activity Official Trailer

The Official Trailer for Paranormal Activity is absolutely brilliant. Check it out, and make sure you are there for the 25th of September opening...if you are brave enough.



www.paranormalmovie.com

Tom's Corner

Meet Tom:

Tom Trombley would describe himself as “a natural critic.” He can watch your average Hollywood film and usually tell you in 30 minutes where it's going. If he's clueless on that, it usually means he's watching a true masterpiece. He's a literary information specialist and has a comic book collection of over 15,000 books, carefully organized. But he's no “fanboy” considering A) he bathes, B) respects women, C) doesn't buy just any old title for any old price and D) isn't living in his parents' basement.

One of Tom's great aspirations is to go to journalism school and become a professional critic. If his day job fell apart, there's no doubt he'd shine since he's that rare straight shooter who can be honest but dissect the good from the bad as intently as a surgeon.

We introduce the first entry from a series we call "Tom's Corner," where Mr. Trombley dissects the DVD version of Wolverine. Enjoy!

X-Men Origins: Wolverine

I'll make a confession. I'm a huge comic fan. I had some reservations about this movie, which made me decide to wait for DVD. Was I the only one who decided to wait for DVD on this one? It was released Tuesday with the usual fanfare, and I'll admit, a part of me was looking forward to it. How about you? Be honest with yourself, take a moment and a deep breath. You back? Let's begin.

It's OK to admit that this part of you exists. There'll always be a part of every man (and an increasing number of women) who like to see mindless action flicks with plot holes that are somewhat easily overlooked, but troubling when you think back on them. I'm sorry if I offend, but about all this movie contained was jumping off points for a). the inevitable sequel and b). the Deadpool spin-off movie (we'll get to him later).

There were some good points in all of this, and I'd like to address those first. Hugh Jackman proves he can do comedy in the midst of action, and really does personify Wolverine (though I'm not sure if it's a compliment to say someone personifies a two dimensional character, but I digress) in all his snarling machismo oozing comic book selling glory. Will.i.am's portrayal of John Wraith (AKA dead black buddy...just once I'd like to see a black guy who's not Roger fucking Murtagh survive the damned movie) was off character for the comic, but done well. I'd like to see him in more movies. Daniel Henney was exceptional as the villain you love to hate, Agent Zero, though he could've played this character in any movie (especially if that movie was the Matrix). Lastly, Taylor Kitsch played one of my all time least favorite comic characters, Gambit, as the annoyingly accented Cajun who has bugged me from nearly day one of his comic book and cartoon appearances (at least in the early comics he didn't “talk” so amazingly retarded).

Now, onto the blindingly obvious plot hole. In an early scene, Colonel Stryker and his men go on the hunt for an elusive metal (later shown to be adamantium). Each man has a part to play and some scenery to chew...except Wolverine, who just stands around looking as surly or angry as is called for. Now, I think we can all agree Stryker was a fanatic, but also a coldly logical tactician. Why, then, would he bring the somewhat more moral than his compatriots Wolverine into a situation where innocents would be killed indiscriminately?

My other complaint has to do with Ryan Reynolds' Deadpool. DP has always been a favorite of mine , so I was happy to hear that Reynolds, who does the mile a minute joking thing ever so well, was cast. The beginning of the movie was fine. I just did not expect the “Merc with a Mouth” as he's known to become a mouth-free automaton. Part of the character's charm is that he NEVER shuts up, and that was taken from him, rendering his inclusion in the climax pointless. I'm not even sure it was Reynolds at the end of the movie (it could have easily been a stuntman).

I would recommend that no one who is a fan of the comics watch this movie. It's better than Elektra or Catwoman (because really, what wasn't) but not by much. The comic book miniseries Origin showcased Wolverine's origin in a poignant and emotionally dense masterpiece. X-Men Origins: Wolverine took out all the beauty and true terror and replaced it with moronic action sequences and flashy Matrix-y special effects. Not worth the bucks, so hit your local library for a copy. And if you come to mine, ask me for more movie recommendations; I always have a few.

- Tom

Cookies Mentioned in Idaho Tribune

Here is a cool article from the Idaho Press Tribune about the Idaho International Film Festival that mentions Cookies & Cream. Check it out after the jump:

"BOISE — The 7th Annual Idaho International Film Festival returns to Boise Thursday for a weekend of film screenings at the historic Egyptian Theatre, The Flicks and the Edwards Boise Downtown Stadium 9.

Festival goers will have the opportunity to interact with the filmmakers and create an entertaining, dynamic and unforgettable 'Film Festival Village' in the heart of downtown Boise.

'Our goal is to promote culture and arts in Idaho by showcasing films by independent and international filmmakers," festival director Bruce Fletcher said. "Our secondary goal is to highlight, encourage and develop Idaho-based films.'"

Read the full article HERE.

Finally Good News on DIY Films and "Free"

Here is finally some good news about the economics of "free" as it relates to filmmakers. Big shout to New Breed, where the post appeared. Nina Paley's Sita Sings the Blues used the model of a "free" creative commons release and it has worked so far. Very enlightening article HERE.

Shining Star Teaser

Here is the teaser to Cassandra Riddick's debut feature film . "Love Is Blind But Friendship Closes It's Eyes." A Shining Star Production.



More about Shining Star Here:

www.riddickandfriends.blogspot.com

If You Build It, They Will Come

Here is a sweeeet new article about our friends, the Brooklyn Artillery Art Fair.



"Proving the theory true that "if you build it, they will come," the double opening of Brooklyn Artillery and the brand-new Castle Braid complex this Saturday drew a sizeable crowd of all ages. Judging by some quick queries, it was a mix of potential renters, art lovers, and rubber-neckers, with at least one couple having come from the far-flung Upper East Side (!).

While workers had still been pouring the concrete floors of the complex last Tuesday, four days later what the public was privy to looked slick and finished. Filled with people for the first time, the art event functioned as a dress rehearsal for what the Castle Braid might look like inhabited. From any vantage point the entry-way felt like a fish-bowl for social interaction. With a grand descending staircase that announces each guest, a glassed in gym at its rear, floor-to-ceiling windows that incorporate the courtyard, and a second-floor balcony overlooking it, the foyer alone allows infinite possibilities for voyeurism."

Check out the full piece HERE.

I Will Not Read Your Fucking Script

Here is a rather harsh but informative take on getting people to read your screenplay or treatment. As a producer who has endure many pitches, stories ideas, etc, I can empathize with this Village Voice piece, and I hope you aspiring writers will be able to see things from the other perspecitve, after the jump:

"We know you've been working very hard on your screenplay, but before you go looking for some professional feedback, you might keep in mind the following piece by A History of Violence screenwriter Josh Olson.

I will not read your fucking script.

That's simple enough, isn't it? "I will not read your fucking script." What's not clear about that? There's nothing personal about it, nothing loaded, nothing complicated. I simply have no interest in reading your fucking screenplay. None whatsoever.

If that seems unfair, I'll make you a deal. In return for you not asking me to read your fucking script, I will not ask you to wash my fucking car, or take my fucking picture, or represent me in fucking court, or take out my fucking gall bladder, or whatever the fuck it is that you do for a living.

You're a lovely person. Whatever time we've spent together has, I'm sure, been pleasurable for both of us. I quite enjoyed that conversation we once had about structure and theme, and why Sergio Leone is the greatest director who ever lived. Yes, we bonded, and yes, I wish you luck in all your endeavors, and it would thrill me no end to hear that you had sold your screenplay, and that it had been made into the best movie since Godfather Part II.

But I will not read your fucking script."

Read the full piece HERE.

A Festival Comes Clean About the Selection Process

One of the more frustrating aspects of the festival submission process is the seemingly arbitrary method by which films are selected. Since no one person has the time to watch the hundreds or thousands of films a festival receives, fests have to parcel out the preliminary aspects of screening to, at minimum, get the list down to a manageable size so the core programmers can make the final decisions. Often these people in the first line of defense are volunteers and, let's face it, they may or may not know what the hell they're doing.

Read the full piece HERE.

Thanks to lmcnelly15.blogspot.com for the lead.

Jen Johans Reviews Nights and Weekends

Not many people can write a review like Jen Johans. The Film Intuition writer (who not long ago wrote what may be our favorite review of Brian Ackley's Uptown), has written a very fair, in depth piece about Joe Swanberg's Nights and Weekends after its official DVD Release.

Kick your feet up. Here's some of what is another enjoyable read from her - after the jump:

"With the release of director Joe Swanberg's indecisive yet appealing Hannah Takes the Stairs which endeared mainstream audiences to the charmingly fearless talent of actress Greta Gerwig, viewers received their first taste of the "mumblecore movement" as the initial production which was granted the widest release.

And the result of the experimental Hannah being readily available at video stores and theatres near you divided and baffled audiences completely. Reactions ran the gamut and most were extreme in response to the badly dubbed "mumblecore" movement. On the negative side, there were those who found their do-it-yourself, low-budget style of filmmaking that overwhelmingly relied on naturalism and rambling conversation pretentiously loathsome and lazy. Yet in a completely different light, some indie film enthusiasts felt they were revelatory, inevitable, and inspirational descendants of flash and gimmick free character works by independent filmmaking forefathers especially John Cassavetes."

Read the full piece HERE.

Youtube Moves to Long Form Videos

YouTube added a new tab titled "Shows" that highlights TV shows. "Today we're excited to announce a new destination for television shows and an improved destination for movies on YouTube, where partners like Crackle, CBS, MGM, Lionsgate, Starz and many others have made thousands of television episodes and hundreds of movies available for you to watch, comment on, favorite and share," announces the YouTube blog.

See the full announcement HERE.

Shadows

John Cassavetes’ Shadows is generally regarded as the start of the independent feature movement in America. Made for $40,000 with a nonprofessional cast and crew and borrowed equipment, the film caused a sensation on its London release in 1960.

The film traces the lives of three siblings in an African-American family: Hugh, a struggling jazz singer, attempting to obtain a job and hold onto his dignity; Ben, a Beat drifter who goes from one fight and girlfriend to another; and Lelia, who has a brief love affair with a white boy who turns on her when he discovers her race. In a delicate, semi-comic drama of self-discovery, the main characters are forced to explore who they are and what really matters in their lives.

Shadows ends with the title card "The film you have just seen was an improvisation," and for decades was hailed as a masterpiece of spontaneity, but shortly before Cassavetes’ death, he confessed to Ray Carney something he had never before revealed – that much of the film was scripted. He told him that it was shot twice and that the scenes in the second version were written by him and Robert Alan Aurthur, a professional Hollywood screenwriter.

Though most reviewers treated Shadows as being about race problems, Cassavetes always thought of the film as more personal. Almost all of the scenes were based on his own experiences and feelings. In his early auditioning days, Cassavetes had once sung "A Pretty Girl Is Like a Melody" to introduce a girlie line in the Hudson Theater and been humiliatingly told to "shut up, sit down, and let the girls come on" in his place. Many of the characters had parts of him in them.

Film critic Leonard Maltin calls Cassavetes' second version of Shadows "a watershed in the birth of American independent cinema". The movie was shot with a 16 mm handheld camera on the streets of New York. Much of the dialogue was improvised, and the crew were class members or volunteers. The jazz-infused score underlines the movie's Beat Generation theme of alienation and raw emotion. The movie's plot features an interracial relationship, which was still a taboo subject in Eisenhower-era America.

In 1993, Shadows was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".

Throwback Sundays remembers Cassavetes' Shadows. Here is the trailer:

http://www.amazon.com/

What Exactly is a Low Budget Movie??

Elliot Grove breaks down the differences between low budget films for the Raindance blog. Here is it below, once and for all:

"In the realm of low budgets, low budget can mean one of four things:

In Hollywood Low Budget, also known as Indiewood, is $5-8,000,000.
ie: Memento, Donnie Darko, The Good Girl.

The Low Budget Film: One Million Dollars/Pounds/Euros.
ie: Shallow Grave, Memento, sex, lies and videotape, Reservoir Dogs.

Micro Budget: About a half million.
ie: Open Water, Evil Aliens

No Budget: Under 100,000
ie: PI, Blair Project, Clerks, El Mariachi, London To Brighton

So, when some one asks "What's your budget? Answer Low/ Micro/ or No.
And make the thing!"

Elliot Grove
www.raindance.co.uk

10 Twitter Tips for Filmmakers

Raindance has a great piece on filmmakers that use Twitter, and they offer 10 tips on effective use of the internet's most popular social networking site. Read it after the jump:



Twitter's social networking lets people post 140 character messages answering the simple question: What Are You Doing Right Now? Called micro blogging on steroids, it's just going to get bigger and bigger. As it grows, Twitter is becoming an important way for filmmakers and film lovers to connect.

Getting a Twitter account is easy and FREE. If you really want to see how it works, start following some Twitters. You can follow me at www.Twitter.com/Raindance_Fest
Click on my picture and start looking!

Here are my top ten tips when getting started with Twitter, and some other peoples’ thoughts on the newest networking craze:

1. Twitter is fun.
Remember that first and foremost, Twitter is about having a good time.

2. Twitter is sharing.
Share links, post ideas, ask questions, answer questions. Simply opine about what YOU think!

“Even more so than a blog, your tweets need to be personal. *I* and *WE* Never *Company Name*. Don’t be self aggrandizing. Ask for feedback. Ask for action. Give rewards (and don’t think these have to be physical things either).”
--Jon Bonnell of Infinite Spectrum Productions
http://www.infspec.com/

3. Twitter is listening.
It's not about shouting or pushing stuff. So, get an account, and start listening to Tweets. Seeing peoples’ thoughts is a great way to get inspired; why not do some market research on that new clever, idea for a movie?

See the rest of this list HERE.

Marketing Your No Budget Film

Here is an article by One Fat Cigar. Some of this you would think is common knowledge at this point, but hey - you never know.

Check it out HERE.

Uptown Site Updated

Check out the updated Uptown website HERE.

Here is your one-stop spot for all reviews, press, screenings, and DVD info!

www.uptownfilm.com

Paranormal Activity Gets Release Date

Im not a fan of horror films, but this story continues to fascinate me. Check it out below:

"Israeli emigre Oren Peli’s microbudget haunted house film Paranormal Activity is one scary movie. Thanks to producer Jason Blum, Paramount picked up the $11,000 movie after some re-cutting and has set a September 25 release. Paranormal Activity scared the bejeezus out of the crowds at last weekend’s Telluride Film Festival. (It’s five-review ranking on Rotten Tomatoes is 100% fresh.)

Paranormal Activity borrows admiringly from the Blair Witch playbook. Peli makes his picture as real as possible by casting unknowns who can improvise. He eschews gore, and scares audiences with homevideo verite style. And he builds suspense by not showing everything."

More info HERE.

You can also hear an informative interview with the director HERE.

Music Rights & TV on DVD

Monica just wrote a really interesting piece about music rights and DVD on the Forward Movement Blog. Check it out after the jump:

Creating a quality film or television series is the same as creating a good work of art. Meticulous, pain-staking care is given to casting, writing, set décor, wardrobe, hairstyles, lighting and even the music. Some of these may matter more but in the end, the show released to the public is what you expect to see whether the program is on network television or on a DVD release.

Yet when some of these shows come onto DVD, they hit the market without original music and in some cases, the episodes aren't even the original, network presentation. Some of this can be attributed to the shows and contracts being formed at a time before the VHS/DVD market existed or had teeth. WKRP in Cincinnati is a perfect example.

However, music has been cut out of recent shows as well. One case in point: My Name is Earl.

Read the Full Article HERE.

Opa!

Here is a film I'll be checking for. Opa comes to theatres next month.

"On the magical Greek island of Patmos, the inhabitants have lived, danced, and laughed for thousands of years. But, with the arrival of a straight-laced, high-tech archaeologist, ERIC (Matthew Modine) everything could forever change. Eric soon finds himself swept into a world of picture-postcard scenery and romance. That is, until his satellite-guided equipment reveals that his most important find may be buried under the taverna owned by the object of his affection – the beautiful and uncompromising KATERINA (Agni Scott). Will Eric toss away a lifetime of work – and the hope of fulfilling his father’s deepest wish – for the love of a vivacious and independent woman? It will take all her passion and all his courage to find out where the real treasure is buried.

Cinedigm presents a modern day treasure hunt for a mystical relic that turns into a love story for all time."

In Select Theatres October 16th!!!

See the Official Site including the trailer HERE.

www.opafilm.com

Carter, Uptown, and Cookies Selected at Deep Fried Film Festival

We were pleasantly surprised to discover that unknown to us, all three of our recent features were selected and screened in Scotland, UK at the 2009 Deep Fried Film Festival.

Brian Ackley's Uptown screened on Wedsnesday, August 19th at the Motherwell Heritage Centre.

Ryan Andrew Balas' Carter screened on Thursday, August 20th, and Princeton Holt's Cookies & Cream followed later.

For more on the Deep Fried Film Festival visit their site HERE.

Official Carter Website: www.carterthemovie.com

Official Uptown Website: www.uptownfilm.com

Official Cookies & Cream Website: www.cookiesncreammovie.com

Roger Corman on Independent Filmmaking

Here is a personal hero of mine, the great Roger Corman, in a fascinating interview. The legendary "King of the B Movies" talks about making independent films, and includes clips from his many movies. The sound is a bit muddy at times, but its worth the time. Throwback Sundays this week remembers the work ethic and body of work of the great Roger Corman.



www.1wayoranother.net

What Directors Look For in a Producer

As a director, I used to fantasize about a producer that would one day come along and make my life easier. A producer to raise all the money, defend why I was the only director who could handle the material, defend the material itself, then to basically be a parent to me on set while I tried to articulate my vision to people and make my film my way. When that producer never came, I was forced to become that producer myself.

Now, as a producer of several low budget short and feature films, I have seen myself attempt to be (and hopefully become) the producer I always fantasized about having.

The absolute best experience I have had as a producer, as I always say, was during the strenuous, yet glorious production of Brian Ackley's Uptown - and had it not been for Uptown, I'm not quite sure I would have wanted to go on producing so many movies. Writing and directing is always my first love, but if I have to produce, that experience is the one I always hold up and compare others to. It was a perfect mix of hands on, hands off, respect, love, joy, hard work, and the stars being aligned, that for me, will be hard to compare it to anything else - especially in the ultra low budget realm of filmmaking. If you are making a film for next to nothing, make sure you are working on a film like Uptown, where the film was literally about the group - it wasnt about the stars, it wasnt about me, and it wasnt about the director, it was about the group. Everyone collaborated, and that, in my opinion, is what made it a stronger film. Although a couple times I wanted to strangle Brian because of time issues, I can honestly say that it was a pure joy working with this man, and because of this, I cannot wait to produce for him again. They say directors find the perfect producer, but in this case, I felt I found the perfect director. A director who knows what he wants, yet gains the affections of his entire team, by stepping aside and allowing others to do their jobs - from production paperwork, to sound, to editing, to promo art - we've heard a lot of praise about the experience of working with him on this film. And it helps if you ended up meeting two of your favorite actors and people in the process, stars Meissa Hampton and Chris Riquinha - 2 people that redefined the term "professional" for me those 9 days. With this as an experience, the wonderful reception the film is receiving is simply the icing on the cake.

Here is an interesting discussion about what directors look for and need in their producers. This is Episode Seven Of Christine & Ted Talk To Directors At Sundance '09, Lee Daniels speaks of the need to turn water into champagne, Alan Cumming talks about sharing passion, and Jeff Lipsky about protection and not knowing:

For more about Uptown go to their official site HERE.

- Princeton

Jace Nicole as Carmen featured on IIFF Poster

Jace Nicole as Carmen is featured on the official IIFF poster this year. We will be traveling to Boise, to screen Cookies & Cream for the Idaho film lovers in attendence. Again, you can find info on screening times HERE.

Cookies & Cream Official Site

Cookies & Cream Idaho Screening Information

Idaho International Film Festival has updated its website and included a nice write up about Cookies & Cream, and includes some words from director Princeton Holt's official statement.

If you are in Boise, Idaho during the 25th and 26th of September, make sure you check out the dates and come see the movie!

See the write up HERE.

Also check out the updated Cookies & Cream website HERE!

Sundance Finally Embraces the No Budget

The good people at Sundance film festival have decided to open a new category for submission. It's the "Next" category featuring the work of 6-8 low to no budget films.

From Indiewire:

"Festival Director John Cooper made the announcement today, citing 'the desire to discover and promote filmmakers forging new ways to tell their stories, limited by resources but uninhibited by creativity.'

Read the full article HERE.

Naama Kates Featured at Rogue Cinema

Rogue Cinema has a cool feature on Cookies & Cream's Naama Kates. Check it out below!

Name: Naama Kates

Age: 24

Location: City of Angels!!!

Some of my favorite things: Newly, the Silversun Pickups, my cat Masha, Nethack, my banged up Chevy Cavalier, the yoga mat, West coast sunsets, East coast seasons, Southern accents in Northern Liberty, salsa- the dance and the sauce. Rogue Cinema!

Most people would be surprised to know that I: Don’t have a TV, an i-pod, an i-phone, power-windows, locks, or steering, or any more clothes than fit into a couple of duffel bags. Don’t miss New York. I don’t. Really, I swear… hehe… Occasionally do musical theatre!! Have 4 tattoos.

Hobbies / special skills: Music of all sorts, listening, singing, writing, piano, guitar, Logic Pro, YOGA, NYT Sunday crosswords, “flaring” (tossing bottles around bartending), reading old books about religions and languages and magic, cutting boys’ hair, getting lost.




Read the full feature HERE!

Is the Internet Killing the Artist?

Here is a pretty interesting read from Andrew Keen of the Telegraph. Although there is no real discussion of how this all relates to film, I'll consider the intelligence of our readers to draw their own comparisons. More after the jump.

"It’s bad news, I argued in my 2007 book Cult of the Amateur, a polemic which suggested that the Internet is killing our culture and undermining the livelihood of cultural producers. No, it’s good news, counter the techno-optimists like Jeff Jarvis and Clay Shirky - who argue that the Internet offers creative artists and organizations an opportunity to escape from the sometimes unjust and inefficient control of industrial age mass-media.

Today, more than two years after the publication of Cult of the Amateur, as the destructive pace of technological change in the media business has dramatically increased, the debate about the impact of the Internet on high cultural artists and organizations has also become more urgent. Today, as the old mass media industries of television, newspapers, book publishing, recorded music and movies are being fundamentally restructured by the digital economy, it’s become clear that the early 21st century digital revolution is having as profound an impact upon culture as the mid 19th century industrial revolution.

Indeed, the relationship between creativity and technology has become such an emotive issue today that a new international political movement, the Pirate Party, has emerged which actively supports the rights of both the cultural producer and consumer against big media conglomerates. Thus, in an interview earlier this month in The Telegraph, Pirate Party UK leader Andrew Robinson underlined his party’s commitment to reforming copyright law in the UK which, he claimed, adds to the “wealth of big business” rather than 'benefiting the artist.'"

For the full article, take a look for yourself HERE.