Great piece here by the Multi-hyphenate blog about how indie filmmakers have created the model that they have always sought to be apart of. Here is another exciting article on the subject and the latest news coming out of Sundance that confirms the new model of distribution for indies has become commonplace.
Yet as a fellow producer recently noted, the jury is still out on exact success stories (besides a few like My Big Fat Greek Wedding and Monster) of the service deal and smaller films. Are we facing yet another case of "cinematic blue-balls?" Are we all getting excited by the possibilities only to realize that this model, like the others, only lends itself to one or two breakout success stories per year? Is it similar to the passionate calls-to-action for DIY filmmakers to use social media, viral marketing and crowd sourcing for their no budget feature films to find their audience - only to realize that one of the few actual success stories for no budgets is Four Eyed Monsters and that their campaign has generated one of the few, true runaway internet hits (one that lacked true studio support unlike Paranormal Activity)? Or is this just the beginning of a beautiful new love affair? Decide for yourself after the jump:
Traditionally, the studio system has, amongst other things, institutionalized collaboration. And most indie film makers, no matter how indie they are, crave access to a studio’s resources: countless screenwriters, directors, actors, cinematographers, composers, etc, all available and willing to work on projects that are organized and funded by Papa Studio. Now, however, the Old Model is floundering, the gold-plated door knocker is out of reach. Indie filmmakers have been left out in the cold to figure out what the New Model is.
So just what do you do when the mythical support systems you’ve been dreaming about are taken off the table? What do you do when you lose all hope of being swept off your feet by a handsome, charming studio offering guidance, connections, and money? You become what it is that you seek.
Need money for your new project? Utilize a crowd-funding site like IndieGoGo or Kickstarter. Need a website to promote your new project? Set up a free one through Blogger or WordPress. Not sure how to distribute your own movie? Read Jon Reiss’ new book, Think Outside the Box Office, and take notes. Want to build an audience? Find friends and fans through Twitter and Facebook.
Only a couple of days ago, I had a long conversation with another producer about the effectiveness of theatrical distribution service deals, and if it all made sense. Ultimately, the cautious producer has the tough job of deciding for themselves whether their particular project and budget fits this model, and I am curious to learn more about which projects would benefit the most from this type of risky, yet empowering way of growing your film's amount of visibility in the new marketplace. Here is some of the article here, from the Hollywood Reporter:
PARK CITY -- A bidding war broke out at Sundance last weekend over the sci-fi entry "Splice," which stars Adrien Brody and Sarah Polley. But it wasn't the typical contest in which distributors vie to see who is willing to pay the most for rights to the hot movie of the moment.
Instead, the suitors were offering service deals, under which a movie's producers pay them an upfront fee and a percentage of boxoffice returns to get the film into theaters.
As a distribution strategy, the service deal was once considered a mark of shame, a last resort for films.
But as changes have swept the indie world, service deals have become an increasingly popular option, one way to ensure the prestige and visibility that only a theatrical release can provide. With so many specialty outfits having closed their doors, and other companies limiting offers to video rights, producers are more willing to share in the costs of releasing their pics.
Under the service model, producers pay distributors an upfront fee and a percentage of boxoffice -- in many cases, that also covers the distributor's outlays for marketing and distribution. The upside is that they retain rights and future profits on the movie; the downside is they take on much greater financial risk. And new variations on the model are cropping up all the time, sometimes with distribs buying only partial rights.
Hollywood News Blog has reported that Miramax has kicked the bucket, so to speak. Its a strange development, as "the house that Tarantino built" has brought the world many a great "indie" picture. Here is the report:
Miramax will be closing the New York and Los Angeles offices of the movie studio costing 80 people their jobs. This comes at a point where they still have 6 movies waiting to get picked up for distribution, among them “Last Night,” “The Debt,” and “The Tempest.”
This is a sad state of affair considering Miramax was once one of the power arthouse studios that really paved the way for many movies to come. Some of their greatest hits produced from pioneers Harvey and Bob Weinstein were “The Piano,” “Pulp Fiction,” “Clerks,” and “The English Patient.” But their latest films that included “Cold Mountain,” “The Aviator,” and “The Four Feathers,” couldn’t resurrect them back from the dead.
Harvey Weinstein told The Wrap, “I’m feeling very nostalgic right now. I know the movies made on my and my brother Bob’s watch will live on as well as the fantastic films made under the direction of Daniel Battsek. Miramax has some brilliant people working within the organization and I know they will go on to do great things in the industry.”
Our good friend and a fantastic actress Jace Nicole has been working hard ever since her breakthrough performance in Princeton Holt's debut feature Cookies & Cream, which continues to win her rave critical praise. She has done countless films every year since, so many its hard for us to keep up!
Her Official Website just launched. You can go here for all things about the actress, all updates, as well as photos from various shoots, and trailers from some of her films.
Recent LA-by-way-of-NY transplant Karina Longworth poses an interesting question about the irony that is those recent lo-fi Sundance premieres also premiering on Youtube. Here is some of it below:
"As you may have heard, Sundance and YouTube have established a unique collaboration during the 2010 fest, through which three films world premiering here (Bass Ackwards, Homewrecker and One Too Many Mornings--all entries in the NEXT section), as well as two films that debuted in Park City last year (Children of Invention and The Cove), have been made available for rental on YouTube during the duration of the festival. Each film costs $3.99 per viewing, and the filmmakers will, according to a press release, "receive the majority of the revenue share."
The press release also promises that the films will be "spotlighted on the YouTube homepage," but when I went to YouTube I could find no sign of such promotion on the homepage. My "Featured Videos" included Streets Full of Bodies in Haiti and Man Makes Chocolate Records; the clip promoted as Most Popular under the Film & Animation category, The Perfect Body? is a video diary in which two teens interview other teens about style and body image."
Its funny how just yesterday I was having a conversation with actress Jace Nicole (Cookies & Cream, Razorblade City) who is gearing up for an inevitable trip to LA for an acting opportunity and representation interest, when I got this little article forwarded to me. Casting Director Jenny Rawdin over at the Instant Cast Blog has some advice about actors traveling out of town for work. Here is what she says:
"Remember, it’s ok to accept gigs out of town! Your willingness to change locations for you career shows casting directors and future employers that you are versatile: you’re willing to go that extra mile (or…few miles..!) to do anything when it comes to your career. Traveling for work or re-locating also gives you an opportunity to see new places, meet new people, and grow as a person! A new locale also provides you with the opportunity to start over and try new things. Take new and different types of acting classes to build your resume even more! Let everyone know you are not just there to work, you want to learn and have fun too!
Living in different places will give you insight and exposure to different cultures, which will enhance your acting as you’ll have a wider pool of experience to draw from.
How do you land location-changing jobs? These opportunities could include joining a traveling theater group, re-locating for sitcom, or moving for a reality TV show. Your travel stints can range from a couple of days, to a few months, to a lifetime! It all depends on the opportunity that you’re traveling for…either way…go for it & have a blast!"
Apparently, Hollywood has figured out a way to actually kill us audience members with just a screening of one of their over-budgeted spectacles. This reminds me of the story Tarantino tells about Speilberg's Jaws sending some guy into cardiac arrest during its opening. Most filmmakers pray, dream, even lust about having some - no ANY significant affect on their audience. But killing a guy? I can already imagine the legions of angry, scarred-from-high school directors now looking to this new, probably legal method of revenge. Or, it might just simply be of interest to them to have anything close to the reaction one Avatar audience member had - may he Rest in Peace.
"A 42-year-old man in Taiwan has died of a stroke likely caused by over-excitement from watching the 3-D blockbuster epic "Avatar," USA Today reports.
The man, identified only by his last name Kuo, is said to have had a history of high blood pressure. During the screening, in the Taiwanese city of Hsinch, Kuo reportedly began to feel unwell; by the time he reached the hospital he was unconscious. A scan showed that his brain was hemorrhaging. Kuo died 11 days later.
An emergency-room doctor told AFP: "It's likely that the over-excitement from watching the movie triggered his symptoms."
According to FilmStage, Sundance is thinking of those of you who cannot make it to Park City this year. Three films are premiering online via Youtube, even before they screen at the famous fest. This reminds me of SXSW's innovative approach last year, with films like Joe Swanberg's Alexander the Last, which premiered on cable's On Demand as the film played in Texas. Are the good people at Sundance finally embracing the new digital wave? You decide:
"As reported by Indiewire, three new American independent films from the 2010 Sundance Film Festival will debut on YouTube even before audiences get a chance to see the movies at the festival in Park City, UT.
Launching tomorrow for VOD rental online in the United States – from this year’s Sundance fest – are Michael Mohan’s One Too Many Mornings, Todd and Brad Barnes Homewrecker and Linas Philips’ Bass Ackwards. Meanwhile, from last year’s Sundance, YouTube will also be renting Tze Chun’s Children of Invention and Louie Psihoyo’s The Cove online.
YouTube, which is sponsoring the Festival’s new NEXT section for lower-budget indie films, reached out to filmmakers in the sidebar and signed non-exclusive revenue share deals with the filmmakers, making their movies available only during the festival for a $3.99 three-day rental price.
This is a compelling paradigm shift for Sundance, which many view as falling behind the ever evolving independent film scene, succumbing to more celebrity driven vehicles. It’s indeed refreshing to see Sundance make an effort to reach a much larger audience than those who can’t make it to Park City every January. Read the full article over at Indiewire."
B-Sidehas a new On-Demand theatrical program that launches small films theatrically for only about 8, 9 grand total. Purely an effort to drive potential DVD sales, it involves partnering with companies, publications, and organizations that support the film (as well as a perfectly marketable genre/subject matter). Here is a case study on how the stoner doc Super High Me made 3.4 million bucks in DVD. Check it out after the jump:
Theatrical release is essential to the film business. We believe there is nothing that will ever replace the experience of sitting in a dark room with a group of people to watch a movie.
However, of the 75,000 or more films made every year, only about 600 are released theatrically in US. The reason is that the majority of films lose money in theaters. The ‘average’ studio film spends $36 million on prints and advertising (P & A). That same ‘average’ film earns $46 million at the box office. However, the box office is split with theater owners, and distributors typically receive only 40-50% of the box office takings. That means that the ‘average’ studio film loses $14 million on its theatrical release.
So if nearly all films lose money theatrically, why do distributors even bother? The answer is that the dark-room theatrical experience is still far and away the best way for a movie to connect with an audience, and the best way to create awareness and demand for DVD, digital, VOD, and television – which is where all films ultimately make their money. Case in point: the average theatrically released film earns 25 times the DVD revenue of the average straight-to-video film.
That's our motto over here at One Way or Another Productions. Some people know this, but others do not. Monica Trombley's wonderfully colorful and insightful blog Angry Redheaded Lawyer breaks down her rule #1. As an attorney (and our partner and legal administrator), she knows from experience how valuable a good reputation is. Speaking personally, if I were to charge for recommendations and referrals I give on a weekly basis, I could fund an "Indiewood" feature film. Rep is everything. Guard it with your life.
Here after the jump is an excerpt from Monica's latest rant.
This is Monica's "Rule Number 1." And our Rule Number 2 is, "Dont mess with Monica."
"Okay, kids. Rule #1 of the Entertainment business:
Never, I repeat NEVER, make someone an enemy unless it's absolutely necessary.
If the person has stolen from you, flaked out multiple times or done something else completely unprofessional, go right ahead.
Rule #2: It's not only your prerogative but your DUTY to tell everyone you know in the business about that person's crappy treatment of you.
Just like in other industries, we can & will tell people when you behave like a douchebag or do something so outside business norms that it deserves to be called out. It will affect your career. Remember, you don't know who is friends with who or who is someone else's relative, classmate, etc.
Go STARTING trouble & bad mouthing people, though & pretty soon you'll be branded as a liar/moron + petty instigator. Most of us call people out on that shit too; only an idiot wouldn't. "
New York Times has a great new piece about these strange, but exciting times we live in as indie filmmakers. DIY distribution seems to have become the Mainstream Indie Solution. Read about it yourself:
"LAST November inside a conference room at the University of Southern California in Los Angeles, a film consultant named Peter Broderick was doing his best to foment a revolution. Mr. Broderick, who helps filmmakers find their way into the marketplace, was spreading the word on an Internet-era approach to releasing movies that he believes empowers filmmakers without impoverishing them economically or emotionally. Mr. Broderick divides distribution into the Old World and New, infusing his PowerPoint presentation with insurgent rhetoric. He has written a “declaration of independence” for filmmakers that — as he did that afternoon — he reads while wearing a tricorn hat.
In the Old World of distribution, filmmakers hand over all the rights to their work, ceding control to companies that might soon lose interest in their new purchase for various reasons, including a weak opening weekend. (“After the first show,” Mr. Broderick said, repeating an Old World maxim, “we know.”) In the New World, filmmakers maintain full control over their work from beginning to end: they hold on to their rights and, as important, find people who are interested in their projects and can become patrons, even mentors. The Old World has ticket buyers. The New World has ticket buyers who are also Facebook friends. The Old World has commercials, newspapers ads and the mass audience. The New World has social media, YouTube, iTunes and niche audiences. “Newspaper ads,” Mr. Broderick said, “are mostly a waste of money.”
The 200 filmmakers inside the conference room laughed, soaking up Mr. Broderick’s pitch as if their careers depended upon it, which perhaps they do. Independent filmmaking has never been for the faint of heart. But the consensus is that the past few years have been especially brutal. Sales have slowed, deal prices have dropped, and most of the major studios have retreated from the independent scene, closing or scaling back divisions like Warner Independent Pictures and Paramount Vantage, which released the kinds of movies that win critical hearts and awards. And good films are going unsold. Given the changes and downsizing, these might seem like worrisome times for movie lovers as well. After all, if these companies disappear, how do we find the next great American independent filmmaker, the new Jim Jarmusch, Wes Anderson 2.0? "
This may be Late Night's version of 2pac vs. Biggie, without the violence. Because he started it, Conan O'Brien would be 2pac, and for his subtle jabs and rarely mentioning names, Jay Leno would be Biggie. When Jimmy Kimmel chimed in, although "friendly" with Jay, he could be compared to Snoop, when he chimed in subtly on the beef, while trying to remain neutral. And Howard Stern and Dave Letterman would be Mobb Deep - relentlessly attacking Jay by sparking the beef to begin with.
Gangsta rap comparisons aside, Gossip Cophas announced that a healthy settlement for Conan is in the works. Is this a good pay-off? You decide, after the jump:
"Conan O'Brien ended one of the most memorable weeks in the history of late night television with another monologue mocking NBC, the network primed to replace him after only seven months on 'The Tonight Show.'
And as he showed with a clip of his arrival at the studio that morning, NBC is “firing” back.
O’Brien also displayed for sale a limited edition piece of “Tonight Show” luggage and shared a hearty laugh with Andy Richter over how much money NBC stood to lose on the Winter Olympics.
But behind the scenes, top NBC brass and reps for O’Brien were hammering out an exit deal, which possibly could be finalized as early as today, though there are a few key issues that remain to be resolved.
Sources say, under the circumstances, it appears to be a win-win for O’Brien, who still has time left on his NBC contract. Gossip Cop is told O’Brien could walk away from the network with more than $30 million, and not be barred from working elsewhere.
Stay tuned for more developments. In the meantime, we’ll all continue to be amused as O’Brien nightly skewers his (soon-to-be former) bosses. Last night was no exception."
So as bloggers and filmmakers continue discuss ways of reaching and connecting with their audience, "Think Outside the Box Office" author Jon Reiss actually has written a piece that extends a hand to the audience, and presents them with ways to connect with filmmakers! Check it out below:
"Much has been written about the collapse of the distribution model for independent films in this country and around the world. There seems to be a general consensus that an audience for independent film (and independent voices) still exists (and much of that audience is you!) What seems to be broken is the connection between these audiences and the filmmakers. This connection used to be filled by various versions of the studio delivery model, which for some people never really served either the audiences of independent film or the filmmakers themselves. By being reliant on the studio model, these people felt that independent film skewed to supporting films that were studio wannabes, not real independent voices (with some wonderful exceptions of course).
There is a new generation of filmmakers who want to engage directly with their audiences (many older filmmakers are embracing this model as well -- some kicking and screaming).
The purpose of this article is to encourage audience members to reach back to filmmakers -- and provide ten concrete ways to do so.
1. Join Filmmaker's Email Lists. This email list is essential to filmmakers. It provides them with the most direct way for them to communicate with you, their audience, and the only means of contact that they control independently of other companies. Facebook owns all of the information about you, including your "friends," e.g. you cannot access this fan information directly. You can easily unsubscribe to any filmmaker's email list that who abuses the gift of your email. (Note to filmmaker's -- don't bombard your fans with constant updates. When you are not in release once a month is plenty. When you are in release you should target screenings to zip codes so you don't blast your whole list for a screening in Amarillo.)
2. Join Filmmaker's Facebook Pages/Groups/Twitter Feeds. Even though the email list is most important, it is also good to join a filmmaker's Facebook page or Twitter feed, especially in the beginning. This early joining helps the filmmaker get some traction in the social web space. It encourages others to join if they see the space populated by others. And then again -- you might actually be interested in what the filmmaker posts and tweets about! This is one of the best ways to engage a filmmaker in a 'conversation.'"
Here are a couple of the most prolific filmmakers you have probably never heard of. These young artists, strapped with only their cameras and their vision, produce highly avant-garde, boundary-pushing cinema on no budgets and make them freely available in all forms to those that want to see them. There is no thought paid to standard distribution, Sundance-driven "commercializing", or "Indiewood" packaging. These guys simply create because they are compelled. Then they make them freely available to the public.
Adam Cooley: writer/director of several films. Here is what Adam says about his work:
"I make concoctions that introduce the concept of formless paradigm shifts while dabbling largely in phallocentrism and represesed dogmatic schemata. My films have been screened at a few film festivals, to positive reviews. On this page you will find downloads and information for my films. Feel free to copy my stuff and distribute in any way you see fit; put on your site, put on torrents, burn for friends, have screenings for, etc."
Ryan Trecartin: still in his twenties, this filmmaker has cranked out at least 10 films. About his work, this is what has been said:
"The combination of assaultive, nearly impenetrable avant-garde logics and equally outlandish, virtuoso uses of color, form, drama and montage produces a sublime, stream-of-consciousness effect that feels bewilderingly true to life."
Ever wanted to know the inner workings of the Academy Award nominations? Screenwriter John Augustgives us an inside peak at how it all goes down. Read about it after the jump:
"This is my first year as an Academy member, and my first year voting for awards. As a member of the Writers branch, I’ll be casting ballots for Original Screenplay, Adapted Screenplay and Best Picture.
Since it’s all new to me, I thought I’d walk readers through the process.
A few weeks ago, I got a printed Reminder List — a catalog listing all the films eligible for Best Picture. It’s from this list that I have to pick and rank my top ten films. I’ll hand-write the titles on a form that goes in a green envelope, which must be received by the accounting firm of PricewaterhouseCoopers LLP by 5 p.m. January 23, 2010.
Nominating ten films for Best Picture is a change from previous years, in which there were only five nominations.1 But the system of ranking your choices dates back to 1936. It’s a form of preferential voting designed to more accurately reflect the will of voters.
But man, it’s complicated. It’s easier to explain what it’s not.
1) It’s not a weighted ballot. You might think that your top pick gets 10 points, while your second pick gets nine points, etc. It’s not that. In fact…
2) You’re really only voting for one title. Your ballot will only be counted towards one film. That film will be the one you ranked first, unless your number one pick has the smallest number of votes and is thus out of the running. In that case, they count your second pick. If needed, they’ll continue on to your third, fourth or later picks until your ballot is cast for exactly one picture.2"
Actor Matthew Modine recounts a defining moment with director Robert Altman during the filming of Streamers that, although frustrating for Modine, exemplified Altman's approach to filmmaking.
This week, Throwback Sundays reflects on Robert Altman's unorthodox, yet highly effective approach to directing actors.
Scott Kirsner at CinemaTech posed a great question in the last days of 2009. "So how sure are you that the audience wants you to make a movie?" He further explores the different types of digital content that its possible for this new generation of artists to create, and ponders reaching a more specific audience in the new year. Read more about it after the jump:
"Here are the big questions I'm going to be focusing on in 2010: what kinds of visual content does the audience want to see, aside from full-length features? Who's making it? And how is it being monetized?
I wonder how many filmmakers will also be thinking about those questions in 2010... and how many would rather simply continue making feature films, regardless of what the audience is doing...and sprinkle a trailer and perhaps a couple bonus clips around the Internet as "marketing."
Somewhere around the time of the first Ocean's 11, Steven Soderbergh ventured into the DIY territory (although using a "measly" 2 million bucks from Miramax) and like some of us before, he grabbed a DV camera (a Canon XL-1 to be exact). Then, like us, he called up some very close friends (in his case those close friends just happened to be Julia Roberts, Catherine Keener, and Brad Pitt), and shot a handheld, improvisational feature film in a very short amount of time. That film became Full Frontal (a film many ripped to shreds, although I thought it was absolutely hilarious). At that time it was considered pretty ballsy for a Hollywood filmmaker to do.
He did it again with Bubble Boy, the HD feature with unknown actors that became the first film to go to DVD and theaters on the same day. He was again praised for his experimentation.
Here we are again, and Soderbergh has "snuck away" to make another small, DIY, improvisational film. Read more about it after the jump:
Ok, Steven Soderbergh is pretty notorious for shooting fast and on the cheap, cranking out more than one picture per year (last year he had "The Girlfriend Experience," "The Informant!" and "Che" if you count that one as a 2009 release which it was for most of the world).
As we revealed a few weeks afterwards, "Tot Mom" is based on the true life events of a Florida woman, Casey Anthony, accused of killing her toddler daughter in 2008 and is centered around the crusading campaign from American legal commentator Nancy Grace to bring this story to the public eye (it's was partly based on her Court TV show, court documents and police reports). It's essentially a story about media sensation and community complicity and at the same time without glaring judgement or indictments.
My favorite piece of writing so far, from the multi-talented Naama Kates. Honest, revealing, ironic...artists take note. We love this new RogueCinema feature. Here is some of it after the jump:
"Okay. Well, Happy New Year! Happy new year, a pat on the back, we made it through, we made it through the damn holiday season, us orphans and outcasts, gypsies and dreamers, displaced and wandering through six weeks of Winter Wonderlands. December slipped away while I was sleeping, without a warning or a peep or good-bye. As indeed did 2009.
I like to start my New Year in style. Sure, so do most, but I really care. It's become almost a superstition to me that each December 31st will somehow foreshadow the following 365 days, an opportunity to outsmart fate for a year by carefully planning, or irreverently not planning a single evening. And because this New Year's Eve was no different-- both very planned and unplanned, exceeding expectations and dwarfing the fated day the year before-- I didn't make my deadline and thus can write in the present and not in the future for a change. I'm watching Cabo San Lucas glitter and glow and recede from the window on my left, peering over the shoulder of a precociously hip little boy with his face buried in a comic book... If New Year's Eve is in fact a sign of things to come, I am hopeful for 2010. I believe it is a sign, and in my go-in-with-a-bang tradition. But one tradition in which I do not partake is the New Year's Resolution, which can, unlike champagne toasts or wearing red or kissing at midnight, truly and directly improve one's life. And yet I resolve nothing.
I tried, at a Mexican restaurant on the beach, to the serenade if conga drums and flamenco guitar, skillfully pulling off a Gypsy Kings classic, which I requested after they attempted "Tears in Heaven" and endlessly repeated the first verse. I tried again, at a quarter to the new year at a club in downtown Cabo, lit by pink and blue strobes, to the serenade of Britney Spears over a deep house beat. I had nothing but nebulous abstractions like "Do more for my career" and "Learn from my practice."
"Well, those are good, but you should make one that's quantifiable," encouraged a friend. I couldn't. I rejected every suggestion. I can't. But what if I WANT another cigarette? No, no, I won't stick to that... Oh that won't happen... I have no control over THAT! I don't want to break a promise, not even to myself, so I just won't make one in the first place, I thought, and my ears rang from the echo: I don't want to fail, so I just won't try."
Thought some of you would get a kick out of this. Our very own Jace Nicole (Cookies & Cream) on the cover of Baltimore's Harford County Aegis newspaper toting a large, hand-cannon and a great, blonde wig custom. Her new film, Razorblade City premieres today in Maryland, at the Landmark Theatre (Baltimore).
Here is the trailer for this kick-ass, playfully stylized, urban action-thriller genre movie, for those that haven't seen it already.
Its not enough that they have had the largest grossing year in history recently for box office success, but now they want your free online content too?
Thats right. Hollywood wants your online web content. And they'll give you money for it. Read after the jump:
"Web sites that buy original video clips often pay so little that "The Bannen Way," a flashy crime thriller debuting online, looked destined to be made poorly if it could be made at all.
Yet budding filmmakers Jesse Warren and Mark Gantt managed to hire 40-odd staff, including a boom operator, camerapeople — yes, more than one — and even production assistants on hand to offer sunscreen and sandwiches. And the production had actors familiar to some TV and movie audiences, including Michael Ironside, Robert Forster and Vanessa Marcil.
The secret to their success? Treat the Internet run like a TV or movie release, which often loses money on its on-screen debut, but can make healthy profits when issued on DVD or Blu-ray and later sold for reruns on cable or overseas.
With that in mind, major movie studios are now getting behind such productions, giving them a lift in budgets and quality — a far cry from the shaky camerawork and dubious special effects prevalent when Web video became a new phenomenon a few years ago."
Aaron Katz (Quiet City) will premiere his new feature film "Cold Weather" at this years South by Southwest Film Festival. The film is about a former forensic science major and avid reader of detective fiction who gets involved in something unexpected after he returns to his hometown of Portland, Ore.
Here is an oldie but goodie. Its an old Duplass Brothers short film, their first public film, and the first one they produced that got into Sundance, getting their careers rolling.
This Is John proves that you don't have to be a millionaire to make entertaining films, the Duplass Brothers conceived and shot this short on the real cheap for about three bucks and subsequently scored their Sundance debut. Here it is below:
For our first edition of Throwback Sundays in 2010, we're highlighting our picks for 5 of the decade's best DIY films you probably have never heard of. These films were done with little to no budgets, with the filmmakers using nothing but the resources available to them, and creating something meaningful from them. These are in no particular order. Feel free to click on the titles for links to the films' online presence or dvd purchase pages.
Story: Six characters at a crossroads in their lives come together for a thirtieth birthday party that will change them forever.
Reception: After having its premiere at Sundance, where the film didn't pick up any awards but got a nice quote from Robert Redford (whose daughter was one of the leads), this very no budget feature film went on to be nominated for an Indie Spirit producer's award in 2003. Critically it evoked sort of a "blah" reaction (which isn't good for any filmmaker), before getting truly panned by variety (at least someone took a stand). There was a great quote however from Norm Schrager of FilmCritic.com who said, "in creating the party sequences, Neave succeeds at one of the toughest directorial tasks – building a party out of thin air, and making it seem absolutely real." The film went on to span both coasts domestically, before ending its run with a showing in Hawaii and in Bangkok, to bring their fest total to about 6 before getting released on DVD by Spot Creative. It is now available on iTunes as well as Amazon.
Comments: Beyond your standard DIY tech issues, this film seemed to have focus issues, with the consumer DV cameras used. The whole film seemed soft. As some critics pointed out, the film ends much stronger than it starts, which I guess could have been the point. There were also some actors that were not quite able to make their characters the least bit likable, even though their characters themselves were fully dimensional. That being said, this film packed a hell of a surprise punch at the infamous party scene where things all of sudden go terribly wrong. Although the structuring was a stroke of genius, this was "mumblecore" before there was "mumblecore." Improvised dialogue, very nuaced and natural character and story development, and a brilliant first feature performance by Kellee Stewart, who after doing this no budget film went on to major roles in Hollywood films like Guess Who with Ashton Kutcher and TBS's "My Boys." Its one of those rare finds, and I'm glad I randomly picked up the DVD (although till this day I cannot remember where from). The trailer alone gives me goosebumps when I stumble on it from time to time:
Story: Johnny in his mid-20's, from Brooklyn tries to grow beyond his provincial background in his quest for self-discovery but falls into a dark underworld that brings him everything he thinks he wants.
Reception: After getting rejected from top tier fests like Sundance, the film had its world premiere at the San Francisco Independent film festival, before showing in Palm Beach and Newport Beach International Fests among several others. Paul Rogers of LA Critics called it "the new watermark in no budget feature filmmaking." It was awarded best feature at Moondance, and best debut film at Australia International. No word on the DVD release (the director has been admittedly slow to come to terms with having do all the work necessary to self-distribute it), except its "coming soon," but you'll be sure to hear it first on the film's FB page HERE.
Comments: Saw this film for the first time at the Idaho International Film Festival and was floored. Its not that I hadn't heard any hype about it, John Gavin the director, who is now a friend of mine, will tell you flat out, "the film is fantastic." Believe me he isnt a jerk, and just like the film, its endearing. He is underselling the film as far as I'm concerned. Without a budget, these guys managed to cover countless authentic NYC locations in the span of this movie. This film has more heart than most DIY films I've seen, and that is probably because it is centered by one of the best single performances in a DIY film, by John Daniel Gavin who also plays the title role - thats why its on this list. This is all despite the fact that as I've expressed to Gavin privately, his performance was so good that unfortunately the run and gun nature by which he was forced to shoot, would often work against him, with lighting schemes that several times hid the brilliance that you could hear and feel was there. But its one of the only times I can remember watching a performance and immediately thinking to myself that the actor belonged on a much larger screen, as a bonified superstar. Gavin's performance in my opinion was beyond the limits of DIY, it was epic. I also must mention that it contains an opening scene that features some of the best staging I've seen in a low budget film period.
Story: A study of lonely, alienated people in bland apartment complexes who fill their empty lives with sexual fantasies and pornography.
Reception: A very well received film, that was granted the one-two punch of a Slamdance premiere followed by a screening at SXSW. The rest is basically history, as several critics including Robert Koehler at Variety praised the debut. An impressive festival run that included Gen Art, Philadelphia, and Boston before going overseas. It was eventually released on DVD by Heretic Films in 2007.
Comments: Delightfully deceptive in several ways. A Mini DV, DIY film that looks and feels like a 35mm Sundance selection, and a film that talks way more about sex than it actually shows. Very mature, low key performances across the board. A visibly well made film with an invisible budget.
Story: In the wake of a brief, but intense relationship with Shaina, David struggles to find the same connection with Cara, his new flame and Shaina's former best friend.
Reception: Official Selection at SXSW, good reviews across the board from critics that included Peter Martin of Cinematical. Strangely enough, this film may never be seen again, as the DVD release has been held up due to music clearance issues, and may or may not complete that process.
Comments: Shot for around 15 grand, it was my favorite film of '08. Saw it at IFC. Great use of music score. Emotionally raw, honest. Leah Goldstein gave a strong performance. Some really cool, thoughtful blocking as well. It includes the best single steadicam shot I've seen in a decade; one that was in itself metaphorically comprehensive.
Story: Four New York improvisers struggle with love, commitment, and understanding the women in their lives, in this ensemble, indie comedy.
Reception: Although rejected from top tier film festivals, the film found its audience at regional film festivals all over the east coast, and received several strong reviews including this good one from BlogCritics. The film was picked up by Hightone after nearly 2 strong years on the festival circuit.
Comments: Shot for around the same budget as the above film, this gem of a comedy was shot as if their DV Cam was a 35mm Panavision special. Heavy use of dolly shots, and the lack of handheld work was refreshing, daring, and showed the world that all no budget films don't have to look or feel the same way. The writing is nearly perfect, the jokes funny, the actors engaging. Features a rare but wonderfully dramatic, pre-Fuse TV performance from funny-woman Allison Becker (MTV's "Boiling Points").
The new and official title for producer Andrea Ajemian's hilarious film about a high school quarterback who quits the team his senior year to turn his heavy metal band into the first ever boyband in 1982 is...Boyband(formerly We Got the Beat)!
About Cookies & Cream he writes "Holt’s smart writing, and Nicole’s sympathetic lead performance, shows the tough choices ahead in a way that’s funny and memorably engaging."
About Uptown he writes "Brian Ackley’s perceptive writing and the performances by Chris Riquinha and Meissa Hampton ring true every step of the way."
Later in the piece he names his favorite performances of the year that include the actors above.
