Who is Behind the Camera?

A law used to exist which did not allow conglomerates or monopolies in the world of media. It was before the days of NewsCorp and Clear Channel. Then the law was remove and the little guy with his little independent voice was swiftly all but eliminated leaving one less uncontrolled opinion out on the market.

Depending on which side of the argument you stand, this is either a good or bad thing. Do you want to control the masses? If so, then controlling new feeds throughout the US (or the world) would prove practical and strategical.

Media has always been used to alter and sway public opinion. In wartime, the military drops leaflets upon its enemies citizens to sway opinion, cause confusion and mistrust, and to move the masses over to their way of thinking. To encourage women to work during WWII entire media campaigns were created stating it was their patriotic obligation to take the jobs of their husbands.

After the war new media campaigns were created to ensure women gave up those jobs and returned to the home. The term 'nuclear family' was created during this time. There was a huge media campaign encouraging women to 'consume'. The idea may have been introduced to stimulate economic growth in the US but the practice of swaying the masses through manipulative media has stayed and intensified.

You need this shirt to look like a real man. You need this face product if you really love yourself. You need this car or you're a nobody. This asprin will cure all your woes. These shoes will secure your place in heaven. A new house that you can't afford will be affordable to you later if you only buy it now and the government will help, ask Fannie or Fred... Every American deserves to own a piece of America, there is a shortage of land, prices will always go up. The masses will believe anything at any price whether it's good for them, or not, if sold in the right package.

So... who's behind the camera? Now that there are so few independent voice that can make it to the big screen - who are we listening to?

The film industry is at a time of flux and change. Independent filmmakers have a window of opportunity to take back control and to start profiting from their own work in a way that has not been available to them in a very long time. Independent filmmakers aren't unified like the film industry, so filmmakers have their work cut out for them!

What is a Film Festival?

Film festivals are not theaters.

Theaters are for films that have secured distribution.

Film festivals came about as a way for undiscovered films still looking for an audience to reach out to communities at a grassroots level.

Sometimes film festivals take place in theaters. Sometimes they don't.

Convoluting the two (festivals and theaters) won't do anyone or either industry any good in the long run.

Cannes is an Industry Film Festival. Created by the industry. For the industry.

Perhaps Industry Film Festivals should be labels as such to clarify the distinction and help preserve the integrity of Independent Film Festivals.

Quentin Tarantino's latest film doesn't need Cannes for distribution. That glorious bastard undoubtedly has it in the bag! Cannes is just a nice way to start things off. It's a fun little marketing ploy and finishing touch for a film's long journey - particularly considering the filmmaker's history at the festival. Necessary, no. But with Cannes, that's not the point.

Cannes is a shin dig for industry types. A place for buyers and sellers to gather and sweat things out in these tumultuous times of change within the industry. A place for stars to shine on the red carpet as the press clamors striving for the money shot. A place for filmmakers to meet and network.

Cannes is all about the industry. Sometimes it seems the industry has forgotten about filmmaking... has forgotten about the audience. Perhaps this is, in part, what led Geoffrey Gilmore to question whether or not film festivals would become obsolete in 10 years while Gilles Jacob exclaimed that festivals were alive and well. While Gilmore tried diligently to broaden the audience of independent film over the years, Jacobs exclaims that Cannes' is all about the Independents... claiming you just need to look due East.

As far as the 'anglos' go. They are alive and well, thank you very much. Maybe the problem Cannes has with them is that these films truly are independent. Cannes makes its money off the industry, not off independents. If a studio or country is backing a film then money will be spent in Cannes (of course, this year is different since some Westerners may not be attending Cannes due to the state of the economy, in part).

Independent filmmakers not backed by a studio, or a country, don't really have as much to offer Cannes. France's Center for National Cinema (CNC) forked over approximately half of Cannes 20 million euro budget this year. Rinky dink, truly independent films just don't bring in the kind of money Cannes needs to generate to justify its funding. Besides, if festivals weren't alive and well... what would Cannes be?

Gilmore... hmmm. There is no doubt this man loves the independents and film in general. He's passionate about it. Stop. Let's just stop. Let's clarify. 'Indie' arms of studios are not independent films. They are low budget arms of studios that generally range between $1-15 million. Mixing words hurts independents and helps low budget studio films. Well, that might be great for studios and the 'industry' but it hurts the world of truly independent filmmaking - particularly when discussing profit margins and revenue.

Let's not get caught up in the dichotomy. Perhaps, over the years, with all the hoopla and expectations aimed at Sundance things got a little mixed up. In the end, Gilmore walked over to a world that will allow him to deal with the fascinating and newly unraveling world of distribution. A world he can help mold and create. Smart move on the part of Tribeca - it needs direction and Gilmore was ready for change in a world awaiting someone like him to take the reigns. Nonetheless, he's perhaps backing away from festivals and questioning whether or not they even need to (or can) exist. They can... they just need a little purification.

More than ever film festivals are vitally important for the truly independent filmmaker. Festivals might not be important to the industry which constantly narrows its reach preferring to focus on 'franchises' rather than films. Fine. But what does that have to do with filmmaking? Nothing. It has to do with formulated profit for corporations.

So perhaps the conversation needs to be updated. Perhaps it's time for a little more separation. Industry productions have little-to-nothing to do with independent filmmaking.

It's time to recreate the conversation. Let's get back to basics. Film festivals are a way to bring independent films to communities. Through this initial grassroots effort a filmmaker can then spawn off into different directions allowing word-of-mouth, the audience and viewership to grow.

Independent film festivals should not try to emulate industry film festivals. On the contrary. Allow a fest to grow out of need. Allow it to occur organically rather based on the needs of a community (there are many types of communities - not all are local) than fabricated by corporate design.

There is a great demand by both independent filmmakers and their audience to connect. It is quite possible that sales reps, distribution companies and studios will become obsolete in this process. Studios don't need indies. The two don't necessarily even coincide well together. Independents don't need studios. That can be a scary thought for an independent filmmaker... but trust that the market is yours for the taking. Studios and indies often have an overlapping audience but that should not be confused with the two entities being one of the same. They are not.

"I think there are old models here," said Gilmore, asked to survey his new city and the future of festivals in general. "To be honest, that's the kind of question I think about a lot: how to reinvent festivals, what they should be doing, whether or not their agendas—which have evolved greatly—need to be rethought completely."

Film festivals need to be a springboard for new and emerging films, not a trench coat for unsavory sights.

Buyers at the Short Film Corner

If you are a filmmaker attending the Short Film Corner at the Cannes Film Festival than you should know who the buyers are that will be present. The SFC was kind enough to set up a handy dandy page with videos from each of the buyers.

I strongly recommend spending a little time watching each of the videos which will acquaint you with the buyers, what they are looking for and what they are willing to pay for shorts. Guadalupe ARENSBURG with Canal + Spain pays $150 mins up to 15 mins. Mary Lampe of PBS, Texas pays $60 min up to 26 mins, non-exclusive. Jean Charles MILLE is a manager who wants a three-year exclusive and 30% of sales. Roland NGUYEN pays $500 a min up to 20 mins w/3 runs over a three year w/only the first run exclusive. Betcha wanna know what he looks like, huh?!? Each buyer has a different set of rules they follow. Some buyers purchase a lot, some don't. Some want exclusives. Some don't. Figure it out. This is your business. Mind it!

If you're going to Cannes' Short Film Corner then do your homework. Know who these twenty-five buyers are and what they have to offer. Know what they look like. Basically... be prepared.

One thing that was painfully obvious last year was that no one knew who anybody was. I had several buyers ask if I was a filmmaker. Buyers and filmmakers couldn't seem to hook up. So really, take the time to learn these faces. It's as simple as hearing their 2-3 min video pitch. Don't get lost in the crowd. These people are there to find fantastic films. It's their job! Set up screenings and invite them. Do a two person booth session with them.

I have often heard it said that a short film is your calling card. I would say that is true only if it is good enough. If it is good enough, then it might very well be what these buyers are looking to take back with them. You can make money off your short film and the Short Film Corner at Cannes is an excellent place to start!

Best of luck to all of you! May you make fabulous work and prosper from it!

Working the Room at the Short Film Corner

Five tips for filmmakers planning on attending Cannes' Short Film Corner.

1. Bring Flyers - display them each morning on the designated walls and counter space in the Short Film Corner. If you don't already have flyers made up, don't sweat it. Go to your local copy shop and run off some color copies, or even black-and-white copies. Last year, many filmmakers made up a batch of color laser copied business cards. Be creative and imaginative.

2. Reserve a screening room. Invite people to watch your film in the screening room. Remember buyers and festival directors should take priority over actors and other directors, unless you are just there to mingle with your peers. Many screening rooms have 9 seats (at least that was the setup last year). Believe it or not, it can be very difficult to fill these few seats. Start early. Hang up flyers, in advance, with the date and time of the screening within the SFC. If you book the theater days in advance, publicize days in advance as well as the day of the screening. Flyers alone are not enough. You must get out there and tell people about it. People cannot attend unless they are specifically invited, so let people know your screening is happening and invite them to come!

3. Screen shorts in viewing booths. Shorts can be screened in booths set up to accommodate one or two viewers. Often, there is no line for a booth, particularly earlier in the week and earlier in the day. If you meet a buyer, ask them if they would like to watch your film. There seemed to be a disconnect between buyers and filmmakers last year. Try to bridge that gap. A buyer might prefer to watch the film with you in a two person booth or by themselves in a one-person booth. Or, they might prefer a DVD.

4. Keep DVDs on-hand. Not all buyers or festival directors will be able to watch your short at a convenient time for you, hand them your DVD! Last year, some filmmakers laid out a few of their dvds on the designated counter tops in the SFC. At least one of those played at our fest last year.

5. Talk and mingle. The SFC offers a happy hour each evening for the last hour before closing. I believe it was from 5-6pm last year.

Preparing for Cannes' Short Film Corner

A filmmaker just sent a thank you note for a blog I wrote last month on the Cannes' Short Film Corner. Attached to his email were two items: 1. his film's press kit, and 2. a press release announcing his film's arrival to Cannes' Short Film Corner.

The filmmaker has not submitted to either of our fests and I have nothing invested in him, nor he I. I don't know him from Adam.

This is what I can tell you about him from the friendly, short and concise email...
1. He plans ahead to ensure he is as well prepared as possible for the event he will be attending.
2. He's a short filmmaker.
3. He is compelled to participate in all aspects of the filmmaking process, including marketing and distribution.
4. If a festival were to accept his work, his marketing skills would probably prove to be a great asset toward promoting his work at the fest.
5. He understands that an independent filmmaker is formidably responsible for marketing his film after the completion of production.

Below is what I learned from the two attachments which accompanied his email.
The filmmaker's name is Craig Whitney. The film is called Harvest Home. He has a blog and a press kit which you can download from his site. Harvest Home also has a Facebook, MySpace, IMDB, ShortFilmCorner page, and a production company called Better Archangel Pictures. Not surprisingly, Harvest Home also has a trailer... Enjoy!

Filmmakers: Wait for the Money!

There is a lot of talk floating around about the changing distribution market for indie films. It feels like filmmakers are waiting for a knight in shining armor to rescue them. With good faith and intentions filmmakers are handing over their films to people who seem to have absolutely no idea how to generate revenue from the product. Many online 'distributors' and 'rights managers' happily exclaim how audiences can watch these films for free! Does a filmmaker really need a middleman to give their film away. When it comes to resourceful avenues for marketing independent films filmmakers lead the way in progressive, successful and profitable ideas.

The revenue issue will not sort itself out. People will sort it out. The question is who is doing the sorting and on whose behalf are they sorting? If someone else is doing the thinking for you as to where your money should go, do you think they'll put it in your pocket or their own? Think about it. Think Madoff. Think for yourself. Don't be blindly led down a road of relinquished royalties and rights.

Your life is not a Disney movie. You will need to be your own knight in shining armor.

Three potentially big players in the indie world are Google, YouTube and Facebook. These entities haven't sorted out how they are going to create revenue. How are they going to sort out how you can make money?

If a company wants to put your film up for free then ask what you get out of it besides hits. Solid monetary numbers are good. If those figures only pay your phone bill then perhaps you might want to look at what other companies are offering, or at least what sort of rights they want turned over. Hold out until you get an offer worth taking or create it yourself.

Make sure you read the fine print. Question what deal is being offered to you. If your film is good, it will be good in two years. Find the right avenue by which to distribute. If you aren't patient and your film goes out for free and you can't take your rights back because you signed them away, then what? Then will you ever have the opportunity to make money from the film you worked so hard to create?

I've read that if you put a picture up on Facebook you give FB non-exclusive rights to your work. Is that indefinite? Does that mean the company can always put your photo up even 50 years from now for free? How does YouTube work? If you put your film on Google for free, non-exclusively, can you take it down? Do you have that right? Or, did you just sign your rights away? If Google has the right to continue screening your film how could you make money off the film elsewhere? Be patient? Know what you are getting into. Think longterm. Don't lose crucial control over your potential paycheck. Be weary of smooth talkers and unexplained hype.

Don't be in a hurry to get nothing for something from which you can potentially earn a living. The marketplace is changing. Be patient. If you're film is good now it will be good later and you will be able to make money from it in the long run. If you jump the gun you might lose out. Just be careful. Think before you act. Find out exactly what is in it for you. If your potential partner can't tell you, then maybe they haven't figured it out yet. Fine. Then maybe it's okay to wait until the dust has settled.

Participate in both your own success and the success of your work. The independent film market is huge and untapped. Don't believe everyone who says the market is flooded. Perhaps the problem is that old methods just aren't working anymore. We are creating a new system. This is a very exciting time for the independent film industry.

Your product is golden. Treat it like such. Don't let someone else make your money because they convinced you that your product wasn't valuable. If your work is good, it's valuable. Don't believe the rhetoric. There is no time limit on quality. Have you seen The Godfather lately? Quality is timeless. If your product is good then time is on your side and you have nothing to lose but your livelihood.

Google, YouTube and Facebook (or their proverbial equivalents) can be your best friends. These companies know how to reach an audience. What they don't know how to do is make money. That's okay. Everyone needs to start somewhere. Just remember to work with them, not for them.

Even in today's climate of flux within the industry, there are times when YouTube is clearly an excellent place to share your film and money becomes irrelevant. Let's say you're Kate Hudson and you just directed your first short which is screening at Tribeca Film Fest and you'd like the world to see it because that exposure and recognition is all the leverage you need...