If you can’t make it to SXSW 2017, what better way to numb away the sadness and pain by spending a few hours this week checking out Vimeo’s Streaming SXSW Channel? Watch films and music videos as if you were right there in Austin with all the other cool cats. And all from the comfort of your own home! Though the majority of selections available on the channel are narrative shorts and music videos, there are also feature length options to check out. Itching for some SXSW in your life? Head on over to Streaming @ SXSW 2017 and get watching NOW!
Walking down Main Street of the Sundance film festival this year, it felt like there was an ever-growing gap between the east and the west side of the street. Hollywood and Independent seem to be growing further and further apart, making the Sundance film festival, and other L.A. hyped festivals like it, such an increasingly awkward phenomena. You have a festival director who wants to keep the slate as Independent, fresh, and intriguing as possible, an audience that attends who has come to expect way more “accessible” stories, and big biz owned media companies like Variety claiming the festival “suffered from too much Brooklyn” and squawking at 2 million dollar advance tags for indie films in today’s market. We feel for you Mr. Redford, we do…but you created this monster, and now it ‘s become a near perfect representation of the dichotomy within the film Industry. The divide: This is not an East vs. West thing, but more of a continued divide in mentality and approach to film. It is exclusivity, public relations, and celebrity versus collaboration, community building, and storytelling. Old Hollywood versus new thinkers. Creatives vs. creative exploiters. I think there is some ancient adage about a poor old man with a paint brush who grew frightened he may never be able to buy paint again if something were to happen to his even older brother who convinces the village people that the old man’s art is worth money. If there is no adage, then now there is. The artist and the thinker are inherently self-critical and the Hollywood older brother is inherently opportunistic. Ah’ the parties: As this is more of a state of the industry post and not a review of the actual films we saw, I think it is appropriate to tell a story of this microcosm within the microcosm. I was able to attend a few LA parties and a few non-LA parties, and from my vantage point, the two settings were effortlessly distinguishable. In the same evening we attended: At Party One: A writer/filmmaker engaged me and got me excited about new methods of audience building he had executed that I had never even considered. I offered him some biz techniques that were working for us at IndieStreet. Awesome for us. At Party Two: After a quick intro, a girl yells out to me that they were just at a party and Aaron Paul was there. Awesome for you. She then stared waiting for a reaction or possibly a one-up name drop. So I yelled over the pumping bass, “I was just at a party with Zack Lieberman Betchhhh. (the filmmaker I had met earlier) The girl laughed at the Jesse impression, and assumed that my name drop was of some Hollywood celebrity that she just didn’t know yet. She didn’t ask who he was, because guess what, she didn’t care. And this woman is not at all representative of the creative capital in Hollywood, but is representative of the focus of Hollywood. Get the masses salivating about names and exclusivity and make that money. 3 conceivable paths from the growing divide: At Sundance, there was panel after panel of NY and SF and other natives discussing how to navigate a sustainable career as an artist and new ways to own your product through distribution. In opposition to this progressive think tank atmosphere, the LA crowd was sending out fluff about how wow they can’t believe how low the sales were this year. Indie filmmakers better start making more relatable films they said (films that they can sell to their mass markets). God forbid an artist tells a story in their true voice that may only relate to (and knock the socks off of) 200,000 people and the content creator make the majority of the revenue from the film’s exploitation. That’s not good business for the west side of main street. So with this continuing divide comes a few crossroads, and many individual choices will determine the aggregate path of Indie film, with SunDance as a small but representative piece. Here are three paths (or some combo of the 3) that could arise from the growing gap in philosophy. 1. Big Brother reels Independent back into a headlock, leaving Indie with a continued Identity crisis. This path would be driven by Hollywood’s acquisition of progressive production & direct-distro companies. Money talks, and if this occurrence is too prevalent in the near future at least a few amazing films will not be made that should be. 2. A new breed of middle ground filmmakers arises to fill the gap created by the divide. If the most talented of story tellers keep pushing the envelope, their stories will continue to slowly lose mass appeal. This combined with studios continuing to opt for lower risk epic franchises might create a new more clearly defined space for soft Indie products. Films with Indie feel that have formulaic stories. Old stories wrapped in hip new boxes: the middle child that isn’t as tough as the older one, and isn’t as smart as the youngest. 3. The most talented Indie filmmakers change their philosophies. Realigning goals away from the traditional “Success = Hollywood recognition” and toward more self or group reliant success routes. We know that it is nearly impossible to not get sucked in when there is an opportunity for mass exposure. Creating a film that is finally getting some type of official stamp of approval is something we all yearn for, but if the goals when beginning your project can shift, the landscape and power of big brother will shift with it. If you center the goals around building an audience that will care about and support your future career, then the fantastical aura of Hollywood will lose its luster. A true storyteller will be at the happiest (=most successful) when they can personally see and experience his/her impact on their audience. The more new talent that finds the courage to give themselves that stamp of approval and take some control of distribution, the less reliant the Independent community as a whole will be on their older brother who really just doesn’t share the same interests. Based on the risk-taking films at Sundance and the energetic bursting of forward thinking companies like Tugg, Heretic Films, Seed and Spark, Big Vision Empty Wallet, Candy Factory Productions and many others we had the pleasure of meeting, we are all smiling wide on the sidewalk of IndieStreet; gazing toward the west with a subtly confident smirk (that Hollywood will hopefully confuse as growing insecurity) - Jay Webb, IndieStreet www.indiestreet.com @indiest_films
Will the signature be in yellow??? All jokes aside, Shelley Jackson has a very unique story telling style. Even if it is a bit hard to follow (read backwards on her Instagram feed), her creativity and dedication is unquestionable. Her first piece was via tattooing words on skin, this edition is written in snow, we are probably following her to follow her storytelling techniques (what's next?) than we are following her actually stories.
Visit the Street Stories WebSite…. where Depaul UK helps young people who are homeless, vulnerable and disadvantaged. In the new project 'Street Stories', Rob Dabank of BBC and some famous Street artists depict the stories of some of the homeless youth. You can buy some amazing screen prints from the artists to help ensure that their stories don't end up on the street.
Louie Psihoyos' follow-up to his academy award-winning documentary promises to 'change the way we understand issues of endangered species and mass extinction.' Premiering at this Years Tribeca Film Festival on April 25th, Psihoyos declares that "We’re going to give people happy tears and yet everyone will be on the edge of their seats. I still can’t believe we’re doing what we’re doing. The last four years we’ve been creating a film that I want people to throw down their hard earned money and feel it’s the best money that they ever spent." They were still shooting footage just a week ago, which is really the type of perfectionist passion and disregard for timelines that we should expect from a great documentarian.
French Artist, Alexandre Monteiro (Hopare), has utterly dope style with a visionary use of colors. We love it.
El Mac's mastery of spray paint is unparalleled in our opinion. His portraits exude genuine depth and sincerity; truly larger than life. Check El Mac's spraypaint gallery, and if you have a chance to see any of El Mac's artwork in person, Indie Street highly recommends it!!
Drinkify.org is an easy to use search tool to send you a recommended drink depending on the musical artist you are listening to. Our favorite to date is the Snoop Dogg, Gin & Juice with a twist (lemon and wheatgrass) You know Snoop is on the health tip, just quit smoking weed yesterday!
Are you a freelance creative but in between jobs? Creative Cares is a Non Profit Organization that connects designers, Indie filmmakers, photographers, and artists to Non-profits in their community that can benefit from their craft. Not only will they connect you with something you feel is a worthy cause, you will probably make some connections with amazing individuals who will want to promote your awesome work (and heart) to others they know. You Win, an NPO wins, and society wins.
Allan Teger is one of those artists that starts with a beautiful backdrop, and let's his imagination run from there. His "bodyscapes" series is a re invention of one of the most depicted subjects throughout the history of art: and that is the female form. We are just glad he stuck to females…no offense guys but a jungle scene on a man's body just might not strike us as art. You can buy Allan's discussion starting coffee table book here on Amazon.
There is no such thing as art without audience. A motion picture does not even exist without its impact on human viewers. As an independent creator without established lines of distribution, how do you build an audience that yearns for your specific stories? How do you keep them excited about your stories of the future? In today’s market, your response to this question may be the difference between a “one & done” and having a long, sustainable career as a filmmaker. Rather than answer the question in hypotheticals, I will instead take look at a film that has been particularly innovative in their building of a core audience. Hopefully from this others will be inspired to create their own authentic KickStarter campaigns within their self distribution efforts. Ownership equals accountability: DIY distribution and marketing liberates a filmmaker from an evil third party who might mis-package their film, deliver it to the wrong audience, or even worse not give their seedling the attention it deserves. While this ownership sounds grand in theory, there are 2 catches: (1) there will be no-one else to point the finger at if your film fails and (2) you are going to have to do much more work. Yes, at IndieStreet we champion a group mentality and “do it together”(DIT) over “do it yourself”(DIY), but even on IndieStreet if your film release does not meet your expectations, there is really only one person that is held accountable. Your sisters and uncles and cousins in the Indie Street family will help as much as they can, but this is your baby. The two IndieStreet partner filmmakers we will feature probably couldn’t be any more different individuals or have more distinct films. The first, “Cam Girlz” directed by Sean Dunne, tackles selling sex on the Internet and emerging forms of human connection. The next, “Tanzania: A journey Within” directed by Sylvia Caminer, documents an African voyage and the resulting personal and societal inner reflection. One of their crowd building campaigns was in the middle of production and the other was leading up to a limited theatrical release. The differences between these two documentaries and their directors only strengthens my encouraging argument: No matter the stage of your career or the stage of your film, you have the ability to execute innovative & authentic strategies to build a sustainable audience. Film 1: Cam Girlz Documentary (www.camgirlzdoc.com) Director: Sean Dunne – (Oxyana, winner of Best new Doc filmmaker at Tribeca 2013) Promotional Campaign: Crowdfunding campaign that doubled as an audience building promotion. Sean completed a $65,000 KickStarter campaign by partially targeting an untapped audience market. Stage of film during campaign: in Production 1. So Sean, After deciding on your subject matter for Cam Girlz, did you take time to figure out the core audience for your film? If so, how did this help in these early stage promotional efforts? The great mystery and challenge of being someone who makes films for an Internet audience is figuring out exactly who is watching your films. It’s really important for a director in my situation to understand their audience, so I can more effectively hone my message toward them during fundraising and marketing. It’s not always going to be the case but with Cam Girlz we have a bit of a double edged sword in terms of audience – film lovers who have followed my work through the years and the built in viewership that the women we are documenting bring to the table – with very little overlap. The Kickstarter campaign was the perfect opportunity to bring those audiences together. One of the strategies that really helped was launching the campaign after we had a good portion of the film shot and had teasers and trailers in the bag. We needed to show both audiences how we were going to treat this subject matter, not just imply it. In the end that’s what led to the film being successfully funded. 2. This was your second successful KickStarter campaign. What can you share about your experience to date with crowdfunding (as a community growth tool)? What we learned with the Kickstarter campaign for Oxyana was that it was about so much more than just raising money. The Kickstarter established a dialogue about the issues raised in the film and ultimately proved to be PR that we could have never otherwise afforded. Even if the dollars came up short, we were raising awareness about the social issue and attracting passionate supporters even before the film was made. That first campaign helped us identify our core audience and build a grassroots effort that led us to Tribeca, and eventually, to successful self-distribution. Without traditional resources at our disposal all we can do is absorb and assimilate, so when it came time to fund Cam Girlz it was a no brainer to go back to Kickstarter. This time around we really understood the power of crowdfunding and what it meant for growing our audience. 3. The path for Cam Girlz is still unwritten, but can you discuss why you decided to jump into a self self distribution path with Oxyana so shortly after it won awards at the Tribeca film festival? The idea of taking Oxyana on the film festival circuit for a year or more seemed unnecessary given where my audience comes from in the first place…the Internet. Rather than chase something that others said we were supposed to, we decided to trust ourselves and what we knew. We knew we had the means to self distribute and some good buzz coming off our success at Tribeca, and we knew that all of the initial deals that were put in front of us were bullshit. Putting our film into the machine would have only slowed the process of getting it to a wide audience. So we stayed small, focused, and in the moment. Eventually we had an epiphany of the obvious…that the film should be available to audiences while it still had all this momentum. And the decision paid off. There are a lot of old guard ways of doing things that filmmakers blindly subscribe to when it comes to getting your work out there. We don’t have to be beholden to festival programmers or sales agents anymore. We need to take the opportunities in front of us, and not be afraid to start from scratch and make this more sustainable for ourselves. We have personally been lucky that Oxyana has been successful, but honestly, even if our means of distribution was an utter failure, I’d wear it as a badge of honor. I’d rather retain ownership and fail hard than buy into a system that never gave a fuck about me to begin with. -------------------------------------------------------------------------------------------------------- Sean’s final statements should hit home for all filmmakers. Do not be afraid of failure or of what someone will say if a big studio does not pick up your picture. With current technologies, by branding yourself as a filmmaker or group of filmmakers, you can become your own studio machine. This is of course only if you put out quality content and focus on building your audience in authentic ways like Sean and his wonderful producer, Cass Greener, have done. By tackling a unique subject matter, Sean and Cass have not only fed their craving for spelunking the caverns of human character, but they have also tapped into a whole new market. Probably half of the audience of Cam Girlz will be from the world of internet sex, not from the already saturated indie film community. In my opinion, at least a quarter of them will be so intrigued by the film’s non-boob storyline that they will start to follow the film’s director and his career. Easily thousands of viewers that probably have 0 interest in indie film, but now they have an interest in Sean Dunne. This new audience segment, on top of the fans from Oxyana, on top of the fans from IndieStreet and even this simple post will all roll Sean over into his next film and continue to grow his core audience even further. Uncovering an untapped market segment isn’t easy, but if you are a great storyteller and you focus on strategic audience building at the early stages of your film…you can create a sustainable filmmaking career and gain some invaluable Indie street cred like my man Sean Dunne. -Jay Webb