BIZ OF CREATING

IndieStreet believes that 2014 is the year the cracks widen in the film distribution system. These cracks will make room for entrepreneurial artists to take back deserved revenue generated from their own content. In 2014, Filmmakers will begin to eliminate middlemen, customers will support more creative talent directly, and at least one studio will fall due to its lack of preparation for the cooperative artist revolution. By nature, an artist who looks to distribute their work is an individual with an ego. Someone with a unique vision who feels passionately that other humans will be impacted by looking at the world through their lens. This inner confidence is the artist’s, “Creation Ego”, and it’s surely prevalent in Indie filmmakers. This ego is not only healthy in an artist or filmmaker, it is actually necessary to maximize creative potential. If you did not think that your vision as an artist was special or worthy you would not take the necessary risks that make you shine creatively. The creation ego must be preserved and celebrated in the artists of our time, but it should be contained to the process of creation. When looking to distribute, we urge Independent artists to acknowledge this ego, but then temper and separate it when it comes time to distribute your beautiful story to the world. Creation is a time of solitude, distribution needs to be a time for connection and togetherness. This is true now more than ever for the Independent Artist who lives in a dynamic age of social networking. It has always been difficult for artists to find a balance between the creation & distribution ego, always searching to maintain artistic integrity but also maximize number of eyes on the product. In the past, channels were in place that stimulated a competitive (kill or be killed) philosophy between professional independents, but we now have the technological resources and platforms that can maximize audiences without fighting amongst ourselves and without giving up as much control our artistic forefathers. Here are three things to remember when reinventing your “Distribution Ego”. 1.Unique Vision does not mean your audience is only yours. Unless you have invented a whole new form of media, it is likely that people that have consumed other stories or enjoyed other art might also like yours. Consumers of creative products typically don’t pick one creator and stay faithful only to their works. Even the most die-hard David Lynch fans have still at least checked out a Christopher Nolan film, no matter how traditional or mainstream his stories may feel in comparison. Honest acceptance that audiences are overlapping and must be shared between artists (whether you cooperate or not) is your first step to separating your egos. 2.Be proud of your work, enough to put it along side of other talented creators. As an artist you are undoubtedly a fan of other artists out there. Some of them have larger networks than you, some have smaller ones. Regardless they are most likely a fan of talented story tellers as you are. Sending your film to other filmmakers you admire or to a group platform like IndieStreet can start your exploration on what you can do to promote the works of others and what they might be able to do to help get your stories in front of more eyeballs. No matter how you slice it, when you start cooperating with another filmmaker you are creating a sort of brand. There are thousands of sites that are either social networking or film related or both who are grouping and recommending filmmakers based on their audiences. Why not use these social groups of fans to find other filmmakers like you as well. Your film deserves your additional effort to put it along side of other great films, making your film stronger and making it easier for your audience to find similar impactful stories. 3.Staying flexible, supportive, & long term. Group Distribution needs to be a philosophy that is adopted for the long term but declaring a dedication to cooperating does not mean that any filmmaker in a group of Independents would be expected to turn down a great third party deal if presented. Being incredibly flexible is something an artist would never accept during creation, but it can free us during distribution to see that options are not limited to a black and white choice between “studio” or “alone”. Finding other artists in any creative industry to support in a group can open up your distribution and marketing plans to a number of hybrid efforts across communities. At the end of the day most of us want the same thing: For innovative filmmakers to keep making films. For this to happen their films have to reach interested audience members in ways that the creators can have sustainable careers. And everyone in the film community should want at least that for other talented filmmakers. Even if one of your film projects gets picked up by Fox Searchlight with a huge advance, that is no time to abandon your new group mentality. Just because this film was marketable, be honest with yourself. Do you think that all the amazingly beautiful and risk-taking stories buried deep in your mind will all be so marketable? Use your personal success as an opportunity to help your group and brand of storytelling, even if it is in incremental ways. It will further fuel the collective approach and will come back to you in the future for less mainstream products. And other artists in a distribution support group need to check their egos as well if one group member decides to go with a larger company for one film project. Be elated for them, as their success can only be good for your group brand’s awareness and reach. By combining the networks of a multiple artists & staying flexible, the overall support of your personal creation ego will also be an inevitable side effect. More aggregate eyeballs for your work means some of those eyeballs will be in the investment, grant, or fundraising space. As many of you reading this are Indie artists or professionals in the creative world, we urge you to join this resolution and embrace the new distribution ego that can ultimately lead all you wonderfully innovative individuals to preserving your creation egos that make your work so remarkable. IndieStreet 2014 “The year Artists Unite” Jay Webb www.indiestreet.com @indiest_films

After an inspiring week of watching innovative new indie films throughout the second annual Indie Street Film Festival in Red Bank, NJ, as a film lover, it seems only natural to keep thinking about what make or breaks a film. No Film School is here to help! Their recent opinion piece breaks down the three-act story structure we've come to recognize (and expect) in films and discusses whether this formula is helping or destroying what the concept of indie film actually offers to the world. Expand your thoughts on the subject matter and head over to No Film School to learn more!

So, you fancy yourself an artist, eh? A real tortured soul? Fighting against a world that just doesn’t understand you or your special brand of creativity? Whether that’s you to a T or not at all, the classic idea of the pessimistic, unhappy artist is definitely a stereotype we’ve all come to know. And Simon Cade of DSLRguide has created a video titled "Why Artists Are Never Happy" that shows this may not be such a bad cliché to fit into as a creator. Cade's suggestion? That the unhappiness and discontentment that come from failing to capture a certain artistic vision is the actual spark that ignites an artist's creativity. Watch the video below and then check out No Film School’s breakdown of Cade's logic. Now, go ask yourself, how can YOU fight against the pressures of perfectionism and make your work even better? 

So you’ve made a film. Congrats! Now you need to get some eyes on it...pronto. Knowing how to identify and find an audience for your creation is one of the most important steps in a distribution campaign. No Film School & Christopher Rufo see the importance in finding a passionate audience and break down how to do it in 5 simple steps. From focusing on finding the smallest group possible (ironically, a great idea!) to creating mailing lists, check out how to maximize your film’s exposure by heading over to No Film School now!

Drone. Aerial Footage. One take. One man’s total mental and emotional breakdown on film. Sound enticing? You better believe this suburban neighborhood drama is as good as it sounds. Imagined by the consistently impressive director Paul Trillo, this latest Vimeo Staff Pick, “At the End of the Cul-de-Sac”, is a mind-blowing feat of production work. Meticulous pre-production planning and overcoming daunting post-production challenges didn’t keep Trillo from delivering a one take drone shot short of epic proportions. Head to No Film School to read up on an interview with the director and to get an idea of the amount of work that goes into pulling off an entire short film as one continuous drone shot. And stay tuned for our mini-review of the short film later this week!

Filmmaker Parker Smith had never made a feature film before his debut “Ramblin’ Freak” played at SXSW a few weeks ago. And while the concept of first time filmmakers playing at top festivals is certainly not unheard of, try screening at SXSW with a feature documentary you made entirely on your own. A film school drop out with a remarkable vision, Parker Smith sat down with No Film School during the festival to offer up advice to new filmmakers on how to make a movie…entirely on your own. Watch the trailer for “Ramblin’ Freak”, Smith’s doc about seeking out legendary bodybuilder Gregg Valentino, below and then head over to No Film School to take a listen to his exclusive interview

From simply being visually super stylized to actually defining the upcoming feeling/mood in a film, good opening titles sometimes have fanbases all their own. Interested in learning more about how the concept and usage of title slides have evolved over the past 100 years? Sure you are! And Danielle Del Plato has done all the work for you in her supercut “Evolution of Title Slides in American Cinema”! Check out the history ride below! 

Dying to adapt your pretty stellar short film into a feature? Are your friends tired of hearing you constantly talk about it? Think maybe it’s time to do something about all those dreams of yours? Lauren Wolkstein and Christopher Radcliff, directors of SXSW stand-out “The Strange Ones”, did just that. They adapted their short film of the same name into a successful feature that just screened at SXSW. Rumors are that it’s kinda darn good. Want to get insight on how to adapt YOUR short into a future award-winning feature? Read Wolkstein and Radcliff’s interview with No Film School and start getting inspired!

At only a mere 4 days away from Christmas, last minute gift lifts are being wrapped up and the final bow of shopping completion is being tied up and set. However, there are always a few stragglers on everyone’s list and at this point, shops are being overrun with people looking for last minute deals. And good luck being able to afford all of those next day shipping fees if you’re ordering online! If a few of those leftover gift recipients on your list are cinephiles, why not save yourself the trouble of fees and leaving the house to venture into the crowds?! Give them the unique gift of hands-on traditional analog filmmaking! MONO NO AWARE is a “non-profit organization working to promote connectivity through the cinematic experience”. Based in Brooklyn, the non-profit runs monthly artist-in-person screenings, filmmaker workshops that are affordable, helps to operate a distribution initiative, plans field trips and hosts exhibitions for filmmakers working with Super 8mm, 16mm, 35mm film or light as their mediums. Their next set of workshops, set to take place in March 2017, run the gamut from Intro to 16mm Filmmaking, Hand Processing B&W Reversal Film, Super 8mm Filmmaking, 3D Stop-Motion Puppet Animation, Contact Printing Techniques, and Building Your Own 16mm Looper! Affordable, educational and fun - Indie Street sees these as the perfect gifts! Get over to MONO NO AWARE’s site to check out some of these awesome throwback analog workshops and grab a spot for a friend or two…or hey, buying gifts for yourself is never frowned upon either! Just grab a spot quickly - workshops are intimate and limited to 10 people or less!

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