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
We all know filmmaking and "I sure could use more money" go hand-in-hand. If you're a filmmaker, you need all the help and support you can get. No Film School is here to make the process easier and has created a break down of some of the best Fall 2017 film grants all filmmakers should check out and apply for! Check out the full list here!
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!
Want to start a production company from scratch but don’t know where to start? David Ethan Shapiro, CEO of Starlight Studios, and Jacob Schulsinger, film editor, sat down with No Film School and discussed their latest film, "Come Swim", the merits of film school and how to start a production company from your own bedroom. Check out No Film School’s podcast 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!