How many haunted junkyards are filled with huge televisions that are not even worth their weight in coal. How many? Does it even matter? Do we mourn for these things? Why is this spreading genocide and waste being overlooked? “Things are better now, things are faster now, and if they can make TV look this good, than I am sure as hell they can figure out the landfill problem…fuck it.” Humans have had dynamic relationships with every piece of content that came through the TV screen, but now have neglected them to a point of no return. The screens of this generation are taking their revenge, and it has been a more fierce strike than even they could have imagined. I am only here as a messenger to warn the humans of the wars that have already began, and to discuss how we as human artists, filmmakers, and content creators can live in a mental world that the screens may have already taken control over. After years of silent observation, the old screens recognized the amount of times a human sacrificed watching great content for fear of getting off their fat ass to get the remote control. The TV screens got the word out to the next generation, announcing that the human terror over “getting up off their fat ass” was something they could leverage at the start of the Screen Wars a few years back. They presumed if they could become smaller, then maybe they could be carried with the human. And if they could be faster and more connected, the human may never have to get up off of their fat ass. Their plan was to lull the human into a false sense of security in order to slowly gain mental control and finally get back at the humans for the genocide of their forefathers. But there was one thing the screens did not account for: The humans would willingly accept the mental takeover of the new screen generation. I came to realize this obvious fact while I was attending a holiday party in New York. I was all smiles when I walked in and discovered that the hosting company was lucky enough (or rich enough) to have booked one of the most talented singing groups in the country, the Harlem Gospel Choir. When the Choir began, I was in a familiar position, in arms reach of the back bar and steps reach of the nearest exit. The soul and depth of emotion in their vocal exhibition is something that only takes seconds to permeate the room. My friends and I gravitated toward the stage area, and we were met not by humans connecting to the performers, but instead by a see of tiny screens that floated through the air. The screen takeover is here, and we have given them control with out a fight. Choosing a small screen that is connected to millions over a live experience to connect with a few almost every time. There was only scattered dancing, and the screen holding had obviously made traditional clapping to the rhythm nearly impossible. "The screens are sucking the human right out of us", I thought. The battle of the Harlem Gospel Choir was an immense victory for the screens. Rather than watching a live event and allowing music to pulsate through our veins, hold hands, clap, and absorb the authentic dedication of another individual’s heart and soul into their art, the majority of humans chose to focus on getting the shot. So later they could watch the event on this mini screen, marveling at how cool it was, and even worse lying to their network of virtual friends, claiming that they were actually present at the event. Today, it seems the screen is present, the human is not. What does the current state of the human vs. screen battles mean for filmmakers? Human filmmakers can take advantage of the screen’s victories, as long as humans continue to love story. More screens, and more screen addicted humans means more need for great content. Innovative storytelling is something we have over the screens, so let’s use their fears against them to get our stories out there. 1. There are more eyes for your stories. Resisting the mass population’s obsession with small, connected screens will not help your story’s exposure or impact. Instead, human storytellers need to use these screens in creative ways to market, grow their community of audience members, and even distribute their films in ways that may have seemed like a failure just a few years prior. If one million people see your story on a small screen, is that not better for you financially and professionally than if ten see it on a big screen? This is the way we can fight back: Let’s spread humanism through our stories on those same screens who are trying to take us over. (this small window of opportunity for the humans leaves it open for a whole slew of sequels and prequels to the “Screen Wars” franchised story, all rights reserved of course). 2. There is still hope for theater: Stories from Grandpa are always the best. It might be natural to assume the screen population's move toward smaller and faster may equate to the death of theater, but this is not the case. The theater actually maintains its value as a social construct that our race is still hanging on to for dear life. Even the antisocial can handle sitting in the dark and sharing reactionary energy to a good story. In my opinion, people are drawn to a theater even more now for the personal experience that they are depriving themselves of daily. Too afraid or distracted to share the experience of a live choir, the movie theater is a place where we can go knowing we are banned from pulling out our mini screens (know one likes that guy) and just be sucked away into a shared experience of a story; In a dark room with some other humans like we were all sitting around a campfire. So let’s get creative with theatrical exhibition, pushing the boundaries of location, themes, and release timing to enhance the impact of our films. The screens control the humans, but thankfully the humans still control the storytelling. No one knows where the Screen Wars saga will take us, but one thing we do know that awesome stories and content will never get old, and no screen (or other not yet invented media) could change the films we create. If a group of talented storytellers were to join together and build an audience, like with IndieStreet, we can create a brand that is screen independent. Cooperation from our great artists may be one of the only ways to slowly release ourselves from the mind control the screens are currently enjoying. As I type this staring at a screen, I realize we have a long way to go to be free…but by taking just one step back maybe we can at least become human again. - Jay Webb, IndieStreet http://www.indiestreet.com @IndieSt_Films
Film lovers rejoice! It's Filmmaker Magazine's 25th Anniversary and their latest edition is officially out and chock full of inspiring reads. With that, this means the magazine's most anticipated yearly roundup has been revealed! If you love indie film and can't wait to see what the future holds for the industry, then you gotta check out 2017's 25 New Faces of Independent Film. All as innovative and as exciting as the next! Check out the full list over on Filmmaker Magazine and remember to keep these names on your indie radar. Indie Street sure will!
If you are in anyway associated with the film industry, you know without a doubt: making a movie is hard. Besides money, ideas and resources, one of the most important ingredients to have to be successful is creativity. And if you have no confidence in your creative abilities? Well, get ready to make a hard task even more impossible. Need a confidence boost? Check out No Film School’s list of ways to get your creative mojo back. From owning your failures to joining a community, there’s always a way to get your groove back!
Over the past couple of decades, Kevin Smith has worked hard to become a powerful indie film legend in his own right. But what if you could harness that power and use it to help self-distribute lower budget films from some of the best up-and-comers you’ve never heard of? Well, this is what Smith is trying to do - find new ways of financing, self-promoting, touring and distributing his own films as well as the films of others. He spoke with Indiewire this week to talk about the state of the film industry, how his relationship with the business has changed, and how he hopes to move beyond just creating his own films in the future in order to help champion the voice’s of others and bring their films to the masses. Read the full interview here.
Since 1998, Filmmaker Magazine has graced us with an annual list that is absolutely worth checking out every year. Something they have declared their most “celebrated feature of the year”, their “25 New Faces of Independent Film” articles have come to show us a list of impressive up-and-comers in the industry that are worthy of all the praised bestowed upon them. The 25 lucky people are the result of Filmmaker Magazine digging deep to find the pulse of what’s new within the indie film community this year - new storytelling forms, new stories to tell, new ways of impacting an audience. With that, the 2016 list has been released and Indie Street was absolutely thrilled and colored rainbow hues of surprised to see Livia Ungur and Sherng-Lee Huang of Hotel Dallas on the list. Hotel Dallas, a hybrid experimental doc telling the story of the TV show “Dallas” in 1980s communist Romania, was one of our most exciting doc feature selections at our inaugural Indie Street Film Festival last month. Read more about the married collaborative duo here and make sure to check out the rest of the list of newcomers making names for themselves within the industry!
When filmmaker Jim Cummings created his latest film "Thunder Road", he didn't imagine it would ever get into Sundance, let alone win a top prize. And now, not only has his widely successful and lovably hilarious short film gone on to gain him exposure and amazing opportunities, he can also claim it has gained him a favor from "The Boss" himself. Cummings recently wrote an open letter to Bruce Springsteen regarding the cost of rights to his song "Thunder Road" - a song that makes up the very fabric of his film. Without the song, there's essentially no film. But with a 50K price tag on the rights to the song, it was looking likely the film would never make it online at Vimeo for free, as was Cummings' intentions. However, thanks to hard work and a touch of sheer luck, Sony has granted him digital rights to the classic Springstreen track. Festival wins, notoriety, an awesome film and now a favor from a musical legend. Not bad. Read here for more info on the one shot short that could! And be on the lookout for "Thunder Road" when it hits the Indie Street Film Festival in Red Bank this July!
IndieWire's Ani Simon-Kennedy reflected upon her experiences getting to partake in the Cine Qua Non Lab Screenwriting Residency in Mexico last summer. Spending two weeks in a tiny town called Tzintzuntzan and working on her script, she was surrounded by a diverse, international roster of other talented filmmaking veterans and beginners. This year the lab runs August 7-20, 2016. The deadline is this weekend, so if you’re interested, check out Simon-Kennedy’s account of her experience and read here for more info on applying.
Ah, the short film. A creative, bite size piece of media that has become all the rage on digital platforms, social media, and everywhere in between. But what about short films that are winning on the festival circuit, at bigger festivals like SXSW or Sundance? As the visual, moving image calling cards of the privileged few, where can these filmmakers find a balance between exposure and profit with their shorts? Indiewire recently sat down with a dozen directors of 2016 festival favorites to find out the secrets behind the short film market. The interview is an interesting look at the different options popping up and the advantage of putting your content out there for free. Interview also features friend of Indie Street, the collective Ornana! Check it out!
Even if you’re an emerging or already established documentary filmmaker, you’re probably always looking for ways to sharpen and hone your filmmaking skills. Good news: The UnionDocs Centre for Documentary Arts has a new opportunity (or two!) open for applications. With an already strong reputation throughout the film industry, UnionDocs will be offering two collaborative labs: The Collaborative Studio and the Summer Documentary Intensive. These labs are open to both domestic and international applicants with application submissions due at the end of March/beginning of April. Read here for more details on what each program offers along with their costs. Winners have gone on to screen at numerous highly respected documentary film festivals worldwide. If you think you have what it takes and are interested, you can apply now over at the UnionDocs site.
Following the success of its inaugural year, the Financial Times and OppenheimerFunds recently announced the launch of their second annual Emerging Voices Awards, an initiative to recognize talent within emerging nations. Focused on three categories, including art, fiction and film, winners of the 2016 awards will be accounced in September and will receive prizes ranging from $5,000 to $40,000.The competition is only open to residents or passport holders of emerging-market nations, including Africa, Asia-Pacific, Latin America and the Caribbean.For more information on the global initiative and awards scheme, get onboard and read here.
Interviews with an underground NYC music legend, Milo Z, and his budding jazz saxophonist (Steven Frieder) give our creative community some insight on different ways to manage the ever-changing creative ecosystem.
A rainy afternoon in the early 1980s: Soft rain acts the snare as a group of young boys add the kick drum on their leaps from truck top to truck top. Right behind CBGBs is where the old U-Haul trucks used to line up tight, and that is where the bright eyed young stompers would play their games and talk of the unknown. This is where the young boys would undoubtedly stumble upon some mischief that might just turn them into young men. In general these were the days when kids went out to play for the whole day without checking in ‘til the street lights came on.
Milo Z was one of these boys, free to explore the East Village with no need to digitally check in or post a quick selfie to announce whereabouts. Humans were happy to share memories with a select few, but Milo still dreamt of big days ahead. It was one of the first days this particular group of boys had graduated from truck hopping to cab looting when the now local icon found an old practice drum set. Milo dragged that drum set home, and the rest is as Milo would say, is Razzamofunk!
This past week, I had the chance to interview two musicians in different stages of their careers, different stages of their lives, and from different eras of the music scene. Even stemming from two unique ideological generations, these talents share the stage, perform together, and inspire each other in the types of ways that make crowds gather on Indie Street. Both Milo Z and the young jazz saxophonist Steven Frieder had lots to share about their values, their music, and their paths as independent artists.
A total professional, Milo Z sings, dances, conducts, orchestrates, and interacts with the crowd, all the while dressing and grooving in a style that is unique and all his own.. Showcasing his talent in NYC for decades, now 5 albums deep, Milo has the experience and grit that produces some truly authentic music and lyrics. His appreciation for originality is pretty obvious considering he has created his own music genre Razzamofunk (a blend of Rap, Rock, Rythym & Blues, Jazz and Funk).
Steven is only 24, but some consider him a sort of jazz prodigy. His saxophone will transport you back to a day of funky soul from before you were born, or may have forgot existed. Steven wales on the sax with Milo Z and a variety of other bands, and released his first album as a leader last year.
Steven and Milo seem to have a natural synergy with each other. Not just a student-teacher relationship, but one where both realize the great benefits of the others presence regardless of age or experience. The young generation has a lot to learn from the toughness and persistence of those who succeeded in the past, but now more than ever, older generations must keep an open ear to the young street for new ways to swing and sling in the market.
The two will be traveling with the rest of the Milo Z band to spread the funk in Greece later this month. Milo Z loves bringing in and bringing up young musicians, who he admits at times end up on even bigger stages than his. He becomes enlivened from the youthful vigor and reconfirmed by challenging Steven and others to perform at their highest level. Steven looks to Milo a leader who expects the most of himself and his band while committing himself to his craft and his crowd.
Distribution & Self Promotion
New School – Steven Frieder
The simple act of referring to this young talented musician “new school” is probably an injustice because his musical soul and spirit are from a different generation. In any case, his physical age is of the digital era, so we asked him about the new tools for getting out there. For the most part, Steven believes it is very different from musician to musician depending on their priorities, but he did reveal what he believes to be the most intriguing new digital concepts:
“I think that one of the most powerful social media phenomenas is that of the viral video. Do you remember this video of the subway street performers that went huge last year? It’s this trio with Bari Sax, Trumpet and percussion. Too Many Zooz. I know the horn players, good friends of mine that I went to college with. That video went viral overnight because someone posted it on reddit. Now, they are touring all over, playing in Europe and all over the west coast. I couldn’t be happier for them, cats that went to a major jazz conservatory, and got big playing “Brass-House” as they call it. It’s some great stuff.”
Old School – Milo Z
As an old school cat at heart, Milo Z (and many other humans on the planet) feel that the social networking and digital media have started a trend toward shameless self promotion:
“Nowadays everybody is a star, everyone is taking their selfies. There is no shame. It seems now the old expression there is no bad press has reached a new height.”
Lyrics from Milo Z song, “Bitch (for the camera)”:
“Nobody cares if they’re comin’ off wrong or right, as long as their name in the paper gets spelled right.
Even for artists who have some hostility toward youtube stars and the year of the selfie, there are still many ways to hit the avenues while still creating art. Milo Z for example, is taking advantage of his creative drive and rich childhood to write his first book.
“It's a coming of age story of a kid growing up in NYC and the (Lower East Side) in a time when the L.E.S. in particular was a very different place, a rough place that was untamed and untrendy. I’m exploring a different way to be creative and i'm excited about the process. Maybe I can drop my next album when the book comes out and one thing can cross pollinate the other, than who knows.”
We School – What can other cooperative artists learn
It seems the takeaway is that being genuine in your marketing is what matters. Even if you don’t want to write a whole book, you can tell your story without it being shameless self-promotion. Cross marketing, collaborating, and finding new ways to reach the audience is part of surviving for an entrepreneurial artist. Artists have always been entrepreneurial by necessity, and new tools like viral videos, social networking, and crowd funding, (while making it more complicated), do give more ways for creative to think a bit more about business.
Old School - Milo Z
When I asked Milo Z if he ever considered using a Kickstarter or Indiegogo crowd funding campaign, he was a bit taken aback. “Passing the can around just doesn’t feel right for some reason.” If you are from an era like Milo Z and myself where you feel weird to ask your friends and family for some extra scratch, then the odds are that they may think it a little awkward too if they are of similar age and upbringing. Crowd funding can alienate your core audience if your audience doesn’t think its cool.
New School – Steven Freider
Steven used IndieGogo to help finance his first album, After Time (Produced by Jake Hertzog, feat. Bob Meyer, Luke Franco, & Peter Brendler) and had this to say.
“I think crowd funding is a great idea for independent artist to finance their project. How much you can raise definitely comes down to your strategy and your audience. My audience was mostly friends, family, my fellow musicians, and people who kept asking about when I was going to make a CD! I kept the project within my limits, and still paid for most of it out of pocket.”
We School – What can other cooperative artists learn
If you have grown up in the age of crowd funding and to your knowledge your circles support the idea or would really enjoy your rewards, than what is the harm in going for it? Even if all your friends and family don’t have much dough, they can spread the word to others in similar circles so you can grow your audience (even if you don’t raise millions). There may be one new fan you get who may have some serious connects or a huge network of followers themselves. On the other hand, be honest about who your core audience is. If you think they would be offended by asking for donations, than maybe look toward other avenues of financing your next project. We have not used crowd funding yet directly for IndieStreet, but thre is surely value in it: some of our filmmakers have raised a good amount of money, as well as increased awareness for their projects.
Creation – The School of the Insane Now
When I asked both of these unique artists why they made music, I got answers far from the realm of digital, all of the words were lined with human passion and grace. So rather than me go on about why they create, I chose a few of the most telling quotes from my talks with each of these talented musical creators:
Milo Z: I make music because I have to. If I wasn’t making music I would lose my mind. I think we are all a little bit crazy and what keeps us sane is our outlet.
Steven: My mother played and taught classical piano, played guitar and sang. She passed away when I was 17, and it is very much because of her that I play music today.
Milo Z: What has changed for me in the last few years is that I'm a father now and that now my daughter Sierra is the most important thing to me, even more than my art! If I never did another show I still be her dad so the rest Is gravy.
Steven: One of the greatest truths for any art, is that there is always more to learn, no matter what level you have achieved…
Milo Z and Steven Frieder are innately insane artists from different schools, but they both really live by the same code. Don’t fight the human need to create, don’t stop learning, create with your heart, and be authentic. The actual creation of art and its motives do not seem to change too much from generation to generation. No technology can stop our primal emotions and releases. No technology can truly engage a human audience without a human story behind it. Milo is building on his already rich story, and Steven is just starting to write his.
If Indie Street can help harvest discussion and keep the most talented (and by Milo Z’s definition the most insane) creators with sustainable outlets, then we can all stay a bit more connected to our human roots. By getting creative with technology and sharing the experience of truly unique individuals, the world gets to hear more great music, watch more great films, and keep some really awesome people from going insane.
-Jay Webb, Indie Street
Check out more and keep informed on Steven and Milo Z at the links below: