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Ray Pride

By Ray Pride Pride@moviecitynews.com

How can filmmakers make a living?: a conversation

At Springboard Media, Brian Newman starts a conversation about the role of film festivals in distributing independent filmmaking: “Today, too few independent films reach a broad audience, and despite some signs to the contrary, the situation is worsening. Outside of a few successful instances, truly independent work by exciting makers remains largely in the realm of film festivals, limited theatrical runs and institutional sales, brief (if any) exposure on cable or broadcast television and the extremely rare success on home video.bling.jpg In spite of—and often because of—recent developments, including the DVD, the distribution system for independent media remains in crisis, with few films successfully reaching a broad audience… It has become obvious that the market for a diversity of voices has grown over the past several years, as evidenced by the success of blogs and the recent success of several documentaries. American audiences hunger for diverse, interesting work and are connecting with it in new ways. At first confined to major cities, film festivals of one form or another began to pop up in towns across the U.S. (and internationally) more than 30 years ago. These smaller, less internationally recognized film festivals have become the de facto art house circuit, often screening works in conjunction with local film societies. General audiences have prospered culturally by having more access to a wider range of films than ever before. Unfortunately, this type of exhibition leaves the filmmakers well-traveled but none the richer for their efforts… What if the same filmmaker could sell copies of their film at the festival? What if filmmakers handed out postcards to the audience, with a website where they could buy or rent the film and recommend it to a friend?


What if they did this in every city they visited and mentioned the website every time they were interviewed? One can imagine a small success for a filmmaker who took this approach. Why do so few filmmakers and/or distributors do so? Because it doesn’t fit the model of the release window — a model that only works for a small number of films. Additionally, few filmmakers want to put their energies behind distribution of their film — generally, they want to make another film. Many distributors work with festivals as publicity for a theatrical release, or sometimes to allow filmmakers to satisfy their desire to connect with audiences before an institutional release on DVD. Almost none have made a concerted effort to use these festival screenings as nontheatrical tours of work, to help spur DVD sales. Even fewer filmmakers have taken this strategy, with most hoping that a festival tour will help them find a distributor, instead of helping them find an audience.” [More provocative thoughts, as well as a chance to join the conversation, at the link.]

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“Ten years ago at Telluride, I said on a panel that theatrical distribution was dying. It seemed obvious to me. I was surprised how many in the audience violently objected: ‘People will always want to go to the movies!’ That’s true, but it’s also true that theatrical cinema as we once knew it has died. Theatrical cinema is now Event Cinema, just as theatrical plays and musical performances are Events. No one just goes to a movie. It’s a planned occasion. Four types of Event Cinema remain.
1. Spectacle (IMAX-style blockbusters)
2. Family (cartoon like features)
3. Horror (teen-driven), and
4. Film Club (formerly arthouse but now anything serious).

There are isolated pockets like black cinema, romcom, girl’s-night-out, seniors, teen gross-outs, but it’s primarily those four. Everything else is TV. Now I have to go back to episode five of ‘Looming Tower.'”
~ Paul Schrader

“Because of my relative candor on Twitter regarding why I quit my day job, my DMs have overflowed with similar stories from colleagues around the globe. These peeks behind the curtains of film festivals, venues, distributors and funding bodies weren’t pretty. Certain dismal patterns recurred (and resonated): Boards who don’t engage with or even understand their organization’s artistic mission and are insensitive to the diverse neighborhood in which their organization’s venue is located; incompetent founders and/or presidents who create only obstacles, never solutions; unduly empowered, Trumpian bean counters who chip away at the taste and experiences that make organizations’ cultural offerings special; expensive PR teams that don’t bring to the table a bare-minimum familiarity with the rich subcultural art form they’re half-heartedly peddling as “product”; nonprofit arts organizations for whom art now ranks as a distant-second goal behind profit.”
~ Eric Allen Hatch