Tag Archives: Independent Film
For the last 11 years, I’ve been attending Michael Moore’s Traverse City Film Festival in Michigan, sometimes as a panelist, sometimes as a juror, but mostly as a moderator. In addition to being a very pleasant place to visit, the festival is always well-curated and screenings take place in theaters with state-of-the-art projection and enthusiastic audiences. In other words, it’s a great event.
Every year, Michael has panel discussions that deal with issues that are on his mind, taking advantage of the availability of guests who are at the festival. I was asked to be on two panels this year, both of which are posted below, courtesy of Interlochen Public Radio. I think you’ll the discussions to be pretty interesting.
And the Future of Film…
Cinema Saves the World
Comments after the break…(more…)
Independent film began the day motion pictures were invented. In fact all films were independent until a Mr. Edison decided he was going to scoop up all the patents and try to control the fledgling business. And throughout the history of film, there were always outsiders, creating work that was of no interest to the industrialized machine. Some of that work was categorized as “art,” but most if it fell under the category of “specialized.” The term “independent,” as such was used sparingly and mostly in conjunction with particular companies or personalities.
The term “American Independent,” which connoted the sense of a “movement,” came into common usage in the late 1970s with the formation of the IFP (at the time it stood for Independent Feature Project), and crystallized with the release of John Sayles’ “Return of the Secaucus Seven,” which was released in 1980 by Ben Barenholtz’s Libra Films. If John Cassavetes was the Godfather of independent film, John Sayles was its poster child. (more…)
When I think about what kind of films would be made if the business were truly washed of its male bias, one filmmaker who always pops into my mind is Gillian Armstrong. Her films are all over the map in terms of periods, genres and scope, but what they have in common are strong female characters filtered through a strongly female-focused perspective.
After the international success of her debut film “My Brilliant Career,” Gillian could have done just about anything with her follow-up; she chose to use that currency to make a boldly different film—in fact, one so out of left field that it would seem she was challenging the very absurdity of being stereotyped as a certain type of director.
“Starstruck,” Gillian’s Australian punk rock musical, was the first film acquired by Cinecom, a company that I co-founded with two partners in 1982. It had been less than a year since I had been involved with the French film, “Diva,” which–like “Starstruck”–was a major departure from the films that had traditionally come from those countries. And like “Diva,” Gillian’s film had a kind of pop sensibility that seemed perfect for the moment. It was, simply put, a ton of fun. (more…)
In the history of American independent film, Joan Micklin Silver is a seminal figure. Her body of work as a director is impressive on its own terms, but even more so given the obstacles that women faced—and continue to face—in the film business in the United States. She and her husband Ray, by refusing to take ‘no’ for an answer, set the stage for the independent film boom of the ‘80s by working entirely outside the Hollywood system, pioneering equity investment structures, using their lack of resources to create a unique and personal esthetic, and ultimately, marketing and distributing their own films.
I became aware of Joan’s work upon the release of her first feature, “Hester Street,” which opened in 1976 at the Plaza Theater in New York—a theater that was operated by Cinema 5, the company I was working for at the time. The film was a huge success, grossing over $6 million at the box office and garnering an Oscar nomination for its star, Carol Kane. I got to know Joan and Ray because Cinema 5 bought the non-theatrical rights to the film, and I was in charge of selling it to Jewish groups across the country. (more…)
Sarah Kernochan’s “All I Wanna Do” (as it is currently known) is a movie that I’m incredibly proud of, for all the reasons that attracted me to the project to begin with. It was a very personal story, from an accomplished, Oscar-winning filmmaker, who had yet to be given the opportunity to direct a fiction feature. The script was funny and entertaining, geared toward an underserved audience (young women) and dealt with a moment in history (the birth of feminism) that would be enlightening to the target audience.
The trials and tribulations of getting this film released have been well documented in Peter Biskind’s book Down and Dirty Pictures, but suffice it to say that it had something to do with the myth that young women were not a sufficiently large audience to support a substantial theatrical release–this, in spite of having an amazing cast of well-known stars that included Kirsten Dunst, Gaby Hoffmann, Rachael Leigh Cook, Heather Matarazzo, Merritt Weaver, Monica Keena, Vincent Kartheiser and Matthew Lawrence, and for the grownups, Lynn Redgrave. Ironically, the film was a hit in Canada, where it was released broadly, and the film is considered somewhat of a cult classic by Canadian women who were 12-15 years old when it was released. (more…)
I can’t quite remember when I did this interview that Sarah Sinwell just posted, but miraculously I still agree with what I said.
Feel Free to comment after the break… (more…)
The following is a panel I moderated at this year’s Traverse City Film Festival about the impact that social issue documentaries can have on society, as well as the responsibilities that come with it. The panelists were Pamela Yates, Paco de Onis, Pau Faus, and Zaradasht Ahmed. The panel was recorded on July 26th and broadcast on the local NPR station in Northern Michigan.
Feel free to comment after the break. (more…)
Last week, I tweeted out that I had been asked to give a keynote speech at the Cannes Film Festival. In an attempt at humor, I made it sound as if it had been a last minute thing, when in fact I’ve known about it for months. The truth is that I had been approached to help set the stage for a full day event–one in which the MEDIA Program of the European Union would take stock of trends in the film business, with the goal of setting priorities for the future of the program. In any case, here it is. Thanks are due to Tara Roy, one of my Columbia students, who taped it for me.
Feel free to comment after the break… (more…)
I heard the devastating news today that Jonathan Demme is no longer with us. I knew he had been ill, but the last time I saw him he looked like he was back to his normal self and seemed to be in quite good spirits. But then again, Jonathan always gave off the vibe of being in good spirits. I had the pleasure of working with him on two of his films, and then peripherally on two others, and in all that time he never treated me with anything but the utmost respect.
I first met Jonathan shortly after the Cinecom team screened “Stop Making Sense” and we immediately decided we wanted to distribute it. The film had been financed by Warner Brother Records; from their perspective, it was merely a promotional film intended to broaden the appeal of Talking Heads. We saw the film differently, as Demme was already on our radar as someone we would love to work with. Yes, it was a great concert film, but the simplicity with which it captured a live performance and made it feel as immediate and exciting as if you were in the room–this was something new. This was pure cinema.
Jonathan was coming off of a few films that, while well received critically, had not exactly set the world on fire. Worse yet, he had just finished “Swing Shift,” a fairly big budget Hollywood movie he wasn’t all that pleased with, that tanked at the box office. The experience of “Stop Making Sense” seemed to him like a breath of fresh air at a time when his Hollywood stock was not exactly rising. Perhaps it was his publicity background kicking in, but he was unusually respectful of the work being done to market and distribute the film, and showered us with public praise when the film outperformed expectations. (more…)