Master Class: Independent Film Financing

Last week, I moderated a master class on Independent Film Financing at the IFP’s Independent Film Conference. The panelists were Nekisa Cooper, producer of “Pariah,” Philipp Engelhorn, founder of Cinereach, Pat Kaufman, the Executive Director of the New York State Film Office, Richard Sheehan from HSBC Bank and Jonathan Gray, Senior Partner at Gray Krauss Des Rochers. It turned out to be an interesting overview of how to piece together financing in the current environment. I only wish it had lasted longer. You can read more about it at indieWIRE.

More from the Traverse City Film Festival

Here’s a fun video from the Traverse City Film Festival. It’s the “Traverse City Lipdub.” I don’t know if you’ve ever encountered this phenomenon, but it seems to have caught on at college campuses, especially in the midwest. Just try searching for the word “lipdub” and you’ll see. This one is particularly well done. It shows off all the highlights of Traverse City, starting at Michael Moore’s theater, continuing up Front Street and ending up at the all the recreational areas on the shores of Lake Michigan. It also stars what seems to be the entire population of the city. Enjoy!

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Looking Back at the Last 15 Years of Distribution

The video below is of a panel that I participated in last weekend at the Film Society of Lincoln Center. It was in honor of the 15th anniversary of indieWIRE and the idea was to reflect on the changes that the film distribution business has undergone during that 15 year period. In spite of the large number of people on the panel, a lot of information was discussed. It was fun seeing all these people in one place (and several other prominent folks in the audience) especially because we’ve all worked together at one time or another. Anyway, enjoy!

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Marty Zeidman – A Small Tribute

This past Sunday morning, was the memorial service for Marty Zeidman at the Landmark Sunshine Theater in Manhattan. For those of you who didn’t know Marty, he was a very well-liked and respected film distribution guy, who is commonly credited as having helped to bring independent films more into the mainstream.

Back when I was at Fine Line, I was increasingly frustrated by the fact that New Line distribution, which was handling Fine Line’s films, was sacrificing our product in order to placate their big chain customers. In other words, our films were booked into the wrong types of theaters so that New Line could get “Teenage Mutant Ninja Turtles 3” on the right screens. I finally convinced the powers that be that we should take distribution in house, and I put out the word out on the street that I was looking for someone to run it. Bert Manzari, then of Landmark Theaters, called me to suggest that I talk to Marty Zeidman, who had recently left Miramax. Continue reading “Marty Zeidman – A Small Tribute”

Kickstarter Project Support

Like many of you, I have mixed feelings about Kickstarter campaigns that are helping to finance micro-budgeted films. On the one hand, it’s great that so many projects are finding the necessary financing through this simple, but apparently effective mechanism. On the other hand, I am inundated with requests to donate by the many people I have encountered in my years in the business. I simply cannot afford to donate to every film that comes along, and I don’t want to have to spend the time evaluating the projects, or the emotional stress of choosing among friends.

Therefore, I have decided that the way I will help support these projects is to dedicate some small amount of real estate on this web site to support one project at a time. As soon as each project’s deadline passes, I will replace it with another. By focusing on one project at a time, I will hopefully help a worthy film get off the ground.

Right now, I’m helping to promote a documentary called “Growing Small.” You can learn more about it by checking it out in the right hand column—>

If you want to be next, just drop me a line by clicking here. Please don’t Facebook me, or Google+ me or email me bat my business address. Just use the designated link above. Don’t expect any acknowledgement or discussion. Whatever somehow strikes my fancy will end up being promoted here for a period of time. It’s a very small contribution, but makes me feel like I can do a little something to help.

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Digital Projection WILL NOT Convert Art Houses Right Out of Existence!

There has been a lot of discussion recently among the mission-driven, independent art houses in the U.S. regarding the transition to digital. The art houses are stuck between a rock and a hard place due to the cost of DCI compliant (studio approved) equipment that would be necessary to show such cash cows as “Black Swan” or “The King’s Speech” — equipment that the art houses simply can’t afford — while the vast majority of the real indie movies that they play are not available in that format. Further angst is caused by the sense that it is only a matter of a few years before there simply are no more 35mm prints available. In the midst of a lot of doom and gloom, Russ Collins, the Executive Director of the Michigan Theater in Ann Arbor and a leader of the Art House Convergence wrote the following guest blog…

By Russ Collins

Maybe I’m just too much of an optimist. Instead of seeing digital cinema as a harbinger of Art House doom I see it as an exciting opportunity. Digital conversion AND the preservation of celluloid exhibition formats are, to me, soluble issues that will be most effectively addressed by “new model” community-based, mission-driven Art House cinemas. Digital cinema can provide wider, quicker access to both historic and contemporary cinema repertoire and is much more accommodating to local filmmakers. Additionally, we get the benefit of digital restoration on wonderful old celluloid movies. Continue reading “Digital Projection WILL NOT Convert Art Houses Right Out of Existence!”

Columbia Producers Are Coming to Cannes

For the second time, the entire second-year Creative Producing class from Columbia University will be coming to the Cannes Film Festival. The purpose of the trip is to have them witness first hand how the business operates, and to demystify the world’s most prestigious film event. Below is a photo of most of them in Sandra Schulberg’s Feature Film Financing class, the day that Ted Hope (the guy in the middle)was the guest speaker. Memorize those faces and say hi to them on the Croisette.

photo by Sandra Schulberg

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How do you define good acting?

In a post earlier today,
Reid Rosefelt asked a good question about the nature of acting and the varied definitions that that different parties use to size up performances for awards purposes. Coincidentally this past weekend, after having watched two movies over successive days, “Love and Other Drugs” and “Tiny Furniture,” I ended up having an argument on the same subject.

A few of the people who watched “Tiny Furniture” with me were put off by the performances, and I found myself getting angry. I thought the characters were incredibly believable and naturalistic. In spite of the fact that I knew in advance that Lena Dunham had written and directed the movie in addition to starring in it, and that two members of her family basically play themselves in the film, I found myself forgetting those facts as I watched the film.

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Podcast: My interview at the IFFS

Just got back from Vegas, one of my least favorite places in the world, where I was on a panel at the International Film Festival Summit. It’s a great event, where the folks who manage and program film festivals all over the world get together to compare notes and learn best practices.

While there, I was interviewed by Patty Fantasia for her blog, “The Filmmakers Notebook.”  Here is the podcast for your listening enjoyment. You should also check out Patty’s other podcasts from the IFFS at www.filmmakersnotebook.com.

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It’s Tiempo

As many of you know, I’ve travelled to many places in Latin America over the last few years, mainly talking to Latin filmmakers about both the business and the craft of moviemaking. The most common question that comes up is why, given the size of the Latin population in the U.S., is there not a larger market for their films in our country? The answer is actually quite simple. Just as films from Colombia don’t typically travel to Mexico, and Mexican films don’t necessarily work in Argentina, we don’t have a single Latin culture in the U.S. It is a fragmented market with large, but distinct cultures. There is an available audience, but it’s not the reliable mass audience that people think it ought to be.

Not that I’m truly an expert on the subject, but last week, I was asked to be on Joe Torres’s show “Tiempo” on local WABC-TV to speak on the subject.

Updated 10/8/10: The folks at WABC, in their infinite wisdom, have removed all the streaming videos from their site prior to September. Oh, well. Their loss.