tag:blogger.com,1999:blog-49357147943866266452024-03-13T08:45:34.567-04:00Independent Filmmaker ProjectRose Vincellihttp://www.blogger.com/profile/03731948679257352684noreply@blogger.comBlogger114125tag:blogger.com,1999:blog-4935714794386626645.post-85971638407354890832011-08-23T14:38:00.002-04:002011-08-23T14:54:56.467-04:00IFP Alumni at the 2011 Toronto International Film Festival<strong>IFP Alumni at the 2011 Toronto International Film Festival</strong>
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<br />The full slate for the 2011 Toronto International Film Festival, running September 8-18, has been announced! IFP is excited to share that six of its alumni projects have been selected for this year's festival.
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<br />The titles below, listed by festival section and IFP program:
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<br /><strong>DISCOVERY
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<br /></strong><em><strong>The Brooklyn Brothers Beat the Best
<br /></strong></em>written and directed by Ryan O'Nan and produced by Jason Berman and Kwesi Collisson.
<br />(<em>Independent Filmmaker Labs</em>, <em>No Borders International Co-Production Market</em>)
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<br /><em><strong>Habibi
<br /></strong></em>written, directed, and produced by Susan Youssef
<br />(<em>Independent Filmmaker Labs</em>, <em>Emerging Narrative</em>)
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<br /><strong><em>Pariah
<br /></em></strong>written and directed by Dee Rees and produced by Nekisa Cooper
<br />(<em>Independent Filmmaker Labs</em>, <em>Emerging Narrative</em>)
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<br /><strong>CANADA FIRST!</strong>
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<br /><strong><em>The Patron Saints
<br /></em></strong>directed and produced by Brian M. Cassidy and Melanie Shatsky
<br />(<em>Independent Filmmaker Labs</em>, <em>Spotlight on Documentaries</em>)
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<br /><strong>REAL TO REEL
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<br /><em>Girl Model
<br /></em></strong>directed and produced by Ashley Sabin and David Redmon
<br />(<em>Spotlight on Documentaries</em>)
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<br /><strong>TIFF KIDS
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<br /><em>First Position
<br /></em></strong>directed and produced by Bess Kargman
<br />(<em>Spotlight on Documentaries</em>)
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<br /><strong>For the full schedule and to purchase tickets, click </strong><a href="http://tiff.net/thefestival/filmprogramming/schedule/day1"><strong>here</strong></a><strong>. </strong>
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<br />Congratulations to all of this year's selections!
<br />John Sylvahttp://www.blogger.com/profile/15019499110489571246noreply@blogger.com0tag:blogger.com,1999:blog-4935714794386626645.post-41153487093865812772011-08-22T14:26:00.002-04:002011-08-22T14:32:59.023-04:00YELLING TO THE SKY screening Thursday 8/25 at the Walter Reade Theater, Lincoln CenterIFP Narrative Independent Filmmaker Labs alum <em>Yelling to the Sky</em> will be screened Thursday, August 25 at 7:00PM at the Walter Reade Theater at Lincoln Center in New York as part of the ongoing ImageNation screening series.
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<br /><a href="http://1.bp.blogspot.com/-juxawhzZ35I/TlKghm2SHOI/AAAAAAAAALA/Z4xotERV4oE/s1600/yttslinc.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 400px; height: 233px;" src="http://1.bp.blogspot.com/-juxawhzZ35I/TlKghm2SHOI/AAAAAAAAALA/Z4xotERV4oE/s400/yttslinc.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5643749782273006818" /></a>Starring Zoe Kravitz, in her first lead role, <em>Yelling to the Sky </em> tells the story of Sweetness O'Hara, a 17-year-old girl who is left to fend for herself as her family falls apart, in a neighborhood where her survival is uncertain. This coming-of-age film also features Gabourey Sidibe, Jason Clarke, Tariq Trotter (Black Thought of The Roots), Tim Blake Nelson, Jason Clarke, Antonique Smith, Marc John Jefferies, and Shareeka Epps. It premiered, in competition, at the Berlin International Film Festival.
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<br />The screening will be followed by a conversation and Q&A with writer/director/producer Victoria Mahoney and Academy Award® nominee Gabourey Sidibe (<em>Precious</em>).
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<br />For more information and to purchase tickets: <a href="http://www.filmlinc.com/films/series/imagenation-yelling-to-the-sky">http://www.filmlinc.com/films/series/imagenation-yelling-to-the-sky</a>Independent Filmmaker Projecthttp://www.blogger.com/profile/15635071605311387104noreply@blogger.com0tag:blogger.com,1999:blog-4935714794386626645.post-86622981990032421622011-08-15T11:43:00.015-04:002011-08-15T14:27:52.750-04:00IFP alumni at New York International Latino Film Festival<a href="http://1.bp.blogspot.com/-B1aWRAKjEwU/TklFs6XK-iI/AAAAAAAAAK4/szr0sesBTnU/s1600/NYILFF.png"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 184px; height: 195px;" src="http://1.bp.blogspot.com/-B1aWRAKjEwU/TklFs6XK-iI/AAAAAAAAAK4/szr0sesBTnU/s400/NYILFF.png" border="0" alt=""id="BLOGGER_PHOTO_ID_5641116646141262370" /></a>
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<br />IFP is proud to share its alumni projects screeing during the 2011 New York International Latino Film Festival presented by HBO, happening now through Sunday, August 21st.
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<br /><a href="http://skylightpictures.com/films/granito"><strong>Granito</strong></a>
<br />(<em>Spotlight on Documentaries</em>)
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<br /><a href="http://www.karlasarrival.com"><strong>Karla's Arrival</strong></a> *US Premiere
<br />(<em>Fiscal Sponsorship</em>)
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<br /><a href="http://mosquitomovie.com"><strong>Mosquito</strong></a>
<br />(<em>Fiscal Sponsorship</em>)
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<br /><a href="http://postalesmovie.wordpress.com"><strong>Postales (Postcards)</strong></a>
<br />(<em>Spotlight on Documentaries</em>)
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<br /><a href="http://www.tobeheard.org"><strong>To be Heard</strong></a>
<br />(<em>Spotlight on Documentaries</em>)
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<br /><a href="http://yellingtotheskymovie.com"><strong>Yelling to the Sky</strong></a>
<br />(<em>Narrative Labs</em>)
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<br />For a full schedule, to learn more about these titles, and to purchase screening tickets, please visit New York International Latino Film Festival's official website: <a href="www.nylatinofilm.com"></a>
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<br />Congratulations, alumni! Independent Filmmaker Projecthttp://www.blogger.com/profile/15635071605311387104noreply@blogger.com0tag:blogger.com,1999:blog-4935714794386626645.post-39270064774949190992011-08-11T17:30:00.004-04:002011-08-11T17:58:34.957-04:00Coming to a Theater near Me!<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/-NrAVS95ZlLY/TkRPjZIvMKI/AAAAAAAAABg/C9RbKw_woj8/s1600/Littlerock-IMG_1053.JPG"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 320px; height: 240px;" src="http://3.bp.blogspot.com/-NrAVS95ZlLY/TkRPjZIvMKI/AAAAAAAAABg/C9RbKw_woj8/s320/Littlerock-IMG_1053.JPG" alt="" id="BLOGGER_PHOTO_ID_5639720102836252834" border="0" /></a>
<br /><span style="font-family:arial;">I'm so excited - Mike Ott's Gotham Award-winning</span><span style="font-style: italic;font-family:arial;" > Littlerock</span><span style="font-family:arial;"> finally opens this Friday in New York at Cinema Village, screening daily at 3:00 pm and 7:10 pm. Mike and co-writer and star Atsuko Okatsuka will hold Q&A's following the 7:10 screenings on Friday and Saturday. The Gotham Award package included this Cinema Village run and a distribution support grant of</span><span style="line-height: 115%;font-family:";font-size:11pt;" ><span style="font-family:arial;"> $15,000 from RBC Capital Markets, so the film will be opening also in LA, San Francisco, Boston, Chicago, and Denver throughout September. After winning the Gotham Award (and playing 20+ festivals internationally), Mike also won the 2011 Someone to Watch Award at the Independent Spirit Awards. Thanks to a grant for the San Francisco Film Society, Mike has already shot his next film, <span style="font-style: italic;">Teenage Wasteland</span>, also starring Atsuko and <span style="font-style: italic;">Littlerock</span>'s Cory Zachariah. I encourage you all to check out <span style="font-style: italic;">Littlerock</span> this weekend!</span><span style="">
<br /></span></span>Tabbhttp://www.blogger.com/profile/17979639225367284005noreply@blogger.com0tag:blogger.com,1999:blog-4935714794386626645.post-43150175407799720372011-07-25T15:16:00.003-04:002011-07-25T15:23:40.911-04:00IFP Alumni at NewFest 2011<strong>IFP is proud to share its alumni projects screeing during the 2011 edition of NewFest, NYC's LGBT Film Festival, happening now through Thursday, July 28.</strong><br /><br /><strong>Paul Goodman Changed My Life</strong><br />(<em>Independent Filmmaker Labs</em>)<br /><br /><strong>(A)Sexual</strong><br />(<em>Spotlight on Documentaries</em>)<br /><br /><strong>Ballad of Genesis & Lady Jaye</strong><br />(<em>Spotlight on Documentaries</em>)<br /><br /><strong>Carol Channing: Larger than Life</strong><br />(<em>Spotlight on Documentaries</em>)<br /><br /><strong>Gun Hill Road</strong> (Closing Night Film)<br />(<em>No Borders International Co-Production Market</em>)<br /><br /><strong>Loop Planes </strong><br />(<em>Fiscal Sponsorship</em>)<br /><br />For a full schedule, to learn more about these titles, and to purchase screening tickets, please visit NewFest's official website: http://www.newfest.org<br /><br />Congratulations, alumni!Independent Filmmaker Projecthttp://www.blogger.com/profile/15635071605311387104noreply@blogger.com0tag:blogger.com,1999:blog-4935714794386626645.post-68393405240150729772011-07-21T15:08:00.005-04:002011-07-21T17:15:52.358-04:00IFP Alumni at the Primetime Emmys and the News & Documentary Emmys<strong>IFP congratulates the alumni from Independent Film Week's Spotlight on Documentaries and the IFP Independent Documentary Filmmaker Labs who have been recognized for the 2011 Primetime Emmy® Awards and for the 32nd Annual News & Documentary Emmy® Awards.<br /><br /><strong>2011 Primetime Emmy® Awards</strong></strong><br /><br /><em>Exceptional Merit in Non Fiction Filmmaking 2011</em><br /><strong>The Most Dangerous Man in America: Daniel Ellsberg and the Pentagon Papers</strong>, Judith Ehrlich & Rich Goldsmith <br /><em>(Spotlight on Documentaries 2007)</em><br /><br /><strong>32nd Annual News and Documentary Emmy® Awards:</strong><br /><br /><em>Best Documentary</em><br /><em>Outstanding Investigative Journalism – Long Form</em><br /><strong>The Oath</strong>, Laura Poitras <br /><em>(Spotlight on Docs 2008; Gotham Award 2010)</em><br /><br /><em>Best Documentary</em><br /><strong>A Small Act</strong>, Jennifer Arnold <br /><em>(Spotlight on Docs 2009; Envision screening 2010)</em><br /><br /><em>Outstanding Continuing Coverage of a News Story<br />Best Editing</em><br /><strong>War Don Don</strong>, Rebecca Richman Cohen <br /><em>(Documentary Lab 2009 [Lab grant]; Spotlight on Docs 2009)</em><br /><br /><em>Outstanding Informational Programming</em><br /><strong>Off and Running</strong>, Nicole Opper <br /><em>(Spotlight on Docs 2008)</em><br /><br /><em>Outstanding Business and Economic Reporting</em><br /><strong>Good Fortune</strong>, Landon Van Soest <br /><em>(Spotlight on Docs 2007; Fledgling Fund Award)</em><br /><br /><em>Outstanding Music and Sound</em><br /><strong>Music by Prudence</strong>, Roger Ross Williams <br /><em>(Spotlight on Docs 2008)</em><br /><br /><em>New Approaches to News and Documentary Programming</em><br /><strong>Deep Down</strong>, Jen Gilomen and Sally Rubin <br /><em>(Spotlight on Docs 2008)</em><br /><br /><br /><strong>A huge congratulations to all of this year's very deserving nominees!</strong>Independent Filmmaker Projecthttp://www.blogger.com/profile/15635071605311387104noreply@blogger.com0tag:blogger.com,1999:blog-4935714794386626645.post-58363958998939434352010-12-02T17:05:00.006-05:002010-12-02T17:57:29.859-05:00IFP Alumni Features in Sundance 2011<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.restlesscityfilm.com/photos/8.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 306px; height: 204px;" src="http://www.restlesscityfilm.com/photos/8.jpg" alt="" border="0" /></a><span style=";font-family:arial;font-size:100%;" >Big news for IFP alumni this week as <span style="font-weight: bold;">Sundance Film Festival</span> announces their slate. IFP is proud to have been a part of these films’ processes, from scripts and rough cuts at <a href="http://www.independentfilmweek.com/">Independent Film Week</a>, and through finishing and distribution with the <a href="http://labs.ifp.org/">Independent Filmmaker Labs</a>.</span> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:100%;">IFP Alumni include US Dramatic Competition films <a href="http://herefilm.info/"><b style=""><i style="">Here</i></b></a>, <a href="http://mialmafilms.com/"><b style=""><i style="">Gun Hill Road</i></b></a>, <a href="http://www.ontheicethemovie.com/"><b style=""><i style="">On the Ice</i></b></a> and <a href="http://www.pariahthemovie.com/"><b style=""><i style="">Pariah</i></b></a><i style="">.</i><b style=""><i style=""> </i></b><b><i><a href="http://www.kinyarwandamovie.com/">Kinyarwanda</a></i></b> premieres in the World Cinema Dramatic Competition.</span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:100%;">Premiering in the US Documentary Competition are <b style=""><i style=""><a href="http://crimeaftercrime.com/">Crime After Crime</a></i></b>, <a href="http://hotcoffeethemovie.com/"><b style=""><i style="">Hot Coffee</i></b></a> and <b style=""><i style=""><a href="http://www.marshallcurry.com/index.html">If A Tree Falls</a></i></b><span style="font-style: italic;">.</span></span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:100%;"><a href="http://www.restlesscityfilm.com/"><b style=""><i style="">Restless City</i></b></a> (pictured) premieres in the NEXT Competition, festival favorite <a href="http://www.incendies-lefilm.com/"><b style=""><i style="">Incendies</i></b></a> shows in Spotlight, and <a href="http://www.itvs.org/films/granito"><b style=""><i style="">Granito</i></b></a> and <a style="font-weight: bold; font-style: italic;" href="http://www.lostforeverthemovie.com/">Those Amazing Shadows</a> are in Documentary Premieres.</span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:100%;">"I heart IFP because they were one of the first organizations to see promise in <i style="">Pariah</i> and in Dee [Rees, director] and I. We were so amazed because after the IFP Market ended in 2007, I thought, "well that's it, we're on our own again," but now looking back, that was just the beginning. Amy [Dotson] and team have been our constant champions, opening doors and giving counsel as we labored to get this film made. We're so grateful and excited to share this premiere with the IFP team." says Nekisa Cooper, producer of <i style="">Pariah</i>, which is an alumnus of Emerging Narrative 2007 and Narrative Lab 2010.</span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:100%;">Says <i>Kinyarwanda</i> director Alrick Brown of his experience in the 2010 Independent Filmmaker Labs “[IFP are] goddesses on the hero’s journey. Thank you for the swords and the shields.”<br /></span></p><p class="MsoNormal" style="font-family:arial;"><span style="font-size:100%;">Rashaad Ernesto Green, writer/director of <span style="font-style: italic;">Gun Hill Road</span> said "Through IFP's No Borders, we met with festival programmers and industry professionals who became aware and excited about our feature film <i>Gun Hill Road</i>. We were able to establish relationships with many talented filmmakers and top executives that we may otherwise never have met. It was the beginning of a wonderful journey. Thank you, IFP, for the continued support. We look forward to returning the favor some day!"</span></p><p style="font-family: arial;" class="MsoNormal">You can read the full slate of projects over at <a href="http://filmmakermagazine.com/news/2010/12/sundance-2011-competition-lineup-announced/">Filmmaker Magazine</a>.<br /></p>Rose Vincellihttp://www.blogger.com/profile/03731948679257352684noreply@blogger.com0tag:blogger.com,1999:blog-4935714794386626645.post-169340750501114682010-12-02T16:15:00.005-05:002010-12-02T17:13:47.989-05:00Spirit Awards Nominations for IFP Alumni<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.khamfilmproject.org/media/galleries/aNomadsLife_stills/005.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 258px; height: 145px;" src="http://www.khamfilmproject.org/media/galleries/aNomadsLife_stills/005.jpg" alt="" border="0" /></a><span style="font-size:100%;"><a href="http://www.spiritawards.com/nominees"><b><span style="">Film Independent’s Spirit Awards</span></b></a></span><span style="font-size:100%;"> announced their nominees this week. Congratulations to IFP alumni <a href="http://www.nightcatchesus.com/"><b><i>Night Catches Us</i></b></a>, nominated for Best First Feature; <a href="http://www.lbsthemovie.com/"><b><i>Lbs.</i></b></a> nominated for the John Cassavetes Award; <b><i>Adele Romanski</i></b>, nominated for the Piaget Producers Award for <a href="http://www.americansleepover.com/"><i>Myth of The American Sleepover</i></a>; and <a href="http://www.summerpasturefilm.com/"><b><i>Summer Pasture</i></b></a><span style=""> (pictured)</span><i><span style="">,<b> </b></span></i>which is up for the Aveeno Truer Than Fiction Award.<br /></span><p style="color: rgb(0, 0, 0);font-family:arial;" class="MsoNormal"><span style="font-size:100%;">Matthew Bonifacio, director of<span style="font-style: italic;"> Lbs.</span>, says "the IFP/Emerging Narrative program was our first opportunity to introduce Lbs to the film industry. I couldn't believe the exposure we gained from a 28-minute presentation of selected scenes. The experience was unforgettable." </span><span style="font-size:100%;"><span style="font-size:10pt;"></span></span></p> <p style="color: rgb(0, 0, 0);font-family:arial;" class="MsoNormal"><span style="font-size:100%;"> Current Individual-level IFP members can screen Spirit Awards nominees in the coming months; additional details coming soon to you via email!<br /></span></p><p style="color: rgb(0, 0, 0);font-family:arial;" class="MsoNormal"><span style="font-size:100%;">Good luck to all the nominees!</span></p>Rose Vincellihttp://www.blogger.com/profile/03731948679257352684noreply@blogger.com0tag:blogger.com,1999:blog-4935714794386626645.post-66232611666968337032010-12-01T13:00:00.003-05:002010-12-01T13:06:29.357-05:00Let’s Talk About Trust, Victoria Mahoney, Director of Yelling to the Sky<this><br /><br /><a href="http://www.ifp.org/wp-content/uploads/2010/11/YTTS-still4-Zoe-Kravitz-by-Kirsten-Johnson-cropped.jpg"><img class="size-medium wp-image-3508" title="YTTS still4 Zoe Kravitz by Kirsten Johnson cropped" src="http://www.ifp.org/wp-content/uploads/2010/11/YTTS-still4-Zoe-Kravitz-by-Kirsten-Johnson-cropped-300x183.jpg" alt="" width="300" height="183" /></a><br /><strong><span style="font-size:78%;"><span style="font-weight: normal;">Actor Zoe Kravetz & Director V. Mahoney on set</span></span><br /><br />Nutter season is officially upon us.</strong><br /><br />We've entered the stretch of announcement time for top tier festivals in the first quarter of 2011.<br /><br />I know fourteen narrative filmmakers and five Doc filmmakers, who applied to the January festival.<br /><br />I know nine films/filmmakers, who applied to the February festival.<br /><br />I know eleven filmmakers, who applied to the March festival.<br /><br />This past week begins the first round of everyone getting their phone call of acceptance or email of rejection, or the dreaded soul ache of silence.<br /><br />Weeks like this (occur in cycles throughout the year) testing our sense of safety, deceiving our internal knowing.<br /><br />If a filmmaker's blog on an indie site is valuable for anything then let it be the truth no? As my friends and I comfort and guide each other's overall long term navigation regarding appropriate launch toward optimum filmic needs per individual goals, I am compelled to break code and say something out loud for ye' up and coming filmmakers;<br /><br /><strong> </strong><br /><br /><strong><strong><a href="http://www.ifp.org/wp-content/uploads/2010/11/YTTS-still-Gabourey-Sidibe.jpg"><img class="size-medium wp-image-3512" title="YTTS still; Gabourey Sidibe" src="http://www.ifp.org/wp-content/uploads/2010/11/YTTS-still-Gabourey-Sidibe-300x225.jpg" alt="" width="300" height="225" /></a></strong></strong><br /><span style="font-size:78%;">Actor Gabourey Sibide on set</span><br /><br /><strong>THE WHERE AND WHY OF FESTIVAL LAUNCH IS F*CKING MYTH. LEGEND. FOLKLORE.</strong> I have watched over a decade, every quarter of every year, filmmakers' spirits get busted, yanked and thrown asunder into the crushing heartbreak of "festival" rejection.<br /><br />The way I see it, the only thing "we're waiting on" is a human being to connect with our story in such a manner, that their need to support the film's existence in the world, matches ours.<br /><br />The search is absolutely no different from hunting; DP, LP, UPM, PD, AD, CD, LS, financing, cast and so on.<br /><br />If I insisted on hunting cast and crew based on their connection to the story, then why wouldn't I also be looking for the equivalent in sales reps, festival launch, distributors? [Full stop].<br /><br />Billy [Mullligan, <em>Yelling </em>producer] and I, have made some unconventional decisions up for debate, based on one private unflinching need. He and I made a pact at the gate for <em>Yelling to the Sky</em>. (Every film has different needs, our job is to know what those needs are up front, get them met, protect them to the wire and never settle for less.)<br /><br /><strong>The hiccups in our giddyup happen during moments of exhaustion when the veneer and seduction of name "brand" holds a perceived promise of "safety".</strong><br /><br />Our nasty, rough, dirty, uncomfortable, dark, messy, complicated job at this point of [finish] is the exact same as it was at the point of [start]. <strong>We are responsible to L I S T EN.</strong><br /><br />We have to listen in each arena of decision making, beyond household names, brands and tiers. We have to listen between consonants and vowels. We have to listen to what is not said. We have to listen to what is withheld. We have to listen to behavior and gesture. We have to listen to pauses and repetition. We have to listen to our insides. We have to listen to the original intention for telling the story. We have to listen to the nexus wail for becoming storytellers.<br /><br /><strong>The lie is; that a film will sink or swim based on an acceptance or rejection.</strong><br /><strong><strong><a href="http://www.ifp.org/wp-content/uploads/2010/11/YTTS-still-Shareeka-Epps.jpg"><img class="size-medium wp-image-3513" title="YTTS still; Shareeka Epps" src="http://www.ifp.org/wp-content/uploads/2010/11/YTTS-still-Shareeka-Epps-300x225.jpg" alt="" width="300" height="225" /></a></strong></strong><br /><span style="font-size:78%;">Actor Shareeka Epps & crew on set</span><br /><strong> </strong><br /><strong>The lie is; that "a" programmer's interest is not subconsciously subjective to their life experience. In so much as, they're human and innocently may connect to what excites "them" not necessarily what excites "us".</strong><br /><br />Dare we discuss how much of that excitement is also business based? Past relationships, sponsor's dollar and audience's dollar. Enormous factors having absolutely nothing to do with the film you bled and died a thousand deaths for. All kinds of shit we will never know, that has nothing to do with us, our talent or our film. That is certain.<br /><br />Fortunately it is also certain that when we decide to lead with our original intention, [mine is "to tell stories, allowing people safety to feel."] What happens before, during and after steady allegiance to my intention, truthfully, isn't any of my business.<br /><br />I am responsible to a teeny, corny lil wish to [allow an exchange between celluloid and human] to the best of my ability, in the given circumstances, with the given tools, in the given time.<br /><br />Far as I can see, what we, filmmakers are really waiting for (if anything) isn't confirmation or approval or industry "aww/awe".<br /><br />During festival announcement season, indie filmmakers are waiting, via programmers for the same damn thing we're always waiting for;<br /><br />A person, to hear what we've said, through lens, through performance, through cinematography, through word, through blocking, through locations, through wardrobe, through edit, through sound, through score, through color correct, through...just through...we're simply waiting for someone to see us through.<br /><br />So as we commandeer a respectful, deserved launch. What say, we continue using pre pro-post pro rejections to ignite will and feed purpose.<br /><br />What if you were to walk in, trust that rejection - on any level of getting a film made - is clarity of what does not--belong.<br /><br />If this winter quarter of announcements brings you heartbreak, how about you get yourself a nice sized bag of ice cubes, walk to an empty alley, and smash the ice cubes (along with ego) against the wall. <strong>Cuss and yell and stomp and howl.</strong><br /><br />After you smash the last ice cube, turn around and give <strong>THANKS TO THOSE WHO REJECT YOU, WITH THE SAME PRAISE FOR THOSE WHO ACCEPT YOU.</strong> Have a party, doing mental-laundry; go down the list and thank all the actors who rejected you, the DP's, the sorted crew, thank the financiers who rejected you, the producers, the post houses, the sales reps, the publicists, the lawyers, thank the festival programmers who rejected you, the distributors and the critics.<br /><br />Individually thank whoever uttered "no". They too, are our teachers. They too, are helping us get where our film intends to be.<br /><br />Lace your bootstraps and walk on, let it go.<br /><br />Your energy, focus, fight and heart are needed in progression.<br /><br />Last but not least, let's give three cheers to our mates, who are catching light before and beside us...<br /><br /><br /><span style="font-size:85%;"><span style="font-weight: bold;">About the Author: Victoria Mahoney </span>spent one year at Southampton University, dabbling in Fine Art and World Lit before hightailing West. Where she spent three years doing art installations at Tower Records, while informally auditing Poli Sci and all things Feature Narrative at U.C.L.A. Coming back to New York for twice weekly classes with Marcia Haufrecht, inspired a seat working under Shelley Winters at the Actor’s Studio. After years of Theater, TV, Indie and Studio features, world travel and residences in Paris, Italy and Morocco, she relentlessly thrust herself down the filmmaking rabbit hole with mentor guidance from Hubert Selby JR.. Honing her strengths; writing countless One Acts, lensing a couple Documentaries and directing short film upon short film. Mahoney is a 2006 Sundance Institute Lab Alumn, 2006 Auerbach Fellow, 2006 Maryland Fellow, 2009 Annenberg Fellow and 2010 Cinereach Fellow. She is currently in post-production on her first feature film, YELLING TO THE SKY.</span>Rose Vincellihttp://www.blogger.com/profile/03731948679257352684noreply@blogger.com1tag:blogger.com,1999:blog-4935714794386626645.post-32315140728691899992010-11-24T10:40:00.004-05:002010-11-29T13:09:35.064-05:00Watch The Gothams Live Monday, November 29th at 8PM!<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_Pp1MDI3Oqnc/TO0yTeJljgI/AAAAAAAAABI/iYqBtclCrow/s1600/Tucci%2Band%2BClarkson%2BTo%2BHost%2BCeleb-Heavy%2BGotham%2BAwards.jpeg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px; height: 178px;" src="http://2.bp.blogspot.com/_Pp1MDI3Oqnc/TO0yTeJljgI/AAAAAAAAABI/iYqBtclCrow/s320/Tucci%2Band%2BClarkson%2BTo%2BHost%2BCeleb-Heavy%2BGotham%2BAwards.jpeg" border="0" alt="" id="BLOGGER_PHOTO_ID_5543142026455125506" /></a><br /><p class="MsoNormal"><span class="apple-style-span"><span style="color:black;"><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;">It’s time to gather your family and friends. Bring on the food. And break out the good glasses for a giant glass of bubbly to toast another wonderful year….<o:p></o:p></span></span></span></span></p> <p class="MsoNormal"><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;">No, we’re not talking about Thanksgiving.</span></span></p> <p class="MsoNormal"><span class="apple-style-span"><span style="color:black;"><o:p><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;"> </span></span></o:p></span></span><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;">In just five days, the 20</span></span><sup><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;">th</span></span></sup><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;"> Anniversary IFP Gotham Independent Film Awards – the biggest awards show of the indie film world – will be streamed live on </span></span><a href="http://www.biglive.com/"><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;">www.biglive.com</span></span></a><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;">.</span></span></p> <p class="MsoNormal"><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;">That’s right, wherever you are in the world, you too can attend the Gothams in its entirety this year. And just like those celebrating here in New York, feel free to meet, chat, and connect with other film lovers to discuss the films and nominees. The fresh faces. And of course, gossip about what everyone is wearing!</span></span></p> <p class="MsoNormal"><span class="apple-style-span"><span style="color:black;"><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;">Confirmed presenters at the awards this year include:</span></span></span></span><span class="apple-converted-space"><span style="color:black;"><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;"> </span></span></span></span><strong><span style="color:black;"><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;">Julianne Moore</span></span></span></strong><span class="apple-style-span"><span style="color:black;"><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;">,</span></span></span></span><span class="apple-converted-space"><span style="color:black;"><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;"> </span></span></span></span><strong><span style="color:black;"><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;">Anne Hathaway</span></span></span></strong><span class="apple-style-span"><span style="color:black;"><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;">,</span></span></span></span><span class="apple-converted-space"><span style="color:black;"><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;"> </span></span></span></span><strong><span style="color:black;"><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;">Jesse Eisenberg</span></span></span></strong><span class="apple-style-span"><span style="color:black;"><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;">,</span></span></span></span><strong><span style="color:black;"><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;">Barbara Kopple</span></span></span></strong><span class="apple-style-span"><span style="color:black;"><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;">,</span></span></span></span><span class="apple-converted-space"><span style="color:black;"><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;"> </span></span></span></span><strong><span style="color:black;"><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;">Anthony Mackie</span></span></span></strong><span class="apple-style-span"><span style="color:black;"><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;">,</span></span></span></span><span class="apple-converted-space"><span style="color:black;"><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;"> </span></span></span></span><strong><span style="color:black;"><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;">Leighton Meester</span></span></span></strong><span class="apple-style-span"><span style="color:black;"><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;">,</span></span></span></span><span class="apple-converted-space"><span style="color:black;"><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;"> </span></span></span></span><strong><span style="color:black;"><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;">Rosie Perez</span></span></span></strong><span class="apple-style-span"><span style="color:black;"><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;">,</span></span></span></span><span class="apple-converted-space"><span style="color:black;"><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;"> </span></span></span></span><strong><span style="color:black;"><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;">Sam Rockwell</span></span></span></strong><span class="apple-style-span"><span style="color:black;"><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;">,</span></span></span></span><span class="apple-converted-space"><span style="color:black;"><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;"> </span></span></span></span><strong><span style="color:black;"><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;">John Turturro</span></span></span></strong><span class="apple-converted-space"><span style="color:black;"><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;"> </span></span></span></span><span class="apple-style-span"><span style="color:black;"><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;">and </span></span></span></span><strong><span style="color:black;"><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;">Michelle Williams</span></span></span></strong><span class="apple-style-span"><span style="color:black;"><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;">.</span></span></span></span><span class="apple-style-span"><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;"> And, like any true film fan, you can be on the lookout to be the first to discover the stars of tomorrow today.<o:p></o:p></span></span></span></p> <p class="MsoNormal"><o:p><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;"> </span></span></o:p><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;">As everyone knows, there are no rules in independent film. So watch in your pajamas if you must. Make it interesting by breaking out the ballots. Or follow the lead of Gotham hosts Stanley Tucci and Patricia Clarkson who suggest “that every time either of them says the word “independent,” everyone at home watching or attending the awards themselves must take a shot.”</span></span></p> <p class="MsoNormal"><o:p><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;"> </span></span></o:p><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;">And remember, the party doesn’t stop at the stroke of midnight. Nominated films are still in theatres. On VOD. Available directly from filmmakers’ websites. So, make your New Year’s resolution early to be a champion of independent film every day and all year long, supporting the filmmakers and artists you see here tonight.</span></span></p> <p class="MsoNormal"><span class="apple-style-span"><span style="color:black;"><o:p><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;"> </span></span></o:p></span></span><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;">Learn more at: </span></span><a href="http://www.ifp.org/"><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;">www.ifp.org</span></span></a><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;"> and<a href="http://gotham.ifp.org"> </a></span></span><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;"><a href="http://gotham.ifp.org">gotham.ifp.org</a></span></span></p><p class="MsoNormal"><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:georgia;"><br /></span></span></p> <p class="MsoNormal"><o:p> </o:p></p>Amy Dotsonhttp://www.blogger.com/profile/05440582780686280879noreply@blogger.com0tag:blogger.com,1999:blog-4935714794386626645.post-17887527342756983292010-11-15T17:31:00.007-05:002010-11-15T19:00:54.203-05:00Champion Indie Film With Small, Deliberate Steps<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_Pp1MDI3Oqnc/TOHF8Qj14ZI/AAAAAAAAABA/x0SHBlTGKtM/s1600/2010%2BIFP%2BNarrative%2BLabs.jpg.jpeg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 130px; height: 87px;" src="http://2.bp.blogspot.com/_Pp1MDI3Oqnc/TOHF8Qj14ZI/AAAAAAAAABA/x0SHBlTGKtM/s320/2010%2BIFP%2BNarrative%2BLabs.jpg.jpeg" border="0" alt="" id="BLOGGER_PHOTO_ID_5539926655670542738" /></a><br /><br /><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;">Earlier this fall, I took part on a fantastic panel at the Woodstock Film Festival lead by esteemed critic Thelma Adams, who led FilmDistrict's </span></span><a href="http://blogs.indiewire.com/thompsononhollywood/2010/10/12/filmdistricts_bob_berney_names_theatrical_team_jeanne_berney_heads_marketin/"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;">Jeanne Bernie</span></span></a><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;">, Louverture Film's </span></span><a href="http://www.louverturefilms.com/ss/about_us"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;">Joslyn Barnes</span></span></a><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;"> and myself in a fun and spirited panel on the many, many roles women play in this crazy business we call film.</span></span><div><div><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;"><br /></span></span></div><div><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;">We had quite a discussion that covered little bit of everything - from motherhood to gobos, as I recall</span></span><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;">- with a lot of laughter and irreverence thrown in for good measure.</span></span></div><div><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;"><br /></span></span></div><div><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;">But at the end of the day, despite our different paths and personalities, it became clear that the one thing we all had in common was that when life got crazy, production financing went south, and plans went out the window - we somehow found a way to keep our jobs - and our heads up - by simply, humbly starting fresh each morning and continuing to push forward any way we could with small, but deliberate, steps.</span></span></div><div><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;"><br /></span></span></div><div><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;">This </span></span><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;">week, I've been thinking a whole lot about another group of women who are currently pushing forward in a big </span></span><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;">way to ensure their stories are heard</span></span><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;">. Their films are seen. Their careers able to thrive. They're spending hours in LA, New York, Amsterdam and beyond in dark editing suites, pouring over marketing materials, finding that last bit of funding to jump start their next steps.</span></span></div><div><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;"><br /></span></span></div><div><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;">One by one in the coming months, they'll be introducing us to their very first feature films at Sundance, Slamdance, Rotterdam, Berlin, True/False, SXSW and beyond. It's an exciting and terrifying time for them, in equal and oscillating measure.</span></span></div><div><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;"><br /></span></span></div><div><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;">At this year's IFP Independent Filmmaker Labs (the only labs in the world that help first-time feature fi</span></span><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;">lmmakers complete, market and distribute their films), we have the highest percentage of women directors and producers we've ever had taking part in this year's program. And as you'll soon learn for yourselves, they are fierce!</span></span></div><div><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;"><br /></span></span></div><div><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;">We'll be hearing a lot more from these ladies over the coming months as they charge into festivals, theatres and your living room thanks to the the wonders of VOD. </span></span><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;">Already, good news and goo</span></span><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;">d press is trickling out about Lab Fellows Susan Youssef's recent </span></span><a href="http://www.thewrap.com/awards/column-post/women-film-foundation-offers-grants-films-about-abuse-war-and-soccer-22414?page=0,0"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;">2010 Women in Film Grant</span></span></a><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;"> and Victoria Mahoney's </span></span><i><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;">Elle Magazine</span></span></i><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;"> recognition as </span></span><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;">one of 2010's </span></span><a href="http://web.mac.com/victoriamahoney/iWeb/site/victoria%20mahoney.html"><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;">Elle Women in Hollywood</span></span></a><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;">.</span></span></div><div><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;"><br /></span></span></div><div><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size: small;"></span></span><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;">And we're excited to see all these Lab Fellows - and fellas too! - at our Distribution Lab here in New York December 9-11. Where after months of hard work, strategy, and struggle we get together one last time to remind each other that what it really comes down to at the end is this: </span></span><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;"> That it's not just about this project. Or this Lab. Or this incredible, hardworking group of filmmakers finding their way through the indie wilds. </span></span></div><div><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;"><br /></span></span></div><div><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;">It's about each of us - filmmakers and film lovers all - coming together to ensure that we continue to be champions of independent film. </span></span></div><div><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;"><br /></span></span></div><div><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;">It's a challenge that holds true for emerging and veteran talent alike. It's both simple and powerful. And even still, fueled by small, deliberate steps. </span></span></div><div><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;"><br /></span></span></div><div><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;">So when you discover a new face in the crowd in the coming months- whether its one of our IFP Lab Fellows or anyone of the thousands of talented filmmakers and artists out there shooting, cutting, building websites, and planning for their festival debuts in tandem - don't forget to tell your friends. </span></span><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;">Keep the story going. </span></span><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;">Provide support any way you can. And h</span></span><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;">elp them to p</span></span><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;">ush on.</span></span></div><div><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;"><br /></span></span></div><div><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;"><br /></span></span></div><div><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;"><br /></span></span></div><div><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;"><br /></span></span></div><div><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;"><br /></span></span></div><div><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;"> </span></span></div><div><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;"><br /></span></span></div><div><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;"><br /></span></span></div><div><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;"><br /></span></span></div><div><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;"><br /></span></span></div><div><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;"><br /></span></span></div><div><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family:georgia;"><br /></span></span></div><div><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size:small;"><br /></span></span></div></div>Amy Dotsonhttp://www.blogger.com/profile/05440582780686280879noreply@blogger.com0tag:blogger.com,1999:blog-4935714794386626645.post-62292000915096438182010-11-10T13:02:00.005-05:002010-11-10T14:52:46.409-05:00Nominees Announced for the 1st Ever Festival Genius Audience Award<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://gothamawards.slated.com/"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 250px; height: 182px;" src="http://www.ifp.org/wp-content/uploads/2010/11/festival_genius.jpg" alt="" border="0" /></a><span style="font-size:85%;"><span style="color: rgb(0, 0, 0);">Last night, at the </span><a style="color: rgb(51, 51, 255); font-weight: bold;" href="http://www.dunhill.com/">Alfred Dunhill store</a><span style="color: rgb(0, 0, 0);"> in New York City, actor <span style="font-weight: bold;">Oliver Platt</span> (</span><span style="font-style: italic; color: rgb(0, 0, 0);">The Big C</span><span style="color: rgb(0, 0, 0);">, </span><span style="font-style: italic; color: rgb(0, 0, 0);">Please Give</span><span style="color: rgb(0, 0, 0);">) took the stage to announce the nominees for the first ever </span><a style="color: rgb(51, 51, 255); font-weight: bold;" href="http://gothamawards.slated.com/">FESTIVAL GENIUS AUDIENCE AWARD</a><span style="color: rgb(0, 0, 0);">.</span><span style="color: rgb(0, 0, 0);"> </span><span style="color: rgb(0, 0, 0);">The award, presented by<span style="color: rgb(51, 51, 255);"> </span></span><a style="color: rgb(51, 51, 255); font-weight: bold;" href="http://www.ifp.org/">IFP</a><span style="color: rgb(0, 0, 0);"> and </span><a style="color: rgb(51, 51, 255); font-weight: bold;" href="http://slated.com/">Slated</a><span style="color: rgb(0, 0, 0);"> (Owner of Festival Genius) will be given out on November 29</span><sup style="color: rgb(0, 0, 0);">th</sup><span style="color: rgb(0, 0, 0);"> at the </span><a style="color: rgb(51, 51, 255);" href="http://gotham.ifp.org/"><span style="font-weight: bold;">20th Anniversary Gothams Independent Film Award</span>s</a><span style=""><span style="color: rgb(0, 0, 0);">.</span><br /><br /></span></span> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:85%;"><span style=""> </span></span></p> <p style="color: rgb(0, 0, 0);font-family:arial;" class="MsoNormal"><span style="font-size:85%;"><span style="">The <a style="color: rgb(51, 51, 255); font-weight: bold;" href="http://gothamawards.slated.com/">Festival Genius Audience Award</a> celebrates this year’s audience award winners from across the top 50 US and Canadian film festivals.<span style=""> </span>True to the democratic spirit of the independent film community, all nominees were determined through online voting. <span style=""> </span>Over 12,000 votes came in to narrow the initial list of twenty-six films down to five.<span style=""> </span>Those nominees are:</span></span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:85%;"><span style=""> </span></span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:85%;"><a style="color: rgb(51, 51, 255); font-weight: bold;" href="http://www.wintersbonemovie.com/"><i style="">Winter’s Bone</i></a><span style="color:black;">, directed by <span style="font-weight: bold;">Debra Granik</span>, also nominated for three other Gotham Awards including Best Feature, Best Ensemble and Breakthrough Actor for <span style="font-weight: bold;">Jennifer Lawrence</span>.<span style=""> </span>Winter’s Bone won the audience award for feature film at the <span style="font-weight: bold;">2010 San Francisco</span> and <span style="font-weight: bold;">Traverse City Film Festivals</span>.</span></span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:85%;"><span style="color:black;"> </span></span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:85%;"><a style="color: rgb(51, 51, 255); font-weight: bold;" href="http://www.waitingforsuperman.com/"><i style="">Waiting for Superman</i></a><span style="color:black;">, directed by<span style="font-weight: bold;"> Davis Guggenheim</span>, which won the audience award for documentary at the <span style="font-weight: bold;">2010 Sundance Film Festival</span>.</span></span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:85%;"><span style="color:black;"> </span></span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:85%;"><a style="color: rgb(51, 51, 255); font-weight: bold;" href="http://www.facebook.com/pages/White-Irish-Drinkers/109120619111041"><i style="">White Irish Drinkers</i></a><span style="color:black;">, directed by <span style="font-weight: bold;">John Gray</span>, which won the audience award for feature film at the <span style="font-weight: bold;">2010 Woodstock Film Festiva</span>l.</span></span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:85%;"><span style="color:black;"> </span></span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:85%;"><a style="color: rgb(51, 51, 255); font-weight: bold;" href="http://9000needles.com/9,000_Needles/Welcome.html"><i style="">9000 Needles</i></a><span style="color:black;">, directed by <span style="font-weight: bold;">Doug Dearth</span>, which won the audience award for best documentary at the <span style="font-weight: bold;">2010 Phoenix Film Festival</span>.</span></span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:85%;"><span style="color:black;"> </span></span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:85%;"><a style="color: rgb(51, 51, 255); font-weight: bold;" href="http://www.brotherhoodthemovie.com/"><i style="">Brotherhood</i></a><span style="color:black;">, directed by <span style="font-weight: bold;">Will Canon</span>, which won the audience award for best feature at the <span style="font-weight: bold;">2010 South by Southwest Film Festival (SXSW</span>).</span></span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:85%;"><span style="color:black;"> </span></span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:85%;"><span style="color:black;">Voting </span><span style="color:black;">to select the final winner starts today at </span><a style="font-weight: bold;" href="http://gothamawards.slated.com/"><span style=""><span style="color:blue;">http://gothamawards.slated.com</span></span></a><span style="color:black;">, and will end on</span><span style="color:black;"> November 29th at 5 pm EST.<span style=""> </span></span><span style="">One lucky voter will win a night’s stay at the <a style="color: rgb(51, 51, 255); font-weight: bold;" href="http://www.andaz.com/">Andaz Wall Street</a><span style="font-weight: bold;"> </span>in New York City plus two tickets to the <a style="color: rgb(51, 51, 255); font-weight: bold;" href="http://gotham.ifp.org/">Gotham Awards</a>.</span></span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:85%;"><span style=""> </span></span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:85%;"><span style=""><span style="color: rgb(0, 0, 0);">As the first major award show of the film season, the</span><a style="color: rgb(0, 0, 0); font-weight: bold;" href="http://gotham.ifp.org/"> </a></span><a style="color: rgb(51, 51, 255); font-weight: bold;" href="http://gotham.ifp.org/">Gotham Independent Film <span style="">Awards</span></a><span style="color: rgb(0, 0, 0);"><span style="font-weight: bold;"> </span>provides critical early recognition and media attention to worthy independent films.<span style=""> </span>This new award will be presented alongside other competitive categories including: </span><i style="color: rgb(0, 0, 0);">Best Feature</i><span style="color: rgb(0, 0, 0);">, </span><i style="color: rgb(0, 0, 0);"><span style="">Best Documentary</span></i><span style="color: rgb(0, 0, 0);">, <i>Breakthrough Director</i>, <i>Breakthrough Actor</i>, <i>Best Ensemble Performance</i> and <i>Best Film Not Playing at a Theater Near You</i></span><span style="color: rgb(0, 0, 0);">.<span style=""> </span></span><span style="color: rgb(0, 0, 0);">This year,</span><span style="color: rgb(0, 0, 0);"> actors <span style="font-weight: bold;">Robert Duvall</span> and <span style="font-weight: bold;">Hilary Swank</span>, director <span style="font-weight: bold;">Darren Aronofsky</span> and <span style="font-weight: bold;">Focus Features</span> CEO, <span style="font-weight: bold;">James Schamus</span></span><span style="color: rgb(0, 0, 0);">, will each be presented with </span><span style="color: rgb(0, 0, 0);">career tribute</span><span style="color: rgb(0, 0, 0);">s</span><span style="color: rgb(0, 0, 0);">.</span><span style="color:black;"><span style=""> </span></span></span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:85%;"><span style="color:black;"> </span></span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:85%;"><span style="color:black;">Check out <a style="color: rgb(51, 51, 255); font-weight: bold;" href="http://gothams.ifp.org/">http://gothams.ifp.org</a> for a full list of nominees, and don’t forget to visit </span><span style=""><a style="color: rgb(51, 51, 255); font-weight: bold;" href="http://gothamawards.slated.com/">http://gothamawards.slated.com</a><span style="font-weight: bold;"> </span>to vote.<span style=""> </span>Then, tune to <a style="color: rgb(51, 51, 255); font-weight: bold;" href="http://www.ifp.org/">http://www.ifp.org</a><span style="font-weight: bold;"> </span>on the evening of November 29<sup>th</sup> to live-stream the entire award show.</span></span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:85%;"><span style=""> </span></span></p> <p class="MsoNormal" style="font-family:arial;"><span style="font-size:85%;"><span style="">We’ll see you there!</span></span></p>Dan Schoenbrunhttp://www.blogger.com/profile/17960975956433952408noreply@blogger.com0tag:blogger.com,1999:blog-4935714794386626645.post-82313383126528815102010-11-05T15:52:00.007-04:002010-11-05T17:09:50.489-04:00IFP/Rotterdam Lab Producer's Fellowship Call For Entry<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://2.bp.blogspot.com/_Pp1MDI3Oqnc/TNRhFsEFy7I/AAAAAAAAAAw/yonFcIjTGtw/s1600/Amy.JPEG"></a><p class="MsoNormal" style="margin-right:49.5pt"><span class="Apple-style-span" style="font-family:'Gill Sans MT', sans-serif;"></span></p><span class="Apple-style-span" style="font-family:'Gill Sans MT', sans-serif;"><p class="MsoNormal" style="margin-right:49.5pt"><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size: x-small;">November in New York City is here, bringing a<a href="http://www.google.com/search?q=movies+opening+in+new+york+city&ie=utf-8&oe=utf-8&aq=t&rls=org.mozilla:en-US:official&client=firefox-a"> fresh slate of great indies, docs and awards-season films</a> vying for our attention and of course, throngs of athletes lining the sidewalks getting in their final jog before <a href="http://www.ingnycmarathon.org/">marathon</a> weekend. </span></span></p><p class="MsoNormal" style="margin-right:49.5pt"><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size: x-small;">Across the Atlantic, IFP's long-time international partners Marit van den Elshout & Jacobine van der Vloed are in Rotterdam hard at work preparing for the 10th annual <a href="http://www.filmfestivalrotterdam.com/professionals/cinemine/rotterdam_lab/">Rotterdam Lab</a>. </span></span><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size: x-small;"> This terrific </span></span><span class="Apple-style-span" style="font-family: georgia; font-size: x-small; "> four-day training workshop is designed to help producers from around the world build up their international network and experience. </span></p><p class="MsoNormal" style="margin-right:49.5pt"><span class="Apple-style-span" style="font-family: georgia; font-size: x-small; "></span><span class="Apple-style-span" style="font-family: georgia; font-size: x-small; "><span class="Apple-style-span" style="font-family: 'Gill Sans MT', sans-serif; font-size: 16px; "><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size: x-small; ">As the sole U.S. partner, IFP annually selects two producers to participate in the Rotterdam Lab, which</span></span><b><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size: x-small; "> </span></span></b><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size: x-small; ">runs concurrently with the CineMart Co-production Market (January 30-February 4, 2011).The Fellowship is open to producers with at least one narrative, feature producing credit who are current IFP Members at any level.</span></span></span></span></p><p class="MsoNormal" style="margin-right:49.5pt"><span class="Apple-style-span" style="font-family: georgia; font-size: x-small; "><span class="Apple-style-span" style="font-family: 'Gill Sans MT', sans-serif; font-size: 16px; "><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size: x-small; "></span></span></span>Past IFP Producer Fellows have included many of our talented members who continue to work tirelessly to ensure that independent films connect with audiences here and abroad. Paul Mezey (<i>Half Nelson</i>), Howard Gertler (<i>Shortbus</i>), Effie Brown (<i>Real Women Have Curves</i>), Dan Carey (<i>Cold Souls</i>), Mynette Louis (<i>Mutual Appreciation</i>), Anish Savjani (<i>Wendy & Lucy</i>), Ben Howe (<i>Treeless Mountai</i>n) are all previous recipients of IFP's fellowship. 2010 Producers Jason Orans (<i><a href="http://www.nightcatchesus.com/">Night Catches Us</a></i>) and Thomas Woodrow <a href="http://www.bassackwardsfilm.com/">(</a><i><a href="http://www.bassackwardsfilm.com/">Bass Akwards</a></i>) most recently took part, enjoying the one-to-one meetings, networking opportunities and of course, an unforgetable Indonesian feast with fellow filmmakers and industry that any working producer - or marathoner! - would envy. </span></p><p class="MsoNormal" style="margin-right:49.5pt"><span class="Apple-style-span" style="font-family: georgia; font-size: x-small; "><span class="Apple-style-span" style="font-family: 'Gill Sans MT', sans-serif; font-size: 16px; "><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size: x-small; ">To apply for this fellowship, please send your one-page letter of inquiry and resume to Deputy Director Amy Dotson at</span></span><a href="mailto:adotson@ifp.org"><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size: x-small; ">adotson@ifp.org</span></span></a><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size: x-small; "> by Monday, November 15</span></span><sup><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size: x-small; ">th</span></span></sup><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size: x-small; ">. All finalists will be notified by Monday, November 22</span></span><sup><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size: x-small; ">nd</span></span></sup><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size: x-small; "> of acceptance.</span></span></span></span></p><p class="MsoNormal" style="margin-right:49.5pt"><span class="Apple-style-span" style="font-family: georgia; font-size: x-small; ">Good luck to everyone in the home stretch and don't forget to enjoy the run!</span></p><p class="MsoNormal" style="margin-right:49.5pt"><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size: x-small;"><br /></span></span></p><p class="MsoNormal" style="margin-right:49.5pt"></p></span><p></p><div><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size: x-small;"> </span></span><p class="MsoNormal" style="margin-right:49.5pt"><o:p><span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size: x-small;"> </span></span></o:p></p> <span class="Apple-style-span" style="font-family:georgia;"><span class="Apple-style-span" style="font-size: x-small;"><br /></span></span></div>Amy Dotsonhttp://www.blogger.com/profile/05440582780686280879noreply@blogger.com0tag:blogger.com,1999:blog-4935714794386626645.post-69265065504666810202010-10-30T19:56:00.000-04:002010-10-30T20:36:19.539-04:00Catch These Docs<span style=";font-family:";" >Two Spotlight on Documentaries alums of IFP’s Project Forum opened theatrically this Friday, giving New Yorkers the opportunity for an IFP subway series of sorts - the ability to shuttle between two terrific documentaries.</span> <p class="MsoPlainText"><span style=";font-family:";" > </span><span style=";font-family:";font-size:100%;" >Jennifer Arnold’s <a href="http://www.asmallact.com/"><span style="font-style: italic;">A Small Act </span></a>(now at <a href="http://www.quadcinema.com/">Quad Cinema</a>), which premiered at Sundance 2010, chronicles how one small act can dramatically change the entire course of another person¹s life as it tells how the donation of a then-stranger (Hilda Back) allowed young Chris Mburu stay in school in Kenya. Mburu is now a Harvard Law School graduate who is a human rights officer for the United Nations, and <span style="font-style: italic;">A Small Act</span> follows Mburu¹s efforts to honor his benefactor, give back to his community and continue the cycle of sponsorship. With clarity and grace, the film bears witness to the ripple effect one singular action can have.</span></p> <p class="MsoNormal"><span style=";font-family:";" >At Spotlight on Documentaries 2010, Jen and producer Patti Lee connected with HBO’s Lisa Heller at a Project Forum meeting, and <span style="font-style: italic;">A Small Act</span> rapidly became an HBO Documentary Film. <span style=""> </span>Jen writes about this and her film’s production story this week on <a href="http://trulyfreefilm.hopeforfilm.com/2010/10/a-small-act-%C3%A2%C2%80%C2%93-the-little-things-count.html">Ted Hope’s blog</a>.</span></p><p class="MsoNormal"><!--[if gte mso 9]><xml> <w:worddocument> <w:view>Normal</w:View> <w:zoom>0</w:Zoom> <w:trackmoves/> <w:trackformatting/> <w:donotshowrevisions/> <w:donotprintrevisions/> <w:donotshowmarkup/> <w:donotshowcomments/> <w:donotshowinsertionsanddeletions/> <w:donotshowpropertychanges/> <w:punctuationkerning/> <w:validateagainstschemas/> 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class="MsoNormal"><span style=";font-family:";" >Last July, just prior to its HBO broadcast, <i style="">A Small Act</i> was the opening film for IFP’s <a href="http://www.envisionfilm.org/">ENVISION: Addressing Global Issues through Documentaries</a>, produced jointly with the United Nations Department of Public Information. It’s always great when an IFP-supported film can work cross-programmatically and it was a perfect fit for this program - and it was especially wonderful to have Jen, Patti, and Chris Mburu here for it.<br /></span></p><span style=";font-family:";" >Speaking of being part of more than one IFP program…this brings me to our second opening: Doug Block’s <a href="http://www.thekidsgrowup.com/"><i style="">The Kids Grow Up</i></a>.<span style=""> </span>Films that Doug has been involved with as a producer, DP, and, of course, director have been coming through IFP, well, since before even I was here. Most recently, Doug’s <i style="">The Kids Grow Up</i> (then titled <i style="">Almost Gone</i>) was one of my favorite projects in Spotlight on Documentaries 2008, so I was happy to be asked to join Doug and producer Lori Cheatle to introduce it at Friday’s theatrical opening at the <a href="http://angelikafilmcenter.com/">Angelika</a>. A companion piece in spirit to his <i style="">51 Birch Street</i>, it continues his personal look at parents and children and family relations, centering on the emotional reverberations and ripples through time prompted by his daughter Lucy’s eminent flight from the nest as she prepares to depart for college. It’s a rich and moving work.</span> <p class="MsoNormal"><span style=";font-family:";" > </span></p> <p class="MsoNormal"><span style=";font-family:";" >So, in short – seize the opportunity to see both of these docs – <span style="font-style: italic;">A Small Act</span> and <span style="font-style: italic;">The Kids Grow Up</span> now playing in New York, and continuing to play across the country the rest of this year.</span></p> <p class="MsoNormal"><span style=";font-family:";" >And coming up:</span></p> <p class="MsoNormal"><span style=";font-family:";" > Standing in front of the Angelika last night when I arrived was the tireless Thom Powers, handing out brochures for his upcoming inaugural <a href="http://www.docnyc.net/">DOC NYC </a>(November 3-9). Check out their schedule – you really can’t go wrong with anything. A special shout out to the exquisitely compelling <a href="http://www.docnyc.net/film/puppet"><i style="">Puppet</i></a> by David Soll, an alum project of IFP’s 2010 Independent Filmmaker Labs. </span></p> <p class="MsoNormal"><span style=";font-family:";" > </span></p>Tabbhttp://www.blogger.com/profile/17979639225367284005noreply@blogger.com0tag:blogger.com,1999:blog-4935714794386626645.post-23024783067399211442010-10-21T09:58:00.001-04:002010-11-18T15:01:28.478-05:00Ten IFP Alum Ready to Rock IDFA!IDFA, the world's largest documentary festival, <a href="http://www.idfa.nl/industry/Festival/news/latest_news/idfa-announces-official-selection-2010.aspx">has just announced its stellar line-up</a> for the 2010 incarnation. IFP is thrilled ten of the 280 films (84 of which are World Premieres), are IFP supported projects!<br /><br />These are:<br /><a href="http://www.justvision.org/budrus">Budrus</a>, directed and produced by Julia Bacha and produced by Ronit Avni. An alumnus of IFP'S 2009 Spotlight on Documentaries, it will be showcased in the category "<a href="http://www.idfa.nl/industry/Festival/films-2010.aspx?partID=DFC68165-330A-4791-BC1F-6D1985A0C4A0">Reflecting Images: Best of Fests</a>." Also in this category, which focuses on "Documentaries that have made an impact on this year's international festival circuit," is a fellow alumnus of 2009 Spotlight on Documentaries, Laura Poitras' widely acclaimed <a href="http://www.theoathmovie.com/">The Oath</a>, also a nominee of the 2010 Gotham Independent Film Awards.<br /><br />In the category "<a href="http://www.idfa.nl/industry/Festival/films-2010.aspx?partID=190C18F0-50FA-42A5-8C67-4A1841D76E14">Reflecting Images: Panorama</a>", which presents "films that are thought-provoking in form and choice of theme", a total of five IFP alum are included: <a href="http://media.gfem.org/node/10872">Minustah Steals Goats (Minustah vole kabrit)</a> (fiscally sponsored by IFP); <a href="http://www.artsengine.net/pushing_the_elephant/">Pushing the Elephant </a>(Spotlight on Documentaries alumnus 2009); <a href="http://www.sonsofperditionthemovie.com/Sons_of_Perdition_Home.html">Sons of Perdition </a>(Spotlight on Documentaries alumnus 2009); <a href="http://utopiainfourmovements.com/">Utopia in Four Movements </a>(Radziwill grant); and <a href="http://www.queenofthesun.com/">Queen of the Sun </a>(Spotlight on Documentaries alumnus 2009). <strong>Queen of the Sun</strong> also will be shown in the Competitive <a href="http://www.idfa.nl/industry/Festival/program/competitions/idfa-competition-for-green-screen-documentary.aspx">Green Screen section.</a> According to the website, "Documentaries that focus on the interaction between man and his environment will for the first time compete for a special award in this new competition."<br /><br />The final IFP alum films are in Competitive Sections of the Festival. First, <a href="http://www.linestreet.net/">An Encounter with Simone Weil</a> (An alumnus of the Independent Filmmaker Labs and Spotlight on Docs 2009) will make its World Premiere in the <a href="http://www.idfa.nl/industry/Festival/films-2010.aspx?partID=591027B9-0968-4506-88AD-7F01B80F64EA">IDFA Competition for First Appearance</a>. <a href="http://www.mediathatmattersfest.org/mtm04/media/ithemba.php">iThemba</a>, directed by Elinor Burkett, is also in this competition, which is derived from the original concept/footage as Oscar-winner <strong>Music by Prudence</strong>, which came through IFP's fiscal sponsorship program and is an alumnus of Spotlight on Docs 2008. Finally, <a href="http://www.oursummerintehran.com/">Our Summer in Tehran </a>(2009 Spotlight on Docs alumnus) will compete in the <a href="http://www.idfa.nl/industry/Festival/films-2010.aspx?partID=36F3D23E-17A5-4275-9C47-CA9108A733B2">IDFA Competition for Mid-Length Documentary</a>.<br />We wish all our diverse and talented alumni great luck with their incredible films.<br /><br /><!--[if gte mso 9]><xml> <w:worddocument> <w:view>Normal</w:View> <w:zoom>0</w:Zoom> <w:trackmoves/> <w:trackformatting/> <w:donotshowrevisions/> <w:donotprintrevisions/> <w:donotshowinsertionsanddeletions/> <w:donotshowpropertychanges/> <w:punctuationkerning/> <w:validateagainstschemas/> <w:saveifxmlinvalid>false</w:SaveIfXMLInvalid> <w:ignoremixedcontent>false</w:IgnoreMixedContent> <w:alwaysshowplaceholdertext>false</w:AlwaysShowPlaceholderText> <w:donotpromoteqf/> <w:lidthemeother>EN-US</w:LidThemeOther> <w:lidthemeasian>X-NONE</w:LidThemeAsian> <w:lidthemecomplexscript>X-NONE</w:LidThemeComplexScript> 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Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-qformat:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; line-height:115%; mso-pagination:widow-orphan; font-size:11.0pt; font-family:"Calibri","sans-serif"; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:"Times New Roman"; mso-fareast-theme-font:minor-fareast; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin;} </style> <![endif]--> <p style="font-weight: bold;" class="MsoNormal">Update (11/18):</p> <p class="MsoNormal">Four more IFP alum in the <a href="http://www.idfa.nl/industry/markets-funding/the_forum/forum-online-catalogue/forum-selection-2010.aspx">IDFA Forum</a><br /></p> <p class="MsoNormal"><a style="font-weight: bold;" href="http://www.bettiepagemovie.com/">Bettie Page Reveals All</a> (Spotlight on Docs 2008)<br /></p> <p class="MsoNormal"><span style="font-weight: bold;">Diana Vreeland: The Eye has to Travel</span> (Spotlight on Docs 2010)</p> <p class="MsoNormal"><a href="http://partnerpictures.com/"><span style="font-weight: bold;">From Texas to Tehran</span></a> (Spotlight on Docs 2008)<br /></p> <p class="MsoNormal"><span style="font-weight: bold;">Versailles</span> (Spotlight on Docs 2010)</p> <p class="MsoNormal"> </p> <p class="MsoNormal">Have a great Festival everyone!</p>Independent Filmmaker Projecthttp://www.blogger.com/profile/15635071605311387104noreply@blogger.com0tag:blogger.com,1999:blog-4935714794386626645.post-43787612224844107072010-10-19T01:33:00.000-04:002010-10-19T01:34:15.456-04:00Watch Elvis Mitchell Announce the Gotham Award Nominees!<object classid="clsid:d27cdb6e-ae6d-11cf-96b8-444553540000" width="480" height="386" id="utv844612" name="utv_n_698074"><param name="flashvars" value="loc=%2F&autoplay=false&vid=10285442&locale=en_US"><param name="allowfullscreen" value="true"><param name="allowscriptaccess" value="always"><param name="src" value="http://www.ustream.tv/flash/video/10285442?v3=1"><embed flashvars="loc=%2F&autoplay=false&vid=10285442&locale=en_US" width="480" height="386" allowfullscreen="true" allowscriptaccess="always" id="utv844612" name="utv_n_698074" src="http://www.ustream.tv/flash/video/10285442?v3=1" type="application/x-shockwave-flash"></embed></object>Independent Filmmaker Projecthttp://www.blogger.com/profile/15635071605311387104noreply@blogger.com0tag:blogger.com,1999:blog-4935714794386626645.post-21301585171165783852010-10-16T19:31:00.000-04:002010-10-16T19:33:58.096-04:00Live Announcement - 1pm EST, Mon, Oct 18 - Gotham Award Nominees<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.ustream.tv/channel/gotham-independent-film-awards-2010"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 360px; height: 260px;" src="http://www.ifp.org/wp-content/uploads/2010/10/GothamAnnounceB1.jpg" alt="" border="0" /></a>Independent Filmmaker Projecthttp://www.blogger.com/profile/15635071605311387104noreply@blogger.com0tag:blogger.com,1999:blog-4935714794386626645.post-6912068546712020762010-09-27T13:24:00.001-04:002010-09-27T16:31:21.728-04:00Ask-an-Expert: Steven Beer on Packaging and Financing Films in the Age of Empowerment<a href="http://4.bp.blogspot.com/_iNo1SNdzS9Q/TKD_AopXylI/AAAAAAAAAKQ/8ns-doUty8Y/s1600/Steve+Headshot+3.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 135px; FLOAT: left; HEIGHT: 200px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5521693529532254802" border="0" alt="" src="http://4.bp.blogspot.com/_iNo1SNdzS9Q/TKD_AopXylI/AAAAAAAAAKQ/8ns-doUty8Y/s200/Steve+Headshot+3.jpg" /></a><br /><div><span style="font-family:arial;"><strong>Packaging and Financing Films in the Age of Empowerment</strong> - by Steven Beer</span></div><br /><p><span style="font-family:arial;"></span></p><p><span style="font-family:arial;"></p></span><span style="font-family:arial;"><div>Last December I penned an article entitled <strong>“A Decade of Filmmaker Empowerment Coming”</strong> for </span><a href="http://www.indiewire.com/"><span style="font-family:arial;">Indiewire.com</span></a><span style="font-family:arial;">. The article presaged an era of empowerment for independent filmmakers; an era in which the filmmaker or producer takes a hands on approach to marketing and distributing their films. In this new era of empowerment, the antiquated industry standards for success like “all rights” deals from mini-majors are supplanted by the filmmaker’s unique definition of success—they are no longer tethered to the industry’s traditional priorities and requirements. Producers today are now able to establish customized and scalable distribution plans to snugly fit their production, rather than endeavoring to fit a round peg in a square hole.<br /><br />This empowerment theme infused the Packaging and Financing “Ask-An-Expert” panel discussion this weekend at the 2010 </span><a href="http://conference.ifp.org/"><span style="font-family:arial;">IFP Conference</span></a><span style="font-family:arial;">. The panel, on which I served as moderator, included <strong>CAA agent Stuart Manashil, Paladin distribution exec Mark Urman, Fortissimo international sales VP Winnie Lau, and SAG Indie Rep Michael Sladek</strong>. The panelists’ candid comments based on their extensive experience confirmed that the traditional approach to packaging and financing films is under scrutiny. An array of novel alternatives to the traditional model is now at the empowered producers’ and filmmakers’ fingertips.<br /><br />While the panelists acknowledged a shrinking market in which fewer traditional distributors are releasing independent films, they also noted the opportunity this created to synergize packaging and financing in order to help get a project off the ground. Given the higher bar to the traditional “all rights” distribution deal, Mark Urman of Paladin advised audience members to consider raising funds for P&A along with monies to finance production. With funds in hand, empowered producers can leverage these monies to raise the profile of the film with a theatrical release and increase the value of the film’s ancillary media and international sales.<br /><br />Winnie Lau reported that the international marketplace faced competition from increased local productions and more selective buyers. Over and over again, Winnie said, these buyers seek films with strong packaged elements such as recognized cast and a proven director. The relationship between finance and package is becoming increasingly intertwined; a valuable package of elements (cast, script, director, etc.) facilitates production finance through reliable sales estimates and pre-sales. A strong package is the empowered producer’s key to a tool chest filled with viable financing methods.<br /><br />Panel guidelines required a constructive approach from both the experts and the audience. Problems were viewed as challenges to be overcome and there was a genuine appreciation for positive trends over the past year. Stuart Manashil from CAA shared that, due to market realities and technological developments, <strong>the common $3 million dollar independent feature budget is now reduced to $1 million</strong>. For many filmmakers, getting their package financed is becoming easier.<br /><br />On the subject of packaging, Michael Sladek from SAG Indie discussed how SAG’s reduced scale requirements for modestly budgeted films afford filmmakers the ability to work with skilled and recognizable talent at minimal cost. The panelists all agreed that the presence of established names in the package translated to greater value in terms of raising equity and leveraging international sales into production dollars. The higher quality of the SAG talent adds a material selling point to the package for an empowered producer, and as Sladek stated, it will no longer cost you an arm and a leg to get it.<br /><br />The panelists also lent their thoughts on the market for short films. The panelists agreed that the market value for short films was limited. With a few exceptions, such as when the short film generated interest for a feature adaptation, short films were mostly viewed as calling cards for the directors. The experts also urged filmmakers just starting out to work with experienced producers who could leverage their credibility to heighten the project’s file and accelerate both the packaging and finance process.<br /><br />I pressed the expert panelists on the ultimate “chicken or the egg” question: What comes first, packaging or financing? According to the panelists and other experts who weighed in on-line, the answer is unclear. On the one hand, the limitless bank account can purchase the most valuable properties and talent. On the other hand, according to an experienced and successful film financier, a valuable package is an essential condition to a finance commitment. No matter which side you fall on, today’s empowered filmmakers and producers have a bevy of tools at their disposal with which to put together a valuable package or secure financing. It’s a bright future full of opportunity for innovation, and the empowered filmmaker will be on the forefront to meet it.<br /><br />Please share opinion and your experience. I hope to see you at industry events in the months to come. Feel free to email me with questions and comments: </span><a href="mailto:beers@gtlaw.com"><span style="font-family:arial;">beers@gtlaw.com</span></a><span style="font-family:arial;">. </span></div>Independent Filmmaker Projecthttp://www.blogger.com/profile/15635071605311387104noreply@blogger.com0tag:blogger.com,1999:blog-4935714794386626645.post-24936797547333665142010-09-15T13:59:00.000-04:002010-09-15T15:36:29.022-04:00Ask-an-Expert: Cinereach's Reva Goldberg on Fundraising Strategy<a href="http://2.bp.blogspot.com/_iNo1SNdzS9Q/TJEPTVapZhI/AAAAAAAAAKI/gnfoBk9ReO8/s1600/revagoldberg_cc_crop_300.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 200px; FLOAT: left; HEIGHT: 150px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5517207843346408978" border="0" alt="" src="http://2.bp.blogspot.com/_iNo1SNdzS9Q/TJEPTVapZhI/AAAAAAAAAKI/gnfoBk9ReO8/s200/revagoldberg_cc_crop_300.jpg" /></a><br /><div>In my previous <a href="http://independentfilmmakerproject.blogspot.com/2010/08/ask-expert-reva-goldberg-of-cinereach.html">post</a> I shared some fundamentals of the fundraising landscape I wish someone had told me when I was getting started. If you’ve been through it once or twice, this post will probably cover some things experience has already taught you, or simply reassure you that you’re not alone! If not, I’d love for you to comment and let me know some additional things you learned-by-doing. In future posts I’ll move on from covering the beginning of the fundraising process for projects in their early stages, to tackling more advanced tips for further progressed films.<br /><br />So I’m guessing you have a specific documentary film you’re about to produce, or you’ve already started making one. You’ve already encountered access to a fascinating subject at an important time and you jumped at the chance to tell this story as only you can. You have to get (and keep) moving. It’s not a question of whether, but of how, you will fuel your project.<br /><br />This post also assumes that because of your passion and commitment to this project, your primary goal is to complete this film as you envision it, and without driving yourself to financial ruin. [For some useful insight into the financial realities of a career in independent film, I highly encourage you to read <strong>Esther B. Robinson’s</strong> posts for <em>Filmmaker</em> Magazine, including <a href="http://www.filmmakermagazine.com/issues/spring2009/credit-crisis.php">this one</a>, and <a href="http://www.filmmakermagazine.com/issues/summer2009/jobs.php">this one</a>].<br /><br />In my experience, your strategy for getting your film made should stem from three key things: the <strong>resources</strong> you can access independently; the <strong>stage</strong> your film is at (i.e. development, pre-production, production, post, etc.); and your <strong>track record</strong> as a filmmaker.<br /><br />Understanding and embracing this triumvirate will help you: figure out which funders to approach and when; create a working (living, breathing, evolving) budget and cash flow plan; anticipate where you may hit bumps on the way to completion; and figure out what to say if/when someone asks you that all-important question “what do you need to get this done?”<br /><br />Your existing resources help propel your project forward through each stage of production, regardless of whether and when you receive donations, grants or other financing. As you advance through the stages of production and get closer to completion, it becomes easier to gain funder confidence in your ability to complete a good film. The better your filmmaking <strong>track record</strong>, the earlier in your production you can inspire funder confidence.<br /><br />Each funder has its preference for how early in the life of a project, and in a filmmaker’s career, it prefers to become involved. Understanding your own triumvirate, however, along with researching your fundraising targets well, will help you crack that code. I hope to focus on this specific point more in a future post, and/or during the panel I’ll moderate at this year’s <a href="http://conference.ifp.org/filmmaker_conference/index.html">IFP Filmmaker Conference</a> (Tuesday, Sept. 21 at 12pm). I also hope to discuss the idea of approaching funders who are less familiar with the film industry, and who may have some different priorities when it comes to confidence in you and your project. Even given the two x-factors I just mentioned, I think the triumvirate is a helpful guide.<br /><br />I also recommend taking full inventory of your existing resources, estimating what you’ll need and when, as you move from production to post and beyond. Taking an objective look at where you are in your career as a filmmaker will also be helpful. Have you completed a work (of any length) that demonstrates what you can achieve and somehow resembles (thematically, stylistically, or otherwise) the project you’re currently working on? If not, it may be more productive to recognize that your current project is an exciting new proving ground, for itself and your future work.<br /><br />Resources is a broad term I’m using to cover anything and everything you can put towards this film. I suggest that you view any resource you can invest in your project as an integral piece of your funding pie, not valued more or less than donations, grants or other financing that comes your way. It’s all part of getting it done. This pool includes everything from the personal cash you’ve put aside for your film [and please be smart about doing this so you don’t crash and burn!], to the camera and mics you can borrow from “the cage” at your alma mater, to the friend who owns an Armenian restaurant and wants to offer free catering for your first fundraising party because your film follows a family of recent Armenian immigrants. Think creatively about this one. There are more options than you think!<br /><br />Each type of resource you can inventory deserves its own post, if not its own book, but in my experience as a fundraiser and a reviewer of grant applications, the <strong>resources</strong> that are most valuable and get you furthest over time are 1) your passion and commitment to your project 2) ownership of the technical and creative skills and tools of production and 3) the people who love you, a lot.<br /><br />No doubt you’re so fired up about your current project that you will dedicate the next several years of your life to birthing it. Luckily, your perseverance is the single most important force in getting to the finish line. The fire in your belly is also the emotional glue that keeps everyone you rely on to help you (crew, subjects, even donors and funders) “on the bus.”<br /><br />I know this one is especially hard to hear, but the sooner you embrace it the better: if you and your team have the means to shoot and edit yourselves without having to hire out (even if your skills are limited), you won’t have to miss capturing any of the important moments that are critical to realizing your vision. That footage in the can is your holy grail! You’ll hone your skills as you go along, and you’ll be able to cut selects together for potential funders, too.<br /><br />And finally, your inner-circle, those you know you can count on. These are the first (and probably also final) people you’ll ask for donations (cash or in-kind) because they already believe in you and are invested in your success. You will have to ask explicitly (they’re not mind-readers), and time your asks sensitively and strategically, but they will do what they can to help you. They will also be the people who help you gain momentum when it’s time to conduct crowd-funding or audience building campaigns on the Web [see the great <a href="http://digitalbootcamp.wikispaces.com/">resource page </a>Ingrid Kopp created for her ‘<a href="http://digitalbootcamp.wikispaces.com/">Digital Bootcamp’ </a>if you have no idea what I’m talking about]. I also recommend applying for <a href="http://www.cinereach.org/grants/resources">fiscal sponsorship </a>so that you can offer proof of a tax-deductible gift when friends donate to your project (that fiscal sponsorship application is also great practice for grant writing).<br /><br />All this is to say that it is truly very hard for an inexperienced filmmaker to gain funder confidence during the earlier stages of a project. I promise, though, as a project nears completion, the playing field becomes more even, especially if the project is really, really awesome. What this means for you is that the less experienced you are, the more progress you’ll have to make on your own before you attract their attention. It may feel unfair, that so many supporters want to be there for the glory, and not for the gritty struggle. Yes, it can be a very lonely trek sometimes. But then again, it’s your movie, you own it, and you’re the one who will feel the greatest reward when the thing you crafted makes it all the way home.<br /><br />You’ll also find that the further along you get, the more the project crystallizes for you, theoretically and physically. When you start to see where you’re going you won’t struggle as much to talk and write concisely and compellingly about it. You’ll know what your best footage is and what emotions it illicits. These are highly powerful tools of influence. With them, you can rally excitement, confidence, and finally cash.</div><div> </div><div> </div><br /><br /><br /><span style="FONT-STYLE: italic">Reva Goldberg is Communications & Fellowships Manager at Cinereach (<a href="http://www.cinereach.org/">cinereach.org</a>), an NYC not-for-profit film foundation and production company that champions vital stories, artfully told. There she heads up the Reach Film Fellowship program which provides a grant and seven months of mentorship to emerging filmmakers producing socially conscious short films. She also handles all public communications, as well as serving on the grants selection committee. Reva has an extensive background in film production, fundraising and audience building. Before joining Cinereach, she was a producer at Pureland Pictures where she produced the documentary All of Us (which aired on Showtime in 2008) and co-produced Pureland’s Toe to Toe, a narrative feature that premiered at Sundance ‘09. In 2004, Reva was Associate Producer of an Emmy-nominated History Channel documentary on the 9/11 Commission (produced by CBS). She has worked with TLC, UPN, Discovery, The Travel Channel, Washington Square Films/Arts and Cronkite</span><br />Productions. Reva likes to tweet about opportunities for independent filmmakers via <a href="http://twitter.com/revagoldberg">@RevaGoldberg</a> and <a href="http://twitter.com/cinereach">@Cinereach</a>.Independent Filmmaker Projecthttp://www.blogger.com/profile/15635071605311387104noreply@blogger.com1tag:blogger.com,1999:blog-4935714794386626645.post-63146865530454622952010-09-13T12:58:00.000-04:002010-09-13T15:13:46.737-04:00Ask-an-Expert: Basil Tsiokos on What NOT to do for Film Festivals<a href="http://3.bp.blogspot.com/_iNo1SNdzS9Q/TI5Zl9ubyXI/AAAAAAAAAKA/YUiDB4q4Hz4/s1600/BasilTsiokosSundance.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 200px; FLOAT: left; HEIGHT: 139px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5516445102334790002" border="0" alt="" src="http://3.bp.blogspot.com/_iNo1SNdzS9Q/TI5Zl9ubyXI/AAAAAAAAAKA/YUiDB4q4Hz4/s200/BasilTsiokosSundance.jpg" /></a><br /><div>Dear Filmmakers:<br /><br />I recently launched a documentary focused blog entitled “<a href="http://whatnottodoc.com/">what (not) to doc</a>” where, among other topics, I discuss things filmmakers should (and shouldn’t) do in their documentaries, from my subjective viewpoint of course. For this month’s IFP blog post, I thought I’d take a similar approach, and address some of the things filmmakers in general should (and shouldn’t) do when dealing with film festivals, especially when you’re seeking your premiere festival screenings. This advice comes from years of dealing with film festival submissions and should serve you well to keep in mind. While you might think some of these tips sound like personal pet peeves, believe me, programmers talk to one another, and I’ve heard similar opinions from a wide range of fest staff.<br /><br />If you’re a seasoned filmmaker who’s submitted work to lots of festivals before, this first point is probably not for you. As I mentioned in my first blog post for IFP: you have to do your research. Make sure your film is eligible for the festival to which you’re submitting. You shouldn’t blindly submit to any festival – not only is that expensive and time consuming, it could be a big waste of time if the festival won’t ever consider showing your film because it doesn’t fit their criteria. Visit the fest’s website and read their submission guidelines first. I repeat, READ the guidelines first. Do this before you email the festival to ask them questions. I can’t tell you how many times I would get a message from a filmmaker asking for such basic information as what my festival dates were or when the submission deadline was – information that was always available on the website and in the submission guidelines. While programmers are going to judge your film on its own merits, you are making a first impression of sorts personally when you send that email asking really basic questions.<br /><br />Now, of course, if, after reviewing their website, you still have questions that are unaddressed, by all means, contact the festival. While this is an opportunity for you to potentially whet the programmer’s appetite about your project, it’s a good idea to keep your message brief. Often, but not always, the general informational email addresses that festivals use are answered by interns or administrative staff, and they may or may not have a role in programming, so attaching electronic presskits, photos, and going into great detail about your film is probably not a good idea.<br /><br />Related to this is the generally naïve advice I’ve heard propagated many times over the years – that filmmakers should contact a film festival in an attempt to establish contact and “get to know” the programmers to give their films a better shot of being selected. Typically this has taken the form of a cold call – an awkward cold call. An awkward phone call that does you no good and, in fact, may have the opposite effect you’re intending, depending on your approach. A lot of festivals receive hundreds, if not thousands, of entries. Programmers simply don’t have time to get on the phone with every single filmmaker submitting a project in order to hear their sales pitches, essentially. I don’t mean that to sound as dismissive as it might – programmers of course should be excited to find out about new films: that’s part of their jobs. However, if you’re going to submit your film already, or if you already have, the festival’s going to see your film. Calling up a programmer to sell him/her on your film almost never results in you forming some special bond – the most the programmer can say is “sounds interesting, I look forward to watching the screener,” and s/he was going to do that anyway. The programmer doesn’t know you or your work, unless you have a track record of which s/he’s aware, and a single phone call isn’t really going to solve that, and, in fact, could take time away from the work the programmer needs to be doing. If you’re especially aggressive or too persistent in calling or emailing, it could also have a reverse effect than what you intended, and make the programmer remember you and dread your project.<br /><br />A variation of this which I wouldn’t exactly say to do for every festival or for every film, but is a lot more sensible, is to have one of the programmer/festival’s known, trusted advisors (or a filmmaker who is an alumna/e of that fest) contact the fest on your film’s behalf. This is a lot different from you making a cold call – and it’s not because your advocate is someone famous or one of the programmer’s friends, it’s because the programmer has some sense of their taste and can judge accordingly whether to pay attention to their opinion or not. Hearing about a project from them is more of an informed endorsement than a self-serving sales pitch, provided your advocate has actually seen your film - a must before asking them to make contact! Keep in mind you are calling in favors here, so be careful about whom you ask and for which projects.<br /><br />Once again, ultimately, always remember: your film is going to have to make its case for itself, separate from whatever praise your advocate or you yourself heap upon it. The proof will be in what’s on your screener, and how a programmer reacts to that.<br /><br />In my next post, I’ll address a few more bits of advice regarding what (not) to do during the submission process, including the role of promotional materials/presskits, how to respond to rejection and to acceptance by a festival.<br /><br />This issue and many more will undoubtedly come up during IFP's <a href="http://conference.ifp.org/filmmaker_conference/index.html">Independent Film Week</a>, September 19-23. Join me on Wednesday, September 22 at Noon as I moderate the panel "<a href="http://ifw.bside.com/2010/films/askanexpertpositioningforbuyers_ifw2010;jsessionid=89189E0EC41F135E782C064AE67009DE">Positioning Your Film for Festivals and Buyers</a>."<br /><br /><em><br />ABOUT THE WRITER: Basil Tsiokos is a Programming Associate, Documentary Features for Sundance, consults with documentary filmmakers and festivals, and recently co-produced Cameron Yates’ feature documentary “<strong>The Canal Street Madam</strong>.” Follow him on Twitter @<a href="http://twitter.com/1basil1">1basil1</a> and at <a href="http://whatnottodoc.com/"><strong>http://WhatNotToDoc.com</strong></a></em></div>Independent Filmmaker Projecthttp://www.blogger.com/profile/15635071605311387104noreply@blogger.com0tag:blogger.com,1999:blog-4935714794386626645.post-71578422926217566612010-09-13T11:14:00.000-04:002010-09-13T11:42:11.188-04:00Ask-an-Expert: Liz Ogilvie and Paola Freccero of Crowdstarter on the Plus Side of Free<a href="http://4.bp.blogspot.com/_iNo1SNdzS9Q/TI5FxL9bJnI/AAAAAAAAAJ4/3fJxSs9e-Z0/s1600/crowdstarter_logo-1.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 200px; FLOAT: left; HEIGHT: 69px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5516423304901764722" border="0" alt="" src="http://4.bp.blogspot.com/_iNo1SNdzS9Q/TI5FxL9bJnI/AAAAAAAAAJ4/3fJxSs9e-Z0/s200/crowdstarter_logo-1.jpg" /></a><br /><div><br /><br /><div><strong></strong></div><br /><br /><div><strong></strong></div><div><strong>FREE does not mean the end of the world for your film</strong><br /><br />We’re writing from the Toronto Film Festival – which basically is the first week of school for the film industry each year – and in between soaking up English language remakes of festival darlings, eating popcorn for breakfast and air-kissing the same the 200 people we saw at the last festival, we went to check out a panel on marketing independent features and docs. The panel talked about all the usual stuff – social networking, grassroots outreach, materials, PR, etc. But at one point, the topic of “free” came up. As in, should you give away your film for free in the interest of promoting it? As usual, this started a lively back and forth between the traditionalists (“piracy!” “lost profits!” “de-valueing the product!”) and the modernistas (“word of mouth!” “audience building!” “if they want it for free they’re going to get it anyway so why not give it to them!”).<br /><br />This debate got us thinking: why does everyone think that giving away a film for free is a new idea? It’s been a marketing principle since, well, since there were such things as marketing principles. Sure, it looks a little different now, but really, this is NOT a new concept and, frankly, it’s nothing to be afraid of… </div><br /><div>Back when we started in the industry (scarily enough, 20 years ago!), independent films and docs were the next big thing. It was the era of <strong>Sex, Lies and Videotape</strong> and <strong>Roger and Me</strong>. These films did not have marketing budgets. They had publicists and occasionally a young person working at a distribution company who answered the phone and organized promotions at the same time. Back then, we called them “Word of Mouth” screenings, and when we wanted radio stations to talk about the film on-air, we gave them “Run of Engagement” passes. Basically, we gave away the film for free. Why? For the same reason people do it today – to get people talking. Back then, we didn’t have social networking and blogging – we didn’t even really have email. But the concept of getting a core audience to be early adopters of a film so that they could “evangelize” was exactly the same as it is today.<br /><br />This is the moment where some of you will say that screening a film in advance of releasing it is very different from giving someone a free DVD. True, you can’t copy or upload a screening. Back to that debate in a minute… So, if giving the film away in a hard format freaks you out but you can’t afford to rent theaters to show the film, use one of the many secure streaming platforms, show it on a flat screen in your living room, bring it to some bar on your Mac. There are ways.<br /><br />But let’s go back, as promised, to the notion of giving away the film on DVD. We always have to restrain ourselves from chuckling when we have this debate with filmmakers. “There is no way I am going to give out DVD’s of my documentary on the ancient art of eyebrow threading!! What if someone puts in on Bit Torrent? Or sells it on the street?”<br /><br />Wanna know our answer to that? CONGRATULATIONS!! If your film is compelling and distinctive enough that someone wants to post it to Bit Torrent or sell it in Times Square then you have done something right. That means people are talking about it. That means people want to see it. And THAT means that the honest, law-abiding entertainment consumers of the world will pay for it.<br /><br />Ok, so you’re the filmmaker who’s thinking “but MY film is WAY more interesting than a doc on the ancient art of eyebrow threading, so it will definitely get pirated if I give away a DVD.” To that, we say, in the nicest possible way, don’t fool yourself.<br /><br />You know what – unfortunately -- ends up on Bit Torrent? Avatar. The Expendables. Toy Story 3. Why? Because they are seen as highly valuable commodities. How did they get that way? Marketing, and LOTS of it. And stars, big giant super stars.<br /><br />You have to create value and demand for your film if it doesn’t have a $50 million marketing budget or the most famous actor in the world in it. If you’re one of the lucky people to have made a $100,000 indie starring Meryl Streep and Matt Damon, awesome! YOU have to worry about piracy. But for most of you, your biggest fear, at the moment, should be OBSCURITY.<br /><br />So, back to where we began. Let’s not fight about “free” anymore. Let’s not even spend time discussing it. Free is not a new concept. It’s a time-honored tradition. Now can we please get back to our popcorn and air-kissing? </div><div></div><div><br /><em>Editor's note: Liz Ogilvie and Paola Freccero will be speaking further about Marketing at IFP's </em><a href="http://ifw.bside.com/2010/films/askanexpertmarketing_ifw2010;jsessionid=644257ED5622D078D99F85631F855405"><em>Independent Filmmaker Conference</em></a><em>. Comment now and join the conversation online and in person.</em> </div></div>Independent Filmmaker Projecthttp://www.blogger.com/profile/15635071605311387104noreply@blogger.com0tag:blogger.com,1999:blog-4935714794386626645.post-53752561314840975552010-08-27T13:19:00.001-04:002010-08-30T15:03:15.259-04:00Ask-an-Expert: Reva Goldberg of Cinereach on Documentary Funding<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://3.bp.blogspot.com/_iNo1SNdzS9Q/THf1FXNUMgI/AAAAAAAAAJg/MphNhBoQbEo/s1600/revagoldberg_cc_crop_300.jpg"><img style="MARGIN: 0pt 10px 10px 0pt; WIDTH: 200px; FLOAT: left; HEIGHT: 150px; CURSOR: pointer" id="BLOGGER_PHOTO_ID_5510142141589107202" border="0" alt="" src="http://3.bp.blogspot.com/_iNo1SNdzS9Q/THf1FXNUMgI/AAAAAAAAAJg/MphNhBoQbEo/s200/revagoldberg_cc_crop_300.jpg" /></a>Each time I attend an event about grant-making for films, I watch the room overflow. There is huge demand for concrete, insider information on how filmmakers can start, sustain or complete their films by applying for grants.<br /><br />Each time I have the same thought, but have never really voiced it before:<br /><br />There are way more filmmakers in the audience at one of these events than there are grants to go around, in a given year, from all the existing film foundations.<br /><br />Am I sharing this thought to dissuade filmmakers from applying for grants (perhaps out of a selfish desire to lesson my own reviewing load)? Hells no!<br /><br />I encourage you to stay positive. I encourage you to continue to put time, thought and heart into your applications. My colleagues at <a href="http://www.cinereach.org/">Cinereach</a> and I love to read and screen them. We’re thrilled and honored that we get to discover your projects and approaches. They surprise, engage, unsettle, transport and transform us in a seemingly infinite number of ways.<br /><br />On the other hand, your projects have a better chance of survival if you can take a realistic approach to your fundraising strategies. Don’t be in denial about the funding landscape you’re entering each time you embark on a new project.<br /><br />It is critical that filmmakers not view grants as:<br /><br />a) a guarantee<br />b) plentiful<br />c) large in size<br />d) the primary way to get a film funded<br /><br />It is critical that filmmakers do view grant-seeking as:<br /><br />an art in itself, usually mastered only through practice<br />highly competitive<br />slow (in most cases)<br />only one sliver of the fundraising ‘pie‘<br /><br />In the panel I’ll moderate at this year’s <a href="http://ifw.bside.com/2010/films/askanexpert_ifw2010;jsessionid=B5CCBB9F703847397E98A22B6349DAE5">IFP Filmmaker Conference</a> (Tuesday, Sept. 21 at 12pm) we’ll tackle that ever-popular topic: fundraising for socially relevant documentaries. We’ll definitely discuss the grant-seeking portion of the funding pie, but ideally, we’ll also adapt a more holistic and, I believe, productive approach to the conversation.<br /><br />I also want to discuss some of the pie pieces that exist in addition to grants—in case they are not on your radar. And, more importantly, I hope our panel will help you gauge which combination of potential pieces and flavors might be right for your pie, based on where you are in your filmmaking career, and where your project is in its own life cycle.<br /><br />I look forward to our upcoming conversation and invite you to please share your ideas on what we can cover. What have you found lacking in previous funding panels you’ve attended? What roadblocks have you hit in your own work?<br /><br /><span style="FONT-STYLE: italic">Reva Goldberg is Communications & Fellowships Manager at Cinereach (<a href="http://www.cinereach.org/">cinereach.org</a>), an NYC not-for-profit film foundation and production company that champions vital stories, artfully told. There she heads up the Reach Film Fellowship program which provides a grant and seven months of mentorship to emerging filmmakers producing socially conscious short films. She also handles all public communications, as well as serving on the grants selection committee. Reva has an extensive background in film production, fundraising and audience building. Before joining Cinereach, she was a producer at Pureland Pictures where she produced the documentary All of Us (which aired on Showtime in 2008) and co-produced Pureland’s Toe to Toe, a narrative feature that premiered at Sundance ‘09. In 2004, Reva was Associate Producer of an Emmy-nominated History Channel documentary on the 9/11 Commission (produced by CBS). She has worked with TLC, UPN, Discovery, The Travel Channel, Washington Square Films/Arts and Cronkite</span><br />Productions. Reva likes to tweet about opportunities for independent filmmakers via <a href="http://twitter.com/revagoldberg">@RevaGoldberg</a> and <a href="http://twitter.com/cinereach">@Cinereach</a>.Independent Filmmaker Projecthttp://www.blogger.com/profile/15635071605311387104noreply@blogger.com1tag:blogger.com,1999:blog-4935714794386626645.post-65430563348011170892010-08-19T12:54:00.000-04:002010-08-19T14:55:08.756-04:00Ask-an-Expert: Liz Ogilvie and Paola Freccero of Crowdstarter on Marketing<a href="http://1.bp.blogspot.com/_iNo1SNdzS9Q/TG1lK1HGK1I/AAAAAAAAAJY/3JEnIfO1sfs/s1600/Liz+Ogilvie+Headshot.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 133px; FLOAT: left; HEIGHT: 96px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5507169156073925458" border="0" alt="" src="http://1.bp.blogspot.com/_iNo1SNdzS9Q/TG1lK1HGK1I/AAAAAAAAAJY/3JEnIfO1sfs/s200/Liz+Ogilvie+Headshot.jpg" /></a> <a href="http://4.bp.blogspot.com/_iNo1SNdzS9Q/TG1lEy6Z8TI/AAAAAAAAAJQ/8m6i-FwIN3k/s1600/Paola+Freccero+Headshot.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 113px; FLOAT: left; HEIGHT: 157px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5507169052404609330" border="0" alt="" src="http://4.bp.blogspot.com/_iNo1SNdzS9Q/TG1lEy6Z8TI/AAAAAAAAAJQ/8m6i-FwIN3k/s200/Paola+Freccero+Headshot.jpg" /></a> We launched our marketing and distribution services company, <a href="http://crowdstarter.com/">CrowdStarter</a>, because the rug had been pulled out from under us. The company where we were working, <strong>B-Side Entertainment</strong>, ran out of funding and had to close. We both had done the corporate thing before, we’d done the traditional distribution thing before, we’d done pretty much every kind of job imaginable in the independent film world before. And all we knew was that we didn’t want to repeat any of it. But that didn’t leave many choices – except to start our own thing, and that’s how (after some beers and some cupcakes) our company was born.<br /><br />Even though B-Side folded, we both felt like the company was on to something -- what if you really could market and distribute films profitably and effectively by harnessing the promotional power of the audience? What if you could apply the lessons of the music business to film and start going directly to consumers instead of going through middle-men? At B-Side, we were just beginning to explore those ideas and our early results said that there really might be a new successful business model there.<br /><br />So, what does it mean to do away with the middle-men and go straight to audiences? What does it mean to harness their power? Well, in order to answer that, you have to understand the basic principles of how the independent film industry has traditionally worked.<br /><br />Filmmakers have to market their film to film festivals and to acquisitions executives. Distributors have to market their films to exhibition chains and theater owners. The only people, in the traditional distribution landscape, who actually deal with real, live movie lovers and movie watchers - for profit - are the theaters. But what if the best, most enthusiastic audience for your film is made up of people who don’t go to movie theaters or at least is made up of MORE than those who go to movie theaters?<br /><br />When films are served up to the right audience, ideally, a love affair begins. The audiences chatter, they share with each other, they go back to the theater and pay more money and buy DVDs and downloads and generally they push the film forward so that the audience and profits can grow. But, the cost of promoting a film and giving each of the middle-men their cuts means that it takes astronomical momentum for any of those profits to make it back to where it all began – with the filmmaker.<br /><br />Going directly to the consumer means trying to start that love affair without having anyone take a cut in the middle. Going directly to the consumer means trying to start that love affair without anyone else trying to control the messaging of the film or the manner in which it’s consumed (in a theater, on a big screen, on a small screen, on a hand-held device, etc.). Going directly to the consumer means giving audiences what they want while keeping a bigger piece of the financial pie.<br /><br />Ok, great. Where do I sign up, right? Well, not quite that simple. Some films perform spectacularly using the traditional system – many Palme D’Or winners (<em>4 Months, 3 Weeks, 2 Days</em> anyone?), critical darlings, genre films (<em>Let the Right One In</em>, <em>Pan’s Labyrinth</em>, too many to mention) and well-timed documentaries (inconveniently truthful ones, especially) have been profitable for distributors and filmmakers. They NEED advertising. They NEED critical acclaim. They NEED the right art house. Some films are just bad. And they’re not going to perform no matter what you do to them, where you put them or what you say about them. Sorry, but it’s true and you know it – we all know it.<br /><br />But then there are those special films. We know them when we see them. They appeal to some incredibly rabid fan base. They feature some unusual performance by some cult hero. They make people laugh or cry or yell regardless of whether any critic has actually ever seen the film. They may not look like they were made by Godard, but they deliver what they promise to an interested and engaged audience. Those films deserve to be seen but they rarely have the chance.<br /><br />Do you have one of those? If you do, we’re hoping you’ll call / <a href="mailto:%20info@crowdstarter.com">email</a> / tweet / <a href="http://www.facebook.com/pages/CrowdStarter/126957440673744?v=wall">friend</a> / IM us (pcfreccero and ogil1199). Nothing makes us happier than figuring out a creative, exciting way of connecting a really satisfying film to a really eager audience and watching the groundswell begin. Ok, maybe beer and cupcakes make us a little happier, but starting a crowd is a close third!<br /><br /><em>Editor's note: Liz Ogilvie and Paola Freccero will be speaking further about Marketing at IFP's </em><a href="http://conference.ifp.org/filmmaker_conference/index.html"><em>Independent Filmmaker Conference</em></a><em>. Comment now and join the conversation online and </em><a href="http://ifw.bside.com/2010/films/askanexpertmarketing_ifw2010"><em>in person</em></a><em>.</em>Independent Filmmaker Projecthttp://www.blogger.com/profile/15635071605311387104noreply@blogger.com0tag:blogger.com,1999:blog-4935714794386626645.post-69449785148925065872010-08-19T11:31:00.000-04:002010-08-19T13:35:28.602-04:00Ask-an-Expert: Basil Tsiokos on Film Festival Strategy<a href="http://3.bp.blogspot.com/_iNo1SNdzS9Q/TG1ThA9jWPI/AAAAAAAAAJI/bl_-JNWJBkM/s1600/BasilTsiokosSundance.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 200px; FLOAT: left; HEIGHT: 139px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5507149746002942194" border="0" alt="" src="http://3.bp.blogspot.com/_iNo1SNdzS9Q/TG1ThA9jWPI/AAAAAAAAAJI/bl_-JNWJBkM/s200/BasilTsiokosSundance.jpg" /></a> Dear Filmmakers:<br /><br /><br /><div>When the IFP invited me to be one of their industry bloggers for the next year, I was happy to accept. I believe strongly that dialogue, accessibility, and demystification can only help filmmakers become smarter about filmmaking and navigating this industry. As those of you who follow me on Twitter <strong>(@<a href="http://twitter.com/1basil1">1basil1</a>)</strong> know, I try to do what I can to share information and advice on a variety of topics, from funding opportunities to feedback on what vexes programmers. For the purposes of this blog, I've been asked to focus on film festival strategy.<br /><br />To that end, a good place to start for this blog is where all filmmakers should begin in their festival strategy: before you've made your film. Now, to be absolutely clear, I don't mean that you should try to cater to a particular festival - that generally won't work. People might say that a particular film is a "Sundance film" or a "SXSW film," but the truth is, Sundance and SXSW, and virtually every festival out there, don't look for one specific kind of film - and filmmakers who compromise their vision to try to copy the hit film from the previous year's festival will usually end up with both a film that they don't believe in and one that goes unprogrammed at that festival.<br /><br />What I do mean by planning your festival strategy before you've made your film is that you, or your producers, should do your research. There are thousands of festivals worldwide, reflecting different genres and audiences. Some are high profile, others are small community affairs - depending on your goals, some will be worth considering and others won't be. You know your film better than anyone, and you should be able to identify specific target audiences that your film should have a better chance of reaching over others. I know - everyone thinks that their film should appeal to ALL audiences, no matter their age, gender, sexuality, politics, religion, etc - and that's a great goal to have. Realistically, however, it's often easier to get specific audiences to connect with your film, if they know it's in some way about them, rather than breaking through to that magical, diverse, all-purpose audience.<br /><br />I'm not saying you should limit yourself - not at all. If your film is Jewish-themed or LGBT-themed, your Plan A can still be to try to premiere at a high profile general festival like Toronto or Berlin, but it's important to be very aware of other options - the specialized circuit of Jewish film festivals or LGBT film festivals - that can be supportive of your work as either your next stop after the higher profile festival, or as your Plan B.<br /><br />Identify your film's themes and identify aspects of your film's production that may open up potential festivals to you (for example, if you or significant members of your crew are Latino/a, some Latino festivals will consider your film for programming, even if it's not Latino-themed) and create a database. Research potential festivals to which you can consider applying that match those themes or aspects. Importantly, pay attention to those festivals that DON'T match - don't waste your resources submitting your US feature narrative to a Mexican festival that only screens Mexican documentaries, for example. Be sure to note any festivals that also offer grants - Frameline, for example, offers a completion fund to help LGBT filmmakers finish their projects - and plan to apply for those grants when you are at the appropriate stage. Make note of submission deadlines, and start a calendar so you can keep track when it comes time to start submitting.<br /><br />Many filmmakers use the submission deadline of a specific festival as their own deadline for getting their films finished. If this helps inspire you and keep you motivated and on track to finish your film, that's great. However, be realistic. The worst thing you can do is to set up an impossible schedule for yourself just to hit the Sundance deadline, submit a project that is absolutely not ready to be viewed by programmers, and kill your chance at being selected. Again, plan ahead. Educate yourself far in advance to the festival deadlines you'd ideally like to meet, and give yourself the proper time to make your film the best it can be before you race to prematurely get it onto the festival circuit.<br /><br />I'll revisit the issue of using a festival deadline to plan your own production schedule at a later time. This issue and many more will undoubtedly come up during IFP's <a href="http://conference.ifp.org/filmmaker_conference/index.html">Independent Film Week</a>, September 19-23. Join me on Wednesday, September 22 at Noon as I moderate the panel "<a href="http://ifw.bside.com/2010/films/askanexpertpositioningforbuyers_ifw2010;jsessionid=89189E0EC41F135E782C064AE67009DE">Positioning Your Film for Festivals and Buyers</a>."<br /><br />Finally, in the interests of the dialogue, accessibility, and demystification I mentioned at the start of this entry, I encourage you to comment below and let me know the kinds of topics related to film festivals you'd like me to address in future posts.<br /><br /><em>ABOUT THE WRITER: Basil Tsiokos is a Programming Associate, Documentary Features for Sundance, consults with documentary filmmakers and festivals, and recently co-produced Cameron Yates’ feature documentary “The Canal Street Madam.” Follow him on Twitter @1basil1</em></div>Independent Filmmaker Projecthttp://www.blogger.com/profile/15635071605311387104noreply@blogger.com1tag:blogger.com,1999:blog-4935714794386626645.post-54541727543977893532010-08-03T13:57:00.001-04:002010-08-03T14:04:48.542-04:00An Opportunity for Docuheads - IFP, Shooting People, and Sheffield Unite!IFP is delighted to announce another first in a great year of building partnerships. Along with our friends at <a href="http://www.shootingpeople.org/">Shooting People </a>we are thrilled to offer nonfiction filmmakers the chance to be part of the official US delegation to <a href="http://sheffdocfest.com/">Sheffield Doc/Fest</a>.<br /><br />Sheffield Doc/Fest brings the international documentary family together to celebrate the art and business of documentary making for five intense days in November. It is a must-attend festival if you are looking to tap into the European co-production market and discover new innovations in documentary production and distribution.<br /><br />And it has a roller skating party!<br /><br />The festival takes place from November 3rd to 7th in Sheffield, UK.<br /><br />Being part of the U.S. Delegation will give you:<br /><br />£150 discounted passes for the delegates, which gives access to all the festival screenings, networking drinks and sessions. (Normal rate is £235)<br /><br />Advice and help with networking and setting up meetings from MeetMarket producer Charlie Phillips<br /><br />Discounted accommodation<br /><br />Please note that you will need to arrange your own travel and accommodation.<br /><br />If you are interested in being part of the US Delegation to Sheffield Doc/Fest please email dgiacomo@ifp.org with SHEFFIELD DELEGATION in the subject header.<br /><br />You will then be contacted with a special code to sign up and join the Delegation.Independent Filmmaker Projecthttp://www.blogger.com/profile/15635071605311387104noreply@blogger.com0