Independent Filmmaker Project

IFP Alumni at the 2011 Toronto International Film Festival

2011-08-23T14:38:00.002-04:00

IFP Alumni at the 2011 Toronto International Film Festival

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.

The titles below, listed by festival section and IFP program:

DISCOVERY

The Brooklyn Brothers Beat the Best
written and directed by Ryan O'Nan and produced by Jason Berman and Kwesi Collisson.
(Independent Filmmaker Labs, No Borders International Co-Production Market)

Habibi
written, directed, and produced by Susan Youssef
(Independent Filmmaker Labs, Emerging Narrative)

Pariah
written and directed by Dee Rees and produced by Nekisa Cooper
(Independent Filmmaker Labs, Emerging Narrative)

CANADA FIRST!

The Patron Saints
directed and produced by Brian M. Cassidy and Melanie Shatsky
(Independent Filmmaker Labs, Spotlight on Documentaries)

REAL TO REEL

Girl Model
directed and produced by Ashley Sabin and David Redmon
(Spotlight on Documentaries)

TIFF KIDS

First Position
directed and produced by Bess Kargman
(Spotlight on Documentaries)

For the full schedule and to purchase tickets, click here.

Congratulations to all of this year's selections!

YELLING TO THE SKY screening Thursday 8/25 at the Walter Reade Theater, Lincoln Center

2011-08-22T14:26:00.002-04:00

IFP Narrative Independent Filmmaker Labs alum Yelling to the Sky 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.

Starring Zoe Kravitz, in her first lead role, Yelling to the Sky 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.

The screening will be followed by a conversation and Q&A with writer/director/producer Victoria Mahoney and Academy Award® nominee Gabourey Sidibe (Precious).

For more information and to purchase tickets: http://www.filmlinc.com/films/series/imagenation-yelling-to-the-sky

IFP alumni at New York International Latino Film Festival

2011-08-15T11:43:00.015-04:00

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.

Granito
(Spotlight on Documentaries)

Karla's Arrival *US Premiere
(Fiscal Sponsorship)

Mosquito
(Fiscal Sponsorship)

Postales (Postcards)
(Spotlight on Documentaries)

To be Heard
(Spotlight on Documentaries)

Yelling to the Sky
(Narrative Labs)

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:

Congratulations, alumni!

Coming to a Theater near Me!

2011-08-11T17:30:00.004-04:00

I'm so excited - Mike Ott's Gotham Award-winning Littlerock 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 $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, Teenage Wasteland, also starring Atsuko and Littlerock's Cory Zachariah. I encourage you all to check out Littlerock this weekend!

IFP Alumni at NewFest 2011

2011-07-25T15:16:00.003-04:00

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.

Paul Goodman Changed My Life
(Independent Filmmaker Labs)

(A)Sexual
(Spotlight on Documentaries)

Ballad of Genesis & Lady Jaye
(Spotlight on Documentaries)

Carol Channing: Larger than Life
(Spotlight on Documentaries)

Gun Hill Road (Closing Night Film)
(No Borders International Co-Production Market)

Loop Planes
(Fiscal Sponsorship)

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

Congratulations, alumni!

IFP Alumni at the Primetime Emmys and the News & Documentary Emmys

2011-07-21T15:08:00.005-04:00

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.

2011 Primetime Emmy® Awards

Exceptional Merit in Non Fiction Filmmaking 2011
The Most Dangerous Man in America: Daniel Ellsberg and the Pentagon Papers, Judith Ehrlich & Rich Goldsmith
(Spotlight on Documentaries 2007)

32nd Annual News and Documentary Emmy® Awards:

Best Documentary
Outstanding Investigative Journalism – Long Form
The Oath, Laura Poitras
(Spotlight on Docs 2008; Gotham Award 2010)

Best Documentary
A Small Act, Jennifer Arnold
(Spotlight on Docs 2009; Envision screening 2010)

Outstanding Continuing Coverage of a News Story
Best Editing
War Don Don, Rebecca Richman Cohen
(Documentary Lab 2009 [Lab grant]; Spotlight on Docs 2009)

Outstanding Informational Programming
Off and Running, Nicole Opper
(Spotlight on Docs 2008)

Outstanding Business and Economic Reporting
Good Fortune, Landon Van Soest
(Spotlight on Docs 2007; Fledgling Fund Award)

Outstanding Music and Sound
Music by Prudence, Roger Ross Williams
(Spotlight on Docs 2008)

New Approaches to News and Documentary Programming
Deep Down, Jen Gilomen and Sally Rubin
(Spotlight on Docs 2008)

A huge congratulations to all of this year's very deserving nominees!

IFP Alumni Features in Sundance 2011

2010-12-02T17:05:00.006-05:00

Big news for IFP alumni this week as Sundance Film Festival announces their slate. IFP is proud to have been a part of these films’ processes, from scripts and rough cuts at Independent Film Week, and through finishing and distribution with the Independent Filmmaker Labs.

IFP Alumni include US Dramatic Competition films Here, Gun Hill Road, On the Ice and Pariah. Kinyarwanda premieres in the World Cinema Dramatic Competition.

Premiering in the US Documentary Competition are Crime After Crime, Hot Coffee and If A Tree Falls.

Restless City (pictured) premieres in the NEXT Competition, festival favorite Incendies shows in Spotlight, and Granito and Those Amazing Shadows are in Documentary Premieres.

"I heart IFP because they were one of the first organizations to see promise in Pariah 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 Pariah, which is an alumnus of Emerging Narrative 2007 and Narrative Lab 2010.

Says Kinyarwanda 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.”

Rashaad Ernesto Green, writer/director of Gun Hill Road said "Through IFP's No Borders, we met with festival programmers and industry professionals who became aware and excited about our feature film Gun Hill Road. 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!"

You can read the full slate of projects over at Filmmaker Magazine.

Spirit Awards Nominations for IFP Alumni

2010-12-02T16:15:00.005-05:00

Film Independent’s Spirit Awards announced their nominees this week. Congratulations to IFP alumni Night Catches Us, nominated for Best First Feature; Lbs. nominated for the John Cassavetes Award; Adele Romanski, nominated for the Piaget Producers Award for Myth of The American Sleepover; and Summer Pasture (pictured), which is up for the Aveeno Truer Than Fiction Award.

Matthew Bonifacio, director of Lbs., 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."

Current Individual-level IFP members can screen Spirit Awards nominees in the coming months; additional details coming soon to you via email!

Good luck to all the nominees!

Let’s Talk About Trust, Victoria Mahoney, Director of Yelling to the Sky

2010-12-01T13:00:00.003-05:00

Actor Zoe Kravetz & Director V. Mahoney on set

Nutter season is officially upon us.

We've entered the stretch of announcement time for top tier festivals in the first quarter of 2011.

I know fourteen narrative filmmakers and five Doc filmmakers, who applied to the January festival.

I know nine films/filmmakers, who applied to the February festival.

I know eleven filmmakers, who applied to the March festival.

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.

Weeks like this (occur in cycles throughout the year) testing our sense of safety, deceiving our internal knowing.

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;

Actor Gabourey Sibide on set

THE WHERE AND WHY OF FESTIVAL LAUNCH IS F*CKING MYTH. LEGEND. FOLKLORE. 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.

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.

The search is absolutely no different from hunting; DP, LP, UPM, PD, AD, CD, LS, financing, cast and so on.

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].

Billy [Mullligan, Yelling 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 Yelling to the Sky. (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.)

The hiccups in our giddyup happen during moments of exhaustion when the veneer and seduction of name "brand" holds a perceived promise of "safety".

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]. We are responsible to L I S T EN.

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.

The lie is; that a film will sink or swim based on an acceptance or rejection.

Actor Shareeka Epps & crew on set

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".

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.

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.

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.

Far as I can see, what we, filmmakers are really waiting for (if anything) isn't confirmation or approval or industry "aww/awe".

During festival announcement season, indie filmmakers are waiting, via programmers for the same damn thing we're always waiting for;

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.

So as we commandeer a respectful, deserved launch. What say, we continue using pre pro-post pro rejections to ignite will and feed purpose.

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.

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. Cuss and yell and stomp and howl.

After you smash the last ice cube, turn around and give THANKS TO THOSE WHO REJECT YOU, WITH THE SAME PRAISE FOR THOSE WHO ACCEPT YOU. 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.

Individually thank whoever uttered "no". They too, are our teachers. They too, are helping us get where our film intends to be.

Lace your bootstraps and walk on, let it go.

Your energy, focus, fight and heart are needed in progression.

Last but not least, let's give three cheers to our mates, who are catching light before and beside us...

About the Author: Victoria Mahoney 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.

Watch The Gothams Live Monday, November 29th at 8PM!

2010-11-24T10:40:00.004-05:00

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….

No, we’re not talking about Thanksgiving.

In just five days, the 20^th Anniversary IFP Gotham Independent Film Awards – the biggest awards show of the indie film world – will be streamed live on www.biglive.com.

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!

Confirmed presenters at the awards this year include: Julianne Moore, Anne Hathaway, Jesse Eisenberg,Barbara Kopple, Anthony Mackie, Leighton Meester, Rosie Perez, Sam Rockwell, John Turturro and Michelle Williams. And, like any true film fan, you can be on the lookout to be the first to discover the stars of tomorrow today.

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.”

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.

Learn more at: www.ifp.org and gotham.ifp.org

Champion Indie Film With Small, Deliberate Steps

2010-11-15T17:31:00.007-05:00

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 Jeanne Bernie, Louverture Film's Joslyn Barnes and myself in a fun and spirited panel on the many, many roles women play in this crazy business we call film.

We had quite a discussion that covered little bit of everything - from motherhood to gobos, as I recall- with a lot of laughter and irreverence thrown in for good measure.

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.

This week, I've been thinking a whole lot about another group of women who are currently pushing forward in a big way to ensure their stories are heard. 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.

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.

At this year's IFP Independent Filmmaker Labs (the only labs in the world that help first-time feature filmmakers 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!

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. Already, good news and good press is trickling out about Lab Fellows Susan Youssef's recent 2010 Women in Film Grant and Victoria Mahoney's Elle Magazine recognition as one of 2010's Elle Women in Hollywood.

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: 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.

It's about each of us - filmmakers and film lovers all - coming together to ensure that we continue to be champions of independent film.

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.

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. Keep the story going. Provide support any way you can. And help them to push on.

Nominees Announced for the 1st Ever Festival Genius Audience Award

2010-11-10T13:02:00.005-05:00

Last night, at the Alfred Dunhill store in New York City, actor Oliver Platt (The Big C, Please Give) took the stage to announce the nominees for the first ever FESTIVAL GENIUS AUDIENCE AWARD. The award, presented by IFP and Slated (Owner of Festival Genius) will be given out on November 29^th at the 20th Anniversary Gothams Independent Film Awards.

The Festival Genius Audience Award celebrates this year’s audience award winners from across the top 50 US and Canadian film festivals. True to the democratic spirit of the independent film community, all nominees were determined through online voting. Over 12,000 votes came in to narrow the initial list of twenty-six films down to five. Those nominees are:

Winter’s Bone, directed by Debra Granik, also nominated for three other Gotham Awards including Best Feature, Best Ensemble and Breakthrough Actor for Jennifer Lawrence. Winter’s Bone won the audience award for feature film at the 2010 San Francisco and Traverse City Film Festivals.

Waiting for Superman, directed by Davis Guggenheim, which won the audience award for documentary at the 2010 Sundance Film Festival.

White Irish Drinkers, directed by John Gray, which won the audience award for feature film at the 2010 Woodstock Film Festival.

9000 Needles, directed by Doug Dearth, which won the audience award for best documentary at the 2010 Phoenix Film Festival.

Brotherhood, directed by Will Canon, which won the audience award for best feature at the 2010 South by Southwest Film Festival (SXSW).

Voting to select the final winner starts today at http://gothamawards.slated.com, and will end on November 29th at 5 pm EST. One lucky voter will win a night’s stay at the Andaz Wall Street in New York City plus two tickets to the Gotham Awards.

As the first major award show of the film season, the Gotham Independent Film Awards provides critical early recognition and media attention to worthy independent films. This new award will be presented alongside other competitive categories including: Best Feature, Best Documentary, Breakthrough Director, Breakthrough Actor, Best Ensemble Performance and Best Film Not Playing at a Theater Near You. This year, actors Robert Duvall and Hilary Swank, director Darren Aronofsky and Focus Features CEO, James Schamus, will each be presented with career tributes.

Check out http://gothams.ifp.org for a full list of nominees, and don’t forget to visit http://gothamawards.slated.com to vote. Then, tune to http://www.ifp.org on the evening of November 29^th to live-stream the entire award show.

We’ll see you there!

IFP/Rotterdam Lab Producer's Fellowship Call For Entry

2010-11-05T15:52:00.007-04:00

November in New York City is here, bringing a fresh slate of great indies, docs and awards-season films vying for our attention and of course, throngs of athletes lining the sidewalks getting in their final jog before marathon weekend.

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 Rotterdam Lab. This terrific four-day training workshop is designed to help producers from around the world build up their international network and experience.

As the sole U.S. partner, IFP annually selects two producers to participate in the Rotterdam Lab, which 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.

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 (Half Nelson), Howard Gertler (Shortbus), Effie Brown (Real Women Have Curves), Dan Carey (Cold Souls), Mynette Louis (Mutual Appreciation), Anish Savjani (Wendy & Lucy), Ben Howe (Treeless Mountain) are all previous recipients of IFP's fellowship. 2010 Producers Jason Orans (Night Catches Us) and Thomas Woodrow (Bass Akwards) 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.

To apply for this fellowship, please send your one-page letter of inquiry and resume to Deputy Director Amy Dotson atadotson@ifp.org by Monday, November 15^th. All finalists will be notified by Monday, November 22^nd of acceptance.

Good luck to everyone in the home stretch and don't forget to enjoy the run!

Catch These Docs

2010-10-30T19:56:00.000-04:00

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.

Jennifer Arnold’s A Small Act (now at Quad Cinema), 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 A Small Act 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.

At Spotlight on Documentaries 2010, Jen and producer Patti Lee connected with HBO’s Lisa Heller at a Project Forum meeting, and A Small Act rapidly became an HBO Documentary Film. Jen writes about this and her film’s production story this week on Ted Hope’s blog.

Last July, just prior to its HBO broadcast, A Small Act was the opening film for IFP’s ENVISION: Addressing Global Issues through Documentaries, 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.

Speaking of being part of more than one IFP program…this brings me to our second opening: Doug Block’s The Kids Grow Up. 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 The Kids Grow Up (then titled Almost Gone) 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 Angelika. A companion piece in spirit to his 51 Birch Street, 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.

So, in short – seize the opportunity to see both of these docs – A Small Act and The Kids Grow Up now playing in New York, and continuing to play across the country the rest of this year.

And coming up:

Standing in front of the Angelika last night when I arrived was the tireless Thom Powers, handing out brochures for his upcoming inaugural DOC NYC (November 3-9). Check out their schedule – you really can’t go wrong with anything. A special shout out to the exquisitely compelling Puppet by David Soll, an alum project of IFP’s 2010 Independent Filmmaker Labs.

Ten IFP Alum Ready to Rock IDFA!

2010-10-21T09:58:00.001-04:00

IDFA, the world's largest documentary festival, has just announced its stellar line-up for the 2010 incarnation. IFP is thrilled ten of the 280 films (84 of which are World Premieres), are IFP supported projects!

These are:
Budrus, 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 "Reflecting Images: Best of Fests." 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 The Oath, also a nominee of the 2010 Gotham Independent Film Awards.

In the category "Reflecting Images: Panorama", which presents "films that are thought-provoking in form and choice of theme", a total of five IFP alum are included: Minustah Steals Goats (Minustah vole kabrit) (fiscally sponsored by IFP); Pushing the Elephant (Spotlight on Documentaries alumnus 2009); Sons of Perdition (Spotlight on Documentaries alumnus 2009); Utopia in Four Movements (Radziwill grant); and Queen of the Sun (Spotlight on Documentaries alumnus 2009). Queen of the Sun also will be shown in the Competitive Green Screen section. 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."

The final IFP alum films are in Competitive Sections of the Festival. First, An Encounter with Simone Weil (An alumnus of the Independent Filmmaker Labs and Spotlight on Docs 2009) will make its World Premiere in the IDFA Competition for First Appearance. iThemba, directed by Elinor Burkett, is also in this competition, which is derived from the original concept/footage as Oscar-winner Music by Prudence, which came through IFP's fiscal sponsorship program and is an alumnus of Spotlight on Docs 2008. Finally, Our Summer in Tehran (2009 Spotlight on Docs alumnus) will compete in the IDFA Competition for Mid-Length Documentary.
We wish all our diverse and talented alumni great luck with their incredible films.

Update (11/18):

Four more IFP alum in the IDFA Forum

Bettie Page Reveals All (Spotlight on Docs 2008)

Diana Vreeland: The Eye has to Travel (Spotlight on Docs 2010)

From Texas to Tehran (Spotlight on Docs 2008)

Versailles (Spotlight on Docs 2010)

Have a great Festival everyone!

Watch Elvis Mitchell Announce the Gotham Award Nominees!

2010-10-19T01:33:00.000-04:00

Live Announcement - 1pm EST, Mon, Oct 18 - Gotham Award Nominees

2010-10-16T19:31:00.000-04:00

Ask-an-Expert: Steven Beer on Packaging and Financing Films in the Age of Empowerment

2010-09-27T13:24:00.001-04:00

Packaging and Financing Films in the Age of Empowerment - by Steven Beer

Last December I penned an article entitled “A Decade of Filmmaker Empowerment Coming” for Indiewire.com. 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.

This empowerment theme infused the Packaging and Financing “Ask-An-Expert” panel discussion this weekend at the 2010 IFP Conference. The panel, on which I served as moderator, included CAA agent Stuart Manashil, Paladin distribution exec Mark Urman, Fortissimo international sales VP Winnie Lau, and SAG Indie Rep Michael Sladek. 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.

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.

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.

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, the common $3 million dollar independent feature budget is now reduced to $1 million. For many filmmakers, getting their package financed is becoming easier.

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.

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.

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.

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: beers@gtlaw.com.

Ask-an-Expert: Cinereach's Reva Goldberg on Fundraising Strategy

2010-09-15T13:59:00.000-04:00

In my previous post 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.

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.

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 Esther B. Robinson’s posts for Filmmaker Magazine, including this one, and this one].

In my experience, your strategy for getting your film made should stem from three key things: the resources you can access independently; the stage your film is at (i.e. development, pre-production, production, post, etc.); and your track record as a filmmaker.

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?”

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 track record, the earlier in your production you can inspire funder confidence.

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 IFP Filmmaker Conference (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.

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.

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!

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 resources 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.

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.”

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.

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 resource page Ingrid Kopp created for her ‘Digital Bootcamp’ if you have no idea what I’m talking about]. I also recommend applying for fiscal sponsorship 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).

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.

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.

Reva Goldberg is Communications & Fellowships Manager at Cinereach (cinereach.org), 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
Productions. Reva likes to tweet about opportunities for independent filmmakers via @RevaGoldberg and @Cinereach.

Ask-an-Expert: Basil Tsiokos on What NOT to do for Film Festivals

2010-09-13T12:58:00.000-04:00

Dear Filmmakers:

I recently launched a documentary focused blog entitled “what (not) to doc” 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.

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.

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.

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.

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.

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.

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.

This issue and many more will undoubtedly come up during IFP's Independent Film Week, September 19-23. Join me on Wednesday, September 22 at Noon as I moderate the panel "Positioning Your Film for Festivals and Buyers."

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 and at http://WhatNotToDoc.com

Ask-an-Expert: Liz Ogilvie and Paola Freccero of Crowdstarter on the Plus Side of Free

2010-09-13T11:14:00.000-04:00

FREE does not mean the end of the world for your film

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!”).

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…

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 Sex, Lies and Videotape and Roger and Me. 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.

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.

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?”

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.

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.

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.

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.

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?

Editor's note: Liz Ogilvie and Paola Freccero will be speaking further about Marketing at IFP's Independent Filmmaker Conference. Comment now and join the conversation online and in person.

Ask-an-Expert: Reva Goldberg of Cinereach on Documentary Funding

2010-08-27T13:19:00.001-04:00

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.

Each time I have the same thought, but have never really voiced it before:

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.

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!

I encourage you to stay positive. I encourage you to continue to put time, thought and heart into your applications. My colleagues at Cinereach 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.

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.

It is critical that filmmakers not view grants as:

a) a guarantee
b) plentiful
c) large in size
d) the primary way to get a film funded

It is critical that filmmakers do view grant-seeking as:

an art in itself, usually mastered only through practice
highly competitive
slow (in most cases)
only one sliver of the fundraising ‘pie‘

In the panel I’ll moderate at this year’s IFP Filmmaker Conference (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.

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.

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?

Reva Goldberg is Communications & Fellowships Manager at Cinereach (cinereach.org), 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
Productions. Reva likes to tweet about opportunities for independent filmmakers via @RevaGoldberg and @Cinereach.

Ask-an-Expert: Liz Ogilvie and Paola Freccero of Crowdstarter on Marketing

2010-08-19T12:54:00.000-04:00

We launched our marketing and distribution services company, CrowdStarter, because the rug had been pulled out from under us. The company where we were working, B-Side Entertainment, 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.

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.

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.

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?

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.

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.

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 (4 Months, 3 Weeks, 2 Days anyone?), critical darlings, genre films (Let the Right One In, Pan’s Labyrinth, 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.

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.

Do you have one of those? If you do, we’re hoping you’ll call / email / tweet / friend / 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!

Editor's note: Liz Ogilvie and Paola Freccero will be speaking further about Marketing at IFP's Independent Filmmaker Conference. Comment now and join the conversation online and in person.

Ask-an-Expert: Basil Tsiokos on Film Festival Strategy

2010-08-19T11:31:00.000-04:00

Dear Filmmakers:

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 (@1basil1) 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.

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.

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.

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.

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.

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.

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 Independent Film Week, September 19-23. Join me on Wednesday, September 22 at Noon as I moderate the panel "Positioning Your Film for Festivals and Buyers."

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.

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

An Opportunity for Docuheads - IFP, Shooting People, and Sheffield Unite!

2010-08-03T13:57:00.001-04:00

IFP is delighted to announce another first in a great year of building partnerships. Along with our friends at Shooting People we are thrilled to offer nonfiction filmmakers the chance to be part of the official US delegation to Sheffield Doc/Fest.

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.

And it has a roller skating party!

The festival takes place from November 3rd to 7th in Sheffield, UK.

Being part of the U.S. Delegation will give you:

£150 discounted passes for the delegates, which gives access to all the festival screenings, networking drinks and sessions. (Normal rate is £235)

Advice and help with networking and setting up meetings from MeetMarket producer Charlie Phillips

Discounted accommodation

Please note that you will need to arrange your own travel and accommodation.

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.

You will then be contacted with a special code to sign up and join the Delegation.

IFP Announces New Partnerships and Opportunities for Producers

2010-07-22T14:08:00.001-04:00

IFP is thrilled to announce two new partnerships - one in South America and one in South Asia - which will help our community to continue to expand their networks in the international marketplace.

First, through our partnership with Latin American Training Center, IFP will select up to five American independent producers to participate in their Rio International Festival Producer’s Panel September 23-28, 2010 .

The Rio International Film Festival’s Producer’s Panel is a week-long program which runs concurrently with the Rio International Film Festival. Conceived to boost international co-productions and encourage production in Latin America, the fellowship with LATC will be offering many formal and informal networking opportunities throughout the week to assist producers in finding partners for their projects and expanding their international contacts.

Open to emerging and established producers, the Fellowship will cover the cost of full program registration fees for the selected producers, but participants must cover their own travel and lodging to attend.

Qualifications: Applicants should have at least one feature-film producing credit and be a current IFP member. Applicants should clearly state why they are interested in participating by citing either a history of Latin American co-production experience OR current projects in their slate that require Latin American and/or Spanish Language co-production partners. Documentary and Narrative producers are welcome.

In addition, the National Film Development Corporation (NFDC) India, will select an American independent filmmaker and/or producer to participate in the Film Bazaar November 23-26, 2010. The Film Bazaar is a four-day market held alongside the International Film Festival of India in Goa. It is a South Asian sales and distribution platform to facilitate greater collaborations between the Indian and international film industries for distribution and production.

The Fellowship will cover the cost of full program registration fees for the selected writer/director and/or producer, as well as travel and accommodations.

Qualifications: All filmmaker or producer applicants should be a current IFP member and have fiction projects that deal with Indian/South Asian subject matter; filmmakers who are part of the Indian diaspora are given preference. Scripts should be current, with WGA registration between September 2009-2010.

Those interested in consideration for the program should apply with a one-page letter of interest describing the project(s) that would be presented and a resume to Amy Dotson, Deputy Director, IFP, at adotson@ifp.org by Thursday, August 5th.

Lab & Emerging Narrative directors in Filmmaker's '25 New Faces'

2010-07-20T13:00:00.000-04:00

Every year we eagerly anticipate who the Filmmaker Magazine staff will highlight as the current class of hot indie talent in their "25 New Faces" issue. There's always a few surprises, and this year, we're pleased that a few of our own talented alumni have been highlighted-

Rebecca Richman Cohen participated in the 2009 Documentary Independent Filmmaker Labs with her film War Don Don, about the international defense team for, and war crimes conviction of a Sierra Leonean rebel leader. War Don Don has played and won awards at numerous festivals, and will air on HBO in September 29.

Victoria Mahoney and Susan Youssef were both among the powerhouse women directors bringing their features to this year's Narrative Independent Filmmaker Labs.

Victoria Mahoney's Yelling To The Sky, which Scott Macaulay calls a "powerful, emotionally nuanced debut feature about a New York City teenager growing up in a mixed-race family" features Zoe Kravetz, Tim Blake Nelson and Gabourey Sibide.

Habibi Rasak Kharban (Darling, Something's Wrong With Your Head) from Lebanese-Syrian-Brooklyner Susan Youssef is the first film to be shot in Gaza in 15 years. Habibi is based on the ancient Sufi parable of the Majnun Layla, the story of a man so smitten with a nearly unattainable woman he goes insane in his quest for her.

Habibi Rasak Kharban and Yelling to the Sky are both in post-production and are available for meetings with industry at Independent Film Week; industry interested in more information about these projects can register to participate here.

Matt Porterfield, is our fourth in the 25 New Faces. Porterfield came to Independent Film Week's Emerging Narrative program with his script Metal Gods in 2008. The script won our Panasonic camera package grant, but the shoot turned into his acclaimed Putty Hill, a Baltimore-based tour of the friends and family of a recently OD'd young man which debuted in Berlin and was recently picked up by Cinema Guild for a Fall theatrical release.

Congratulations to you all - we knew you when!

News & Documentary Emmy Nominations for IFP alumni

2010-07-19T10:08:00.000-04:00

Big Congratulations to all our IFP alumni for their recent News & Documentary Emmy Nominations! Good Luck! We'll be crossing our fingers for you when the winners are announced on September 27.

The Way We Get By (PBS)
OUTSTANDING CONTINUING COVERAGE OF A NEWS STORY--LONG FORM
Aron Gaudet – Director
Gita Pullapilly - Producer
Independent Film Week - Spotlight on Documentaries 2008

Fixer: The Taking of Ajmal Naqshbandi (HBO)
OUTSTANDING INVESTIGATIVE JOURNALISM--LONG FORM
Ian Olds – Director
Nancy Roth - Producer
Independent Film Week – Spotlight on Documentaries 2008
IFP Fiscal Sponsorship

The Good Soldier ("Bill Moyers Journal"; PBS)
OUTSTANDING HISTORICAL PROGRAMMING - LONG FORM
Producer/Directors - Lexy Lovell, Michael Uys
IFP Fiscal Sponsorship

The Mosque in Morgantown ("America at a Crossroads"; PBS)
OUTSTANDING INDIVIDUAL ACHIEVEMENT IN A CRAFT: MUSIC & SOUND
Composer - Kareem Roustom
Brittany Huckabee – Director/Producer
Independent Film Week – Spotlight on Documentaries 2007

Amicus Brief in Support of Joe Berlinger

2010-07-15T15:36:00.000-04:00

Today, a panel of three Federal Appeal Court judges heard arguments to determine whether Joe Berlinger will have to turn over to Chevron 600 hours of raw footage he shot while producing the documentary CRUDE. Chevron went to court to gain access to the footage to help in defending itself against a massive Ecuadorian class action lawsuit brought by workers and residents of the Amazon who are seeking redress for years of environmental pollution.

Michael C. Donaldson filed an Amicus Brief on behalf of IFP, as well as 22 other industry organizations and individuals, who saw the order to turn over the footage as a threat to the future of investigative documentaries. The judges heard from attorneys for Chevron, for Joe Berlinger, and for the Ecuadorian plaintiffs. The hearing, which was initially scheduled to last forty-two minutes, lasted an hour and forty minutes. About the only thing the attorneys could agree on in their oral arguments was that the fate of Berlinger’s appeal was controlled by a 1998 case – issued by this same court – entitled Gonzalez v. NBC. In fact, the three-judge panel that heard Berlinger’s appeal included Judge Leval who was on the panel for the Gonzalez case.

The judges have taken the case under submission, promising to issue their decision “expeditiously.” Although one can never predict exactly what a court will decide, it’s of Donaldson’s opinion that the lower court’s order to turn over the 600 hours of footage would be substantially cut – and that an additional step would be taken of putting restrictions on how the information gathered could be used by Chevron, i.e.: that it could not simply be used in the massive PR campaign Chevron has mounted, but that it could be used only in court or government proceedings. Additionally, Donaldson felt that the judges were prepared to confirm the test set forth in the Gonzalez case which stated that, in order for a journalist to turn over material that is non-confidential, the material at issue must be of likely relevance to a significant issue in the case and not be reasonably attainable from other available sources – a test that is extremely important to the documentary community.

Other potential decisions could include sending the case back to the trial court with some clear direction as to how to decide these issues, ordering the trial court to view the footage before Chevron is able to view it, throwing out the subpoena in its entirety, or issuing an order that combines one or more of the above options.

After the hearing, Donaldson – who authored the Amicus Brief for filmmakers – praised the International Documentary Association for recruiting co-signers to their Amicus Brief. He felt that the voice of filmmakers was heard, stating “Everyone was extremely well prepared. The judges were attentive, interested and extended the arguments by asking extensive, well-informed questions. You can’t ask for much more –except a decision that favors the filmmaker.”

YELLING TO THE SKY director Recaps the Narrative Labs

2010-06-18T14:46:00.000-04:00

The most common song sung throughout cineland the past few years is how"excessively difficult it is to get an Indie resourced and released in this climate." Ask anyone, two decades thick into Indie and you'll hear, long-ago-era-of-abundance stories.

Putting us, up and coming filmmakers at an anemic crossroads of [what once was] and [what isn't, just yet].

People often react to members of our production team as if we're aiming to build the Taj Mahal upon three melting icicles and a strand of retrofitted dental floss. Since hearing countless experiences on forty layers of nonconventional choices from our IFP fore-filmmakers and peers all last week, I now feel a buoyant sense of one [single] buck solid absolute.

I am absolutely, to the core certain that the old rules forever drummed into celluloid's "how to" lexicon, no longer dictate a film's platform or shelf life. The paradigm of yester-decade is not today's rule. More excitingly, this very second in time, there-are-no-rules! How rejuvenating, to be walking within the precise moment where a shifting industry, has yet to take shape. The worldwide web has miraculously leveled the playing field, decimated the platinum curtain and reinstated the long lost nectar of an almost deceased term; I-N-D-E-P-E-N-D-E-N-T.

YELLING TO THE SKY is jumping off in a time where there's no playbook. There's no sole structure, fold out, process, formality or convention to define film or to exhibit media.

For every one of grandcinema's decaying "must", there are twenty-two thousand present day, counter success hymns.

It is the wild wild East, and as such the only viable requirement for flight, is a willingness to play.

Not play along, not play by ideas, not play accordingly or fitfully. Just schoolyard-proper, sleeves up, love of the game "play".

That ripe smashing of old law, is taking shape as my entire team and I, continue walking thru post. As Billy and I, proceed to pick sales agents, navigate our launch, seek support and more crucially as we demand visibility.

(I'm sitting on a plane next to BIlly Mulligan, my producing partner; Billy, what's the strongest component you are leaving the lab with?

BM: At my fingertips, I feel empowered by the knowledge that was bestowed upon us. In the more micro sense, I can't stop thinking through what we learned about the ever growing and expanding opportunities for distribution and how the distribution landscape is changing at such a fast pace. I am surprised at how much, theoretically, I am embracing it.)

During such a crucial stage of our film's maturation, it's impossible for he and I, to sum up all the moving parts of this lab experience. To have the IFP team roll out point by point discussions on every single tiered aspect of post production is the filmmaking equivalent of Wonka's golden ticket. Entry in this case, seems based upon a healthy ratio of talent, discipline, sacrifice and isolation.

It's not possible to cohesively sling consonants, vowels and syllables into quantifiable expression; mirroring the density per battle, per month, per week, per day.

How do we t h a n k y o u; Amy Dotson, Scott Macauley, Rose Vincelli, Susan Stover, Tricia Cooke, the hourly speakers, the year long staff, the fellows, past and present...

How do we "self starters" thank you insightful few, for generously offering a post-pro home with which we may f i n i s h.

-Victoria Mahoney

Darren Dean, KINYARWANDA Producer, on the IFP Lab Boot Camp

2010-06-17T12:59:00.000-04:00

Darren Dean (front left) and other fellows soak up knowledge at the Labs

Whew. I’m sure most everyone would agree when I say, “What a week!”
Sort of like filmmaker boot camp.

My only regret was not being able to celebrate with everyone on the Labs’ final day because I had to attend my wife’s boss’ daughter’s wedding (NOTE: We filmmakers should always defer to the needs of our significant others. Should this well of filmmaking dry up, as everyone keeps predicting – we will all need an employed person in our household. And we don’t want to piss them off!). Nevertheless, we all probably started drinking around the same time and – rest assured – I certainly raised my glass to all of you.

Was it just me, or did it feel like our noodles were turned inside out by week’s end? While I went into this hoping that I’d learned much of what would be discussed over the last few years, I was easily disarmed by that which I didn’t know.
And while it was abundantly clear that I’ve made (as we all probably have) mistakes along the way, it was refreshing to hear about the regrettable decisions of our mentors and the mistakes they made along the way. For me, it is pretty bold to be as successful as Scott and John and Amy and Rose and peel away the layers in an effort to better us all. When a mentor tells you about some grave move they made in years past, followed by an “I never thought I’d work again,” it is not only revealing, but relieving. It’s kind of like your dad admitting he dropped acid or your mom admitting that she regrettably slept with the captain of the football team. It doesn’t make our own mistakes go away, but simply serves to elucidate how fallible we all are. More importantly – and all egos aside – it reminds us, too, of how much we need to learn.

I have to say that I don’t agree with one of our mentors this week who implied that we are all in competition with each other. Yes – there will be festivals. Yes – there will be distributors vying for our work. And, yes – we all want to be the best that we can be. But here, as we learn – not only from our mentors, but each other – we grow into each other’s work.

The most telling line I heard all week – repeatedly, from different filmmakers – was, “I wish I’d made that film.” When you can look at the efforts and works of others and wish that they were yours, it means that you are akin with it.
I’m sure Alrick and Tovah would agree that, while we leave this week having made one film, we wish we had made nine others. And, in the year(s) that come, we will likely find ourselves championing each of your films as much as we do our own. They are all as much a part of us as KINYARWANDA.

KINYARWANDA's Alrick Brown on Wisdom, Honor, and Digesting the IFP Narrative Labs

2010-06-16T15:37:00.000-04:00

Lab Workshop leaders Alan Chan, (producer, Half-Life), photographer, and Josh Mond (producer, Afterschool) and Alrick Brown (director, Kinyarwanda) Photo by Mike Cerda

The storm has passed, the lights have dimmed, and we are left standing holding our films in our hands. The 2010 IFP Narrative Lab is over, and in 1 short week I have gathered more information on the Finishing, Marketing, & Distribution of a film than I have in my previous 8 years in the film game. I really don’t mean to kiss up but you gotta give credit where it is due. The lab, the filmmakers, the mentors, the guest speakers, and the work of the IFP are all solid. Honestly, I underestimated you coming into this. I just didn’t know. I have since perused the website -- watched the videos, learned some of the history, and now I feel even more honored.

Actually I just lied. Not about the solid or honored thing. Do people lie on the Internet? Along with that film in our hands we walked away with some other pieces of the puzzle that will help our films find their audience and in the sentiments of Alfred Hitchcock, “Why make a movie if nobody is going to see it?” I think all the filmmakers wanted to get back to work but we were given the sound advice, by Amy, of taking this week off - away from our films so all the information can marinate. Well it’s marinating like a mutha*@#!

The task now is to finish the best possible versions of the projects with the time and resources we have and then give them their chance to be seen by as many people as they can. It seems pretty straightforward, right? But how many amazing films have come and gone that you we were clueless about. Finishing a film but not marketing it is like building a car with 3 wheels. It might go somewhere, it might get recognized, but you might not travel as far as you could. And you certainly won’t travel without scraping your ass on the asphalt. Does this mean our journey will be easy cause we are in the independent film ‘in crowd?’ Hell no. After the success of INSIDE MAN, Spike Lee was still struggling to get his films made. Many well known filmmakers can’t get their project’s marketed properly much less get the projects themselves off the ground. Spike got there because of the WORK. The hard and smart WORK. We got there because of the WORK and there is no substitution for the WORK.

During the last few workshops my brain was fried as I processed the info and I looked ahead at ALL the additional work that needed to be done. And I was stressing thinking about the next project. What would my next film be? Paola Mendoza (Writer/Director/Actress of Entre Nos) reminded us to enjoy the process and savor this accomplishment. Wisdom is simple.

Today, I told a pretty religious dude about my IFP experience, about all the amazing people I met, worked with, all the potential in the room, and he quoted something his pastor said in church on Sunday, “Things move at the speed of relationships.”

In the words of the great philosopher Bruce Lee, “Running water never goes stale.” So, fellow lab mates, mentors, and all of our collaborators, do the WORK and lets keep it moving…together.
Peace Love & Respect

Lucy Mulloy of UNA NOCHE reflects on her Labs Experience

2010-06-15T13:55:00.001-04:00

(left) Lucy Mulloy, John Henry Summerour (SAHKANAGA), and Daniel Mulloy (producer, UNA NOCHE talk shope with Nekisa Cooper (PARIAH) - Photo by Mike Cerda

The first day, sitting in the cinema, I really had no idea what to expect. I love the feeling of being taken by surprise at the images and the emotions projected. Getting a teaser fired us all up to see the full movies. During the week I gained further insight into the projects and into the details of what we have to contend with to bring our movies into the world, from the finer points of deliverables and legalities to finding our audience and making it possible for them to find us. There is some great work that is going to get a lot of attention coming out of the lab this year. The overwhelming feeling I have is that it was wonderful to be selected amongst a group with such raw determination and talent, executing their visions independently. The people involved were an inspiration - from classmates, and lab leaders to our mentors. We are so lucky to gain the direct insight of Scott Macaulay, Susan Stover and editors like Sabine Hoffman. I feel like we met at a perfect, critical stage in the process of finishing the film.

Josh Mond, Producer, AFTERSCHOOL with Lab Leader Scott Macaulay - Photo by Mike Cerda
The comfort and encouragement created in the lab atmosphere allows for ideas to flow. The concise and direct guidance from Amy Dotson and Rose Vincelli has enhanced our vision of where we are heading and what has to be done along that route. It is good to know that there are others going through this with us and the sense of support is tangible. I am excited to return to the editing room to get Una Noche out for people to see. Thank you all!

The Kinyaranda Crew Reports from IFP's Narrative Labs

2010-06-10T12:45:00.000-04:00

From Writer/Director Alrick Brown:

I am not as articulate as my producer Darren, nor is my vocab as vast, so I will say that it has been a kick-ass 1st two days at the IFP Lab. I’ve been in the game with my shorts for years now and this feature marks my coming out so to speak--and what a way to come out. You have mentors and other filmmakers guiding, pushing, and blocking for you. I feel a little like someone just let me in through the front door after years of knocking at the back………..or maybe we kicked it open.

We are in very good company. As we get glimpses of each other’s work I could not help but think I wish I had made that, done that, had a shot like that, had that actor, or that dolly move. It was not jealousy but humble respect and admiration. The other films and filmmakers come with a lot.

IFP uses the words ‘diverse’ to describe the filmmakers and films. The people and films here, represent the actual world. This is not the exception, but rather, it is the norm. The world is colorful and viewpoints are vast. These filmmakers and films though ‘diverse’ share something important--our films show the different perspectives of all of our humanity. Shouldn’t we be the norm? Shouldn’t this LAB make up be the norm? Shouldn’t the range of stories we have be the norm?

I feel like I am in a BONUS grad film program. A supplemental course to my NYU grad school journey but in this case, we are asked to think about marketing & distribution as the other 50% of what we have to do aside from finishing our films. Thank you John for that profound insight. We have no choice but to handle the business side of our product the way we handle the art. That’s just one of the many gems I have taken away in just a few days. My notebook is full.

It’s crazy how supportive and informative the lab leaders and mentors actually are. The COMPETITION of film is so often emphasized that we forget that there is a very healthy & supportive community there as well. IFP represents that community. I think we are making each other better. How can I say this after two days? I have lived a long life and I spoke to previous participants before arriving this week and many were pleasantly surprised at the amount of GIVING they experienced at the Lab and have experienced since the Lab.

Tuesday my editor Tovah and I got to work with editor Lee Percy. (The dude cut BOYS DON'T CRY amongst many other great films.) How sick is that? Years before going to film school I saw that film and was blown away. And that dude was working with us and our Lab fellows. It was a rich and informative session, and made us want to leave the Lab and go back into the editing room.

If I have any regret it is that the whole KINYARWANDA crew could not participate. Those in Rwanda, LA, the UK, and here in the states would have really taken a lot away from this experience. But, as it is in my nature I will take this knowledge with me and try to share it with others.

Thank you IFP and thanks to my fellow filmmakers for your vision.

Peace love and mad respect -
alrick brown, Writer/Director, KINYARWANDA

From Producer Darren Dean:

As someone who had the good fortune of being thrust into the world of film – almost by accident – for my first feature, by the time I was invited to produce Alrick Brown’s KINYARWANDA, I had already experienced many of the “trial by fire,” DIY themes that currently populate the medium. There’s no doubt that I was able to benefit significantly from being thrown to the wolves the first time around. However, the urgency of having to navigate post-production, marketing and promotion, distribution and the film festival circuit was on gut instinct alone. I could have easily saved myself more than a few headaches with the aid The IFP Narrative Filmmaker Labs – taking place this week in NYC.

The Labs, now in their sixth year, are a seminal part of the indie film world, although – in the words of one of the event’s organizers – they remain a bit of an untapped resource. It would seem that many emerging filmmakers would rather surrender their efforts to film festivals than face the scrutiny of their peers and mentors – in an effort to create a better final abandoned draft of their work.
But while film festivals (outside the big 10 or so) yield many niche films, The Labs’ diversity is abundantly evident. While one is immediately struck by (and I, for one, am abundantly pleased by) the presence of so many female and minority directors – which make up the bulk of the works-in-progress here - the features are also as diverse and compelling as they can be. Above all, from my first impressions of Day 1, I am taken aback by the courage of all the filmmakers present to have the good sense to ask, “How can my film be better?”

Seemingly more than simply an effort to promote emerging filmmakers or IFP as an organization, The Labs are replete with commas, conjunctions and consideration upon consideration. A veritable “What if?” scenario for each film, and with the help of its well-rounded group of mentors, The Labs seek to prepare filmmakers for every variable imaginable. Cut from the same cloth as Ted Hope’s “Hope for Film” campaign, they are not only concerned with our work, but in perpetuating independent filmmaking as a whole. For, if we are not making good films, how can the medium hope to survive?

Having spent the last few years on the festival circuit – often surrounded by many filmmakers who bemoan the fact that they can’t get no love - I’m looking forward to learning what I should have learned years ago – in the company of these gifted individuals who are willing to hear the truth. I eagerly – and confidently – await the results.
- Darren Dean, Producer, KINYARWANDA

Undiluted Inspiration - Day One of IFP's Narrative Film Labs

2010-06-08T17:37:00.000-04:00

Blogged by Victoria Mahoney, Writer/Director of YELLING TO THE SKY

Sound the alarms, talent is alive and well. We saw it; morning to evening. One behind the other, behind the other; in [nine] brave, unique, holy wow filmmakers' offerings as we each gained insight and support from the entire IFP team, mentors and advisors. More about that in a minute...

Because the bumpy ride getting there is worth telling--literally &metaphorically.

I went to bed at 10:30p (everyone who knows my nocturnal ways might respect this feat) but don't cuz I could not-could not fall asleep. Kept rolling and tossing with the most tender curiosity and excitement.

Next thing I know, I'm awakened by the phone buzzing to then hear Billy Mulligan's voice. (Please, don't tell him) but I genuinely have no idea what he said. I was so acutely panic stricken thinking, "Oh no, I've overslept for school, wait, what year is it? Didn't I finish High School? Yes, yes, I remember finishing High School and dang I really wish I kept my punk rock prom dress, it's back in style, I could've given it to my niece for her prom. Focus daggit, jump out of your sleepy haze. I know, I must be late for work. Wait no, that isn't right, we finished principal photography awhile ago. What day is it? A lil' help. Few hints. Couple clues. Above all, what's my name and what time is it?".

I hear something about "it is 8:01". Like 10 gallon paint cans to the back of the skull, I remember; Billy and I were to meet at the circle, equidistant from our apartments 7:40a, for our first day of the lab.

I dress with my eyes closed and jam downstairs.

We foot-race to the express train and spend the 20min ride, chatting and bursting with enthusiasm. So much so, that we miss our exit!

I've woken up late AND now my chatter has us missing our exit. Comedy hour, amateur central. Dodo bird on rinse cycle.

We hop out and begin willing the next train along (of course, we know that doesn't actually work, we just use it to sedate the "please don't let us be late on our first day" over-excessive adrenalin surge.)

We jump the train back uptown; one stop and arrive at our destination, in far more ways than one--with minutes to spare.

Meeting 2xdozen new people at once is odd no matter how you slice it. The warm bit is; knowing everyone feels uncomfortable. The kind bit is; we're uncomfortable--together.

Here's the thing; I love film. I could subsist on film for breakfast, lunch, dinner, midday snack and late night treat. It has something to do with the purity of a filmmaking team's need to share, reflect, communicate and offer.

I could care less about grandstanding. I'm on the hunt for specified moments when a person's desire to communicate, overrides their life. You can visibly detect a sort of "come what may, hell or high water, I will go down with this ship howl!" between pages, between financing, between set ups, between frames, between scenes, sequences, cuts, angles and breaths.

If you're reading this wee blog and are also walking through life--feeling invisible, aching for a chance to offer up a portion of your point of view, begging for inspiration and a call to play at your highest capacity; I beg you, nah scratch that "I dare you" to enter a realm of people bursting with talent, intellect, skill, will, wisdom, wit, kindness, awareness, insight and active instinct. (Whatever context or variable that translates into).

Go find the place where they keep the ones who have -- unequivocally fought for their seat.

They exist. Whatever field. Whichever profession. They exist.

The unspoken challenge isn't finding them. The challenge, is rising-to-meet-them.

Rising, late and disoriented.

Rising, lost and discarded.

Rising, light and determined.

Rising. No matter what. Rising.

Billy Mulligan and I, rode our train home; quieted by the nourishment. The gift. (After an extended stretch of brutality protecting our film from a percentile death.) We were silenced by the undeniable level of raw unconventional groundbreaking talent amongst our peers combined with the precision and forward moving communication of IFP Heads/Advisors/+Mentors.

I am excited for when the films we saw today reach you...that they may inspire you to endure the multifaceted madness of indie-filmmaking.

Until then, if you also spend nights tossing and turning with the wish and wonder of exploration. If you're going the course with bare minimum, purposefully restrapping your laces before bandaging your wounds. If you repeatedly find a portal when all the doors are closed then worry not, race not, we'll be here scattered about the Earth, in rooms labelled "Independent Filmmaker Project".

Walk strongly, without carelessness or rush, we shall save a seat, with-your-name-on-it.

Better Late Than Never - IFP Producer Fellow Howard Gertler Blogs Cannes

2010-05-28T10:12:00.000-04:00

THE TWO JULIES OF CANNES

I’d meant to blog from Cannes, where I’d received a gracious Producers’ Network accreditation fellowship from the IFP. But the experience of being out there was like the movie Groundhog Day — wake up at 7:30A to make sure you get to the daily Producers’ Network breakfast roundtables by 8:30A (for a 9A start — the tables are filled by 8:45A), run up and down the Croisette going to, scheduling or re-scheduling meetings, grab a quick bite from the panini kiosks (unbelievably delicious, like ‘wichcraft on every corner), drinks meetings and cocktail parties starting around 6P, maybe see a movie, and converge on the terrace of the Grand Hotel until 2 a.m. or later. Pass out for a few hours’ sleep, realizing that you forgot to blog.
Rinse. Repeat. For 8 days straight.

I’m not complaining, but man, if you’re not there presenting a movie, you need to hustle. The last time I was there was when Shortbus premiered in the official selection, and I could concentrate on one project that occupied my entire time there (it was an equal amount of hustling, but the focus made it a bit easier). This trip was spent reconnecting with old friends and introducing myself and my slate to sales agents and financiers, especially those based overseas.
If you haven’t been to Cannes, then know that there are 2 Cannes overlapping — the Festival and the Marche du Film. The Festival is the opportunity to see what the organizers consider to be the cream of this year’s international crop of auteur-driven films; it is dressing up in black-tie to gain admission to the afternoon and evening screenings; it is Juliette Binoche. The Marche is the opportunity to see what wares are being hawked by scores of international sellers crammed into the Palais next to the Lumiere theater; it’s running around a trade show in comfortable shoes; it is Julie Strain.

The trick is to balance the two. A lot of industry folks just give up on seeing movies during the fest altogether. I felt that I would wither if I didn’t — I needed some sort of spiritual nourishment, and I found it at Mathieu Almaric’s “Tournee,” Cam Archer’s “Shit Year,” Xavier Dolan’s “Heartbeats” and David Mitchell’s “The Myth of the American Sleepover” (ok, I will cop to some sort of laziness by virtue of the fact that I didn’t see many foreign-language films, but I will gladly shell out the $12.50 to see Apichatpong Weerasethakul’s movie when it arrives here).

On the business side, the emphasis was largely on international co-productions. It’s a challenge for US producers, because we’re not a party to a large swath of these treaties. It was productive to speak with folks from places like Colombia and Australia to hear more about their resources, both soft money and location-wise, that make it worthwhile to shoot US-set features abroad.
It was an invaluable experience to get a sense of the international scene, both in the Festival and the Marche; taken together, it’s a global agenda-setter for what you’ll soon see and what’s getting made. But the propriety of a casino situated right next to the Palais wasn’t lost on me.

IFP Alum WAR DON DON wins the Cinereach Award!

2010-05-21T11:54:00.000-04:00

Since it's award-winning debut at South by Southwest, Rebecca Richman-Cohen's War Don Don has truly been a film to be contended with. Today, it was announced that, in connection with the 2010 Human Rights Watch Film Festival, Cinereach presented its annual Cinereach Award to Rebecca Richman Cohen for her work as Director/Producer of War Don Don. The award, which includes a $5,000 prize, recognizes excellence in artful, vital storytelling.

In the film, Issa Sesay is tried in the "Special Court” of Sierra Leone, accused of committing war crimes during the country’s recent civil war. With unprecedented access to prosecutors, defense attorneys, victims, and, from behind bars, Sesay himself — War Don Don puts international justice on trial, finding that in some cases the past is not just painful, it is also opaque.

“War Don Don unravels the complexities of the international justice system, while weaving a gripping and dynamic story,” said Cinereach Creative Director Michael Raisler. “We’re thrilled that the film is part of this year’s program and can’t imagine a more exciting context for audiences to experience it.”

War Don Don went through the IFP Filmmaker Labs and Independent Film Week's Spotlight on Documentaries in 2008. (for those of you slackers out there, get your doc applications in today! it's the final deadline).

John Biaggi, Director of the Human Rights Watch Film Festival, adds “It’s rewarding to see these two strong forces in the film world linking up - War Don Don, which is one of the year’s finest documentaries and delivers on many levels, and Cinereach, a vibrant, highly engaged organization.”

The Human Rights Watch Film Festival New York takes place from June 10-24. War Don Don will screen, with Rebecca Richman Cohen in attendance, at the Walter Reade Theater, Lincoln Center on:
June 12, 2010, 6:45PM *including panel discussion with co-council to Issa Sesay and others  
June 13, 2010, 2:00PM
June 16, 2010, 4:00PM

For tickets click here.

Cinereach Seeking Emerging Filmmakers for $5,000 Fellowship

2010-05-10T10:16:00.000-04:00

Our good friends over at Cinereach have announced that submissions are now open for their annual Reach Film Fellowship (RFF). Cinereach is a not-for-profit film foundation that funds and produces films at the intersection of engaging storytelling, visual artistry, and vital subject matter.

Having attended the final screening and reception for last year's incarnation of RFF, I can say it is a fantastic and impressive program. RFF is a prestigious seven-month program that pairs filmmakers with a $5,000 grant, mentorship and other resources as they make artful short films with socially relevant themes.

HERE is a BEHIND THE SCENES VIDEO from last year:

Behind the scenes: The Reach Film Fellowship 2010 from Cinereach on Vimeo.

The application deadline is July 12, 2010. Applications and guidelines can be found here.

The fellowship is open to emerging filmmakers who have completed at least one short film. It is ideal for recent film school graduates and self-taught filmmakers with the equivalent level of production experience. Applicants must reside in the New York Tri-State area from August through April of 2010/2011.
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IFP's Interim ED, Joana Vicente, to Judge Shooting People's May Film of the Month

2010-05-05T10:54:00.000-04:00

IFP's Interim Executive Director and noted independent film producer Joana Vicente will be judging our partner organization Shooting People's Film of the Month this month. Along with her producing partner, Jason Kliot, Joana has produced over thirty films by directors such as Jim Jarmusch, De Palma, Hal Hartley, Steven Soderbergh and Todd Solondz. Included among the many films that Vicente and Kliot have produced are acclaimed pictures like Tony Bui's Sundance Grand Jury Prize and Audience Award-winner THREE SEASONS, Jim Jarmusch's cult classic COFFEE AND CIGARETTES, Niels Mueller's THE ASSASSINATION OF RICHARD NIXON, Todd Solondz's Sundance Grand Jury Prize-winning WELCOME TO THE DOLLHOUSE, Brian De Palma's controversial REDACTED and Alex Gibney's Academy Award nominated documentary, ENRON: THE SMARTEST GUYS IN THE ROOM.

Vicente's films have garnered numerous accolades and awards over the years,including twenty-three total Independent Spirit Award nominations and four wins. In 2007, she was the recipient of the 'Made in NY' Award for individuals who have made outstanding contributions to New York City's entertainment industry.

If you'd like the chance of having Joana watch and review your film, just join Shooting People (IFP members get a free membership) and upload it to your profile before 27 May.

iPadding from Doculand - IFP Member Carolyn McCulley's HotDocs Whirlwind

2010-05-04T13:04:00.000-04:00

My first day at Hot Docs was a whirlwind of pitch meetings, presentations, and desperate hunts for caffeine. I had anticipated all of those. What I hadn't anticipated was the effect of my iPad. Whipping that out was better than having a cute dog for making new friends. Which was very helpful as I knew hardly anyone when I came. I gather it was also a relief to people used to being pitched all day to have something else to talk about.

Speaking of pitches, I started my day at the Rendezvous pitch session. It was impressively run by volunteers who kept us all on time. I followed that with a number of co-production panels and micro-meetings. One of the most noteworthy items of the day came from the staff of Canada's TVO public broadcaster: It is no longer sufficient to think through your film's development and concurrent marketing. Facebook pages and websites are expected. They are the norm and bare minimum. Rich media, or interactive media, is now expected. And filmmakers should hire for that role early on. In fact, rich media should have a shelf life of two to six years with evergreen content. An example of this would be the geo-tagged photos and other interactive media on the site of InsideDisaster.com. Budgets for these kinds of projects were mentioned in the $150K to $400K range.

Another steep learning curve looms!

At the end of the day, happy hour in the Burwash Hall was a steamy event. Not due to anything inappropriate, but simply due to the warm temperatures and the closed windows. But the crowd didn't budge. While I demo'd my iPad to new acquaintances, Documentary Channel CEO James Ackerman showed a few of us the pictures of his flooded Nashville home and neighborhood. Fortunately, the flood remediation is already underway, because those were some sobering pictures.

Despite my weariness, I made it to the Cumberland cinema to see the 9:30 showing of "My Perestroika." It was a packed house and the director, Robin Hessman, was on hand. She began this film five years ago, but the idea of profiling the generation who came of age during perestroika developed when she was in film school in Russia during the '90s. It had a compelling open--I was immediately engaged. However, the long day and the happy hour took their toll on a subtitled movie. I look forward to the film's PBS broadcast this fall to see the conclusion.

Hot Docs U.S. Delegate (and IFP Member) Carolyn McCulley Blogs Hot Docs

2010-05-03T14:37:00.000-04:00

It is Sunday night. I just arrived in Toronto for my first ever Hot Docs event. I have my iPad pre-loaded with trailers from my film and am looking forward to finding out now well it will work to ditch my heavier laptop and just use the iPad for the week.

Already the Hot Docs staff has saved me time and money. I carefully read the FAQ and noted the tip about the Airport Express coach service. I booked online, saving another 10 percent off the $19.95 trip, and rode in from the airport connected to the free wifi aboard this comfortable coach. If you don't have your ride already lined up to go home, you may want to check it out.

I'm working the reward points angle this week, migrating from hotel to hotel with free stays. Tonight I am at the Hilton. I have a beautiful view of the city from the 26th floor. I arrived too late to get my event credentials, so I can't join the swing of things until tomorrow. But I anticipate getting precious little sleep for the rest of the week, so tonight's enforced rest is probably a good thing.

--Carolyn McCulley, producer/director CityGate Films

IFP Member and U.S. Delegate Christa Boarini Blogs Hot Docs.

2010-05-02T15:23:00.000-04:00

I guess depending on your level of experience in film festivals and your degree of success within the film industry, you view festivals quite differently. I, Christa Boarini, am a New York based filmmaker, working on my first feature length doc. Needless to say I am more of a buzz-following festival goer than one who is buzzed about. At least for now.

It is day 3 at Hot Docs International Documentary Film Festival, here in Toronto. True, the real heavy industry stuff begins tomorrow, Monday, but even in these past three days there has been a lot of mingling, theatre-going, crying, laughing and badge-reading. Things may have been a bit slow here in the Filmmaker Internet Lounge/Sales Desk (the first couple of days offered only complementary water, while now there are tables decked out with coffee and gourmet local teas). But now fellow Industry Pass holders wander in an out, having meetings, checking their email, having some coffee or trying to sort through the three or four thick textbooks of information that came in the goodie bags they give us at registration. We get a Program Guide, an Industry Guide, a guide of attending commissioning editors, etc etc etc. All great and useful information, but it takes a while to sort it all out.

Oh, and if you are coming to Hot Docs later next week, be sure to ask for a flexible badge holder. The others break.

In any case the festival so far is has proven to have nicely balanced programing, combining the heavier humanity-is-awful features with equally as compelling docs that leave you feeling happy to be human. For example, yesterday I watched Talhotblond, a cautionary film where a cyber love triangle of people who have never met ends in a 23 year old man's death. The young man's parents were there, they cried, we cried, it was wonderfully heartbreaking. I then walked over to the screening of Wasteland and my broken heart mended and soared to see a mixture of art and opportunity and good things happening for good people. You simply must see Wasteland and you will instantly understand why it has won the Audience Awards of basically all the film festivals it has been at.

Another great thing to take advantage of is a new program added to Hot Docs this year called "Ripping Reality: Essentials from Documentary's New Wave". This compilation of great documentaries made in recent years gives us the opportunity to see these wonderful films on the big screen. Whether you've seen the film a million times and it is the reason you decided to quit your job and go into documentary filmmaking, or if it is a movie you've heard of but never got around to seeing, Ripping Reality has so far been a great success.

So, between the regular film screenings, the Industry Only events, the parties, the Rendezvous meetings, the Documentary Forum, the International Co-Production day etc, I have had to make out meticulous schedules for every day, reminding me of what I am going to see, what meetings I have and what are the must-attend events of the day. So far it has been a great experience and I plan to take full advantage of it. By the time I get back to New York on May 10th I plan to be absolutely exhausted.

Mentorships in New York, Delegations in Toronto - IFP on the move

2010-05-01T16:19:00.000-04:00

Two very exciting programs of IFP are showing the diversity of our organization and commitment to filmmakers of all stripes. This past week, we announced the conclusion of the inaugural year of our “Made in NY” Mentorship Program, a career development program supporting and promoting diversity in the New York City entertainment workforce through mentorship, workshop and networking opportunities and job placement support. The “Made in NY” Mentorship Program grew out of the Mayor’s Task Force on Diversity in Film, Television and Commercial Production, commissioned to explore initiatives and opportunities that would help to diversify employment in the City’s production industry.

Drawing from a highly competitive candidate pool, fifteen below-the-line participants representing an inclusive range of race, gender, ethnicity and physical ability were selected for an eight-month fellowship specifically designed to build the professional networks of its participants to ensure long-term career growth.

Among the mentors to participate in the program were costume designer John Dunn (I’m Not There, HBO’s Boardwalk Empire), cinematographer Frederick Elmes (Synecdoche New York, Blue Velvet), Production Designer Mark Friedberg (Across the Universe, Darjeeling Limited), producer Ted Hope (Adventureland, In the Bedroom), cinematographer Ellen Kuras (DP Eternal Sunshine of the Spotless Mind), cinematographer Harris Savides (Milk, Zodiac), and producer Frida Torresblanco (Pan’s Labyrinth), among many other dedicated artists and technicians. Over half of the cycle’s participants had the opportunity to directly apprentice with or shadow a mentor on set or in the production office.

This program is inspiring in that it focuses on those below-the-line film professionals and nurtures their skills in careers in a way that no other program has. We look forward to an exciting second year of the program.

In other news, this past Thursday was the opening night of Hot Docs, North America's largest film festival devoted to non-fiction film. For the first time ever, thanks to IFP's partnering with Shooting People and NYWIFT, we are able to bring a U.S. Delegation to this international festival. he delegations, each made up of established producers and broadcasters working in social, cultural and political documentary genres partake in the wealth of networking opportunities, market events and conference sessions offered. Official delegations also network with other delegates through specially-scheduled parties and receptions, and through International Co-Production Day, at which delegation members will be featured participants.

We look forward to keeping you posted about the success of all our members!

IFP Alum Kim Reed Talks PRODIGAL SONS on CNN

2010-04-28T14:46:00.000-04:00

Felix Endara Looks Back on Doc Lab Lessons

2010-04-20T18:47:00.000-04:00

The Lab wrapped last Friday, after an immersive week of documentary filmmaking advice. By the end of the program, not only was I invested in finishing my own project, DAMELO TODO, I was also deeply committed to the success of my fellow Lab filmmakers.

Thursday saw us learning about sales and distribution with Steve Savage of New Video and producer Julie Goldman, and music rights and film composing from BMI’s Doreen Ringer-Ross and composer T. Griffin. The latter’s lecture was a revealing look at scoring your film. Of course, because our documentary has extensive use of music to tell its story, this subject was of much interest to me. Griffin stated that, in a successful collaboration, the filmmaker and the composer are able to create a private language to speak to each other. Not a language of technical lingo (of “instrumentation”), but one based on how to express emotion through music. Among his recommendations were:

- Do not to fall for “temp love” (the music you use to lay down your visuals, with the intention to either clear rights or replace with original score) as you may become attached to it, and if not able to use it, will potentially become creatively blocked.

- Trust your composer and give her a chance to come up with an interpretation to the material that is truthful -- instead of asking her to “replicate” the temp music you’re in love with. What the composer creates for you might be the magical element that brings the entire piece together!

- The composer should have an instinctive connection to the material -- it shouldn’t be just a paycheck.

- Budget for music!

Another great workshop had Aron Gaudet and Gita Pullapilly taking us through their distribution strategy for THE WAY WE GET BY , their moving documentary about senior citizens in Maine who volunteer as troop greeters to soldiers leaving for and returning from Iraq. Their truly DIY approach still continues to amaze and inspire me.

On Friday, we got down and dirty with the Law. Arts Engine’s Katy Chevigny and archival researcher Becca Binder spoke about Fair Use and clearing/licensing rights. Katy, a self-described Fair Use “outlaw,” gave us a detailed overview of fair use as it pertains to documentary filmmakers.

Entertainment lawyer Roz Lichter answered our questions as they pertained to our specific situations, most of which related to release forms and agreements between collaborators. In both instances, she suggested to get all these papers in order, even if your subject is your best buddy who has agreed to be the main character in your documentary. No matter what the circumstance, get that release form signed!

At the end of the day, after a quick wrap-up session with IFP’s amazing staff (Milton Tabbot and Rose Vincelli) and Lab Leaders (Lori Cheatle and Lesli Klainberg), we headed for much-needed cocktails at a nearby bar. I had a great conversation with Lori about producing. As a new producer, I was eager to hear her advice. To me, our interaction was indicative of what the entire week had been like -- supportive and nurturing, but also with a lot of practical learning. I managed to have a few last-day chats with my fellow Lab filmmakers, and I trust we’ll stay in touch and root for each other’s success. I can’t wait to attend the debuts of 25 TO LIFE, DEAR MANDELA, OUR SCHOOLS, PUPPET, SALMON DREAMS, PATRONS SAINTS, FAMBUK TOL, GIVE UP TOMORROW, and A RUBBERBAND IS AN UNLIKELY INSTRUMENT. And I trust that my peers are also invested in DAMELO TODO’s own trajectory.

Tune in to Jon Reiss's TIP OF THE DAY

2010-04-20T13:57:00.000-04:00

We were thrilled when independent film forward thinker Jon Reiss signed on to lead the IFP Independent Filmmaker Distribution Labs . The IFP Lab Mentor and Author of THINK OUTSIDE THE BOX OFFICE had such an inspiring time sharing his knowledge during the Documentary Labs last week that he decided to blog daily tips for our Members, to share what he knows with our larger audience of filmmakers.

Below are his first two Tips of the Day. In the future, they will be one of the top feeds on our WHAT'S NEW IN INDEPENDENT FILM sidebar to the right.

Day 1 – The Next Chapter

Many of you might know me from the book that I have written recently, Think Outside the Box Office (TOTBO for short). The primary reason that I wrote it was to share what I had learned while distributing my film Bomb It with other filmmakers so they could learn from my successes and mistakes. In the continuation of that mission I am launching two more initiatives – both in support of how people want to interact with this information. The first is a series of workshops around the world. It seems that the live experience is as important as the written word in imparting this information for many people. We are starting with London on May 8/9, Amsterdam on the 12/13, New York on June 5, Vancouver on June 12/13, San Francisco July 31/Aug1 with more being lined up.

The second initiative is the launching of a TOTBO Tip of the Day. This will soon be joined by Resource of the Day. In these tips, I will give not only a sense of what’s in the book and workshop, but they will be a forum to convey new tips to you as I learn them.

I want to know what you think! Comment here or on my blog, or @Jon_Reiss on twitter, or on the TOTBO Facebook page. I look forward to hearing from you.

Jon Reiss’ TOTBO Tip of the Day 2 – Every Film is Different

Each film is unique and requires its own individual distribution and marketing strategy. A comedy about stoners will not have the same audience as a documentary about Aids orphans in Tanzania. Similarly each filmmaker has a different set of goals, needs, and resources. While the studio one size fits all model worked well for some independent films over the last 20 years – it was a disaster for others. With the new hybrid model of distribution you can craft a distribution and marketing strategy that makes the most sense for your film. You have a unique vision. Use that vision to engage your audience in a unique manner. This will help separate you from the media noise that surrounds us every day.

What do you think?

After the Doc Labs - Deep Breaths and Pasty Skin

2010-04-19T12:14:00.001-04:00

by Erin Casper, Editor, OUR SCHOOL

Now that I’ve had a moment to recover from waking up at 7 a.m. every day, I’ve gotten to digest what happened over the last week at the IFP Documentary Lab.

Like any other pasty editor toiling away in their dark office*, I am always eager to get out to filmmaking workshops. What pulled me away from my desk this week was the opportunity to be among ten dynamic first-time film making teams from around the country participating in a wonderfully comprehensive, and intense, post-production lab.

The first two days of the lab started off with all of the fellows introducing their projects and receiving in-depth feedback from our one-on-one and editing mentors. Our editing mentor, Mary Lampson, worked with us on figuring out how to make the leap from our late assembly stage to an early rough cut. For me – being a first-time feature doc editor – it was like having an intervention at a moment of vulnerability in the film’s structure, pacing, tone and style.

Since our film doesn’t have any music in it yet, we were a case study for the panel on how to work with a composer. We learned what works and doesn’t work when you describe the kind of music you are looking for (i.e. do not say things like, “this part needs some movement”) and when to start working with them (i.e. as early as possible). One good idea was to let your composer watch your film and create music based on their response to it, and then respond in turn by describing the specific parts you liked to spur on further brainstorming. Other ideas were to watch films with music you both thought worked and figure out why, and to listen to music together.

The rest of the week focused on the afterlife of the film with workshops and panels ranging from marketing and PR, to outreach, distribution, and legal issues. Somewhere around the grassroots marketing panel, it began to sink in how much work there is to do over the next year or so after picture lock. It seems almost like even more work than editing the film itself. A dizzying. Amount. Of work.

Now with this sobering realization in mind, I am itching to get back to the office and finish the film so it can take on its own unpredictable life in the world.

*Just kidding about the dark office, but I really am pasty as hell.

"Our Heads Are Spinning": The OUR SCHOOL team on IFP's Doc Labs

2010-04-16T13:35:00.000-04:00

A couple of days into the IFP Documentary Lab, we began admitting to each other with increasing frequency that our heads are spinning. This, it turns out, is not so much a complaint as a battle cry.

Part nurturing cocoon for the creative process and part scared straight film camp, this crash course in finishing compresses in one week a preview of what all of us are inevitably going to go through in the last year of finishing and releasing our work. The result is curiously energizing. Bracing, one might say.

We started off gently, sharing clips and stories about our projects and taking in feedback on our cuts from an amazing group of editing advisers. In the process, we learned as much from hearing the discussion on other projects as we learned from the feedback sessions devoted to our own projects. (And we got to see some spectacularly successful pairings of experienced advisers and first-time filmmakers who practically started talking to each other in code within seconds of meeting each other.)

Then, as we moved into the finishing boot camp, we started to feel a bit like first-year med students doing dissection: excited to get some real-life knowledge, but not so thrilled yet about the prospect of dealing with all the guts and entrails.

The result is much like learning to ski: the slopes ahead of us after this week feel no less steep, but at least now we’ll know how to make it to the bottom in one piece.

Here is some of the wisdom we’ll carry with us as we brace ourselves for the trip:
• The whole process of filmmaking is about intention, a shimmering concept that encompasses choice-making, planning, social change goals, and - hopefully - meaning. Everything else follows from intention. This fact so obvious that we very frequently lose sight of it.

• The temptation to prematurely make things perfect is ultimately counter-productive. Imperfection is close friends with creativity, and bad ideas are often adjacent to the best ideas.

• Everyone is struggling. Hopefully. If you’re not struggling, you’re not digging deep enough to make the best movie you can - as our editing adviser, the wonderfully empowering Mary Lampson (Harlan County, Trouble the Water) said to us: “You have what's going on. But what matters is what is really going on.”

• You have to devote one hundred and twenty per cent of your time to making the best film you can. The other one hundred and twenty per cent of your time must go into raising the money to finish the film and getting it out into the world.

Felix Endara of DAMELO TODO blogs IFP Doc Labs

2010-04-16T12:39:00.000-04:00

This week has been frantic. I’m a first-time producer working with a talented, but equally new-to-documentary director. Our experimental documentary, DAMELO TODO/GIVE ME EVERYTHING, focuses on the unique alliance born at historic Los Angeles bar Silver Platter when Latina immigrant transgender women meet queer avant-garde performance artists.

I had been familiar with IFP’s Documentary Rough Cut Lab because my colleagues at Arts Engine had been Lab Leaders, and as DocuClub’s Manager, I have programmed the work of Lab alumni Nicole Opper, Augusta Palmer, and Miao Wang at our works-in-progress screening series DocuClub. Participating in the Lab, however, has given me the opportunity to see things from a filmmaker’s perspective that I previously had not given much consideration.

For one, I’ve been blown away by my fellow Lab filmmakers’ projects. I appreciate the wide range of the work and I’m honored to be in their company.

Similarly, it has been incredibly valuable to spend concentrated time with industry experts who have used our films as case studies to give us tips on their areas of expertise. For example, yesterday we covered outreach and audience engagement. While this is an area that we have been developing since we were still in production, learning that we should focus on our “devout” (the core people who you can count on to see your film) and, to a lesser extent, “probable” (those who might be more peripheral) audiences was helpful. Even more illuminating was to hear that we should not waste our energy on those deemed “possible” (e.g., a broad category such as the 18-24 year-old nightclub patron) as this is a much sought-after, and thus hard to pin, category.

Part of our work in the next few weeks, then, is to continue to narrow down our core audience, while also seeking and securing outreach partners--those communities and groups who are invested (either via subject matter or our social-issue goals) in the success of DAMELO TODO.

David Soll, Director of PUPPET, takes in IFP’s Doc Labs

2010-04-15T11:31:00.000-04:00

We're already three days into the lab, so I have a bit of catching up to do. I didn't get to the blogging as quickly as I should have, and Danielle has good reason to be mad at me (you don't want Danielle DiGiacomo mad at you, by the way. She puts smiley faces on your Facebook page.). Regardless, here we go and let's decide together to make the best of where we are.

(Caitlin Boyle, Film Sprout counsels David Soll on outreach)

I can imagine having at one point earlier in life thought "wouldn't it be amazing if someone created a program that X," wherein X stands for the entire mission statement, schedule, description, leaders, mentors, editing advisers and first-time filmmakers involved in the IFP Documentary Lab. Which is to say, I'm impressed, and I'm impressed to the point that I find it hard to believe this fantastic idea was actually put in to effect.

Here is a program that takes ten first-time documentary feature filmmakers (also ten narrative filmmakers, in their own lab [we don't mix well]) who are entirely dissimilar from one another in sensibility and subject matter, yet share with each other varying degrees of bewilderment with the state of our films, our careers, and the industry. Which are three very large things about which to be bewildered, and together suggest a common state in which nearly every first time filmmaker is finding themselves these days.

(Jon Reiss talks about the long tail)

If you are a bewildered filmmaker - as I am (although I shouldn't speak for the entire group. some of the other filmmakers look really un-bewildered, in fact) - what the lab offers you appears at first to be a crash course in finishing, distribution models and editorial decision making. But then you arrive on the first day, they go ahead and fill you in on everything else the Lab actually is. Now, you've read all this in the literature ahead of time, but because you are not especially bright (you are, remember, trying to make an independent documentary feature in 2010), your lab leaders are nice enough to go over the scope of the program one more time. First, you realize they aren't just offering you a 'crash course', but relationships with mentors and editing advisers who are among the finest documentary talents in the business. And then you realize they selected three of these folks to actually be "lab leaders" - which means they are running the lab, in person, for every minute of this week, and together serving a function somewhere between that of batting coach, psychotherapist and rabbi. And then, you realize, they've picked filmmakers as your peers who each have compelling, hugely exciting projects of their own. And then, when you're starting to think Okay, this week looks pretty good to me, they tell you this whole thing isn't just one week at all. No, it's actually a YEAR, and will include continued mentoring with each adviser/leader/mentor offering one on one meetings outside the scheduled sessions, phone calls, letters, emails, text messages to help you continue resolving issues and facing down the intimidating landscape of independent film. And THEN, after offering you (are you kidding?) all this support, they - almost it seems just to mess with your head - they have the nerve to tell you the entire program is free.

So my point is, after a few days, my point is that yeah, I think the Lab is a good idea.

A Least Hobbies are Fun - Guest Blogger Laure Parsons on DIY DAYS

2010-04-12T14:07:00.000-04:00

At Ted Hope’s Hope For Film site, producer Smriti Mundhra recently posted a great article
about the debate over viability that emerged at The Conversation , one of two distribution and media-creation conferences that took place within a week’s span in NYC last week (Full disclosure,: I was a moderator and ‘advisor’ at The Conversation and have some loose business relationships with folks at DIY Days ).

Ms. Mundhra describes the ongoing discussion around challenges for filmmakers in relation to finding revenue from their work (or in the sortof hateful parlance of the day, “monetizing”). The current conventional wisdom seems to be that the new culture of “free” presents a challenge to filmmakers that they can choose to confront with various strategies in the name of rescuing the profits that are suddenly in jeopardy.

Right now independent filmmakers have amazing, previously unknown opportunities. The availability of increasingly cheaper technology has allowed filmmaking to become both more accessible and much more reasonable for those who were already using higher-end, more expensive equipment. In almost every area of the production process, filmmaking is becoming available without millions or even hundreds of thousands of dollars for a high-quality result. And filmmakers have ways to reach audiences that depend more on effort than giant P&A spends. For all these reasons, filmmakers have much more control than they ever did about how to share their films with audiences.

But there is a reality, it seems to me, that is missing from the discussion. Selling independent films is not and never was a “business model” (or- if you wish- not a 'good' business model), in the context that making these films should be the basis for a lucrative career using the principles of an MBA program. A good business model takes into account what the consumer wants and tries to give them that. It does not find something that one personally likes and then tries to make other people care about it, which is something more like patronage.

Because of the economics around film, and the way independent film distribution evolved out of foreign film distribution, there was some perception that independent films had some kind of commercial viability in aggregate and that if you just came up with the right formula, you could find a pleasing margin.

There was a veneer of prosperity when films were picked up at Sundance or Toronto and garnered big advances. But that was still only a small fraction of films, and those films were highly leveraged, expensive projects. How many of those films actually made back their budget in the revenue they received from distributors? How many distributors made significant money on selling independent film with our the capital from some other source to subsidize the effort? Essentially, if you compare what people spent making indie films at that time with what the returns were, would the numbers be a lot different from today?

Some films that happened to be independent were great successes.
However, I wonder how much of the revenue generated by those films ended up in the hands of creative people who made the film. In my experience, a system that splits the revenue several times before it reaches a royalty payment tends to yield small returns for creators.

Is independent filmmaking, as was suggested at The Conversation, a hobby? Most filmmakers will be lucky to make more money than is invested in the film, and possibly even lucky to make more money than they personally invested. For that reason, it’s essential that people wanting to make films are doing it because it’s exciting, fun, collaborative, creative and they are driven to do it despite the financial investment.

A large industry of film schools and workshops has emerged to service people who think they want to “be” a filmmaker but this is kind of like people wanting to “be” a shoe repair person. There’s not a mysterious, gatekept process anymore- just find a story and cast, then shoot and edit (it's not easy but it's fairly intuitive). You don’t have to lose money, and you likely won’t make much. You might make something that is exciting, beautiful, or new. Before you do anything else, try to understand and find your audience, so someone will see your work when it’s done.

Laure Parsons is a filmmaker and distribution consultant and can be found at xplusxfilms.com and infinicine.com.

B-Side Finds its New Home at IFP

2010-04-08T15:23:00.000-04:00

In huge news for filmmakers and festivals around the world, IFP, in conjunction with New York-based company Slated, announced today that B-Side’s Festival Genius™ technology and database has found a new home. Slated has acquired all of recently shuttered B-Side’s intellectual property, and effective immediately has licensed the B-Side Festival Genius to IFP. Senior Executives from B-Side including founder Chris Hyams have joined Slated, while key members of B-Side’s festival team are joining IFP. The move will transform IFP, exponentially expanding its potential membership base and the organization’s ability to build audiences for independent films, and help individual filmmakers identify, build and connect with those audiences. Slated will take over B-Side’s business of providing market research services to independent film producers and distributors and will roll out new products and services later this year.

Festival Genius provides critical infrastructure to support film festivals and independent filmmakers and promote voices that might not otherwise be heard. Over the past four years, B-Side’s Festival Genius hosted online program guides for over 200 international film festivals, capturing audience feedback on 40,000 feature films from over 3 million annual visitors and building a registered membership of 200,000 film fans. IFP will now take over the running of these online film festival program guides and plans to significantly expand the reach of Festival Genius while keeping costs to the festivals nominal. IFP will continue B-Side’s past practice of sharing Festival Genius audience data with festivals and will soon start sharing data with IFP member filmmakers, offering them a direct line to audience feedback.

Several B-Side festival partners, including Sundance Film Festival, Fantastic Fest, Austin Film Festival, Independent Film Festival of Boston, Newport Beach Film Festival, Phoenix Film Festival, and NewFest: The NYC LGBT Film Festival have already committed to use Festival Genius again this year in its new incarnation.

Notes Joseph Beyer, Associate Director Sundance Institute Online, “Thanks to B-Side, the 2010 Sundance Film Festival program’s film guide was widely and universally recognized as the best in the history of the event. We are absolutely thrilled to see the Festival Genius and B-Side team find a new home, and are looking forward to an even better film guide for 2011.”

Notes Joana Vicente, IFP’s Executive Director: “This is a game changer for IFP and our mission. Festival Genius is an essential service for the independent film-making community – for festivals, film-lovers and filmmakers. IFP has always been the place where filmmakers, the film industry and audiences intersect. This partnership is an exciting step forward in our mission, in that it literally places IFP where audiences interact with filmmakers on the web. We now have the potential to reach all of Festival Genius’s 200,000 film fans worldwide. These fans will be offered a one-year free IFP membership and we will host a network of sites that is in contact with 3 million independent filmgoers a year. We are confident this is a tremendous growth opportunity for IFP and that we are uniquely situated to expand the potential of the Festival Genius platform.”

Burning in the Sun at NY African Film Fest

2010-04-06T18:44:00.000-04:00

In the week preceding the 5th annual Documentary Lab, I'm pleased to announce that 2008 Doc Lab (and fiscal sponsorship program) alumnus Burning in the Sun is showing in the New York African Film Festival tomorrow, April 7th at 5:45pm, and April 13th at 3pm. Get tickets here. The directors, charming Cambria Matlow and daring Morgan Robinson, will be there to answer your electrifying questions.

Burning in the Sun is the story of 26-year-old charmer Daniel Dembele; equal parts West African and European, and looking to make his mark on the world. Daniel decides to return to his homeland in Mali and starts a business building solar panels – the first of its kind in the sun drenched nation. Daniel’s goal is to electrify the households of rural communities, 99% of which live without power. Burning in the Sun tells the story of Daniel’s journey growing the budding idea into a viable company, and of the business’ impact on Daniel’s first customers in the tiny village of Banko. Taking controversial stances on climate change, poverty, and African self-sufficiency, the film explores what it means to grow up as a man, and what it takes to prosper as a nation.

Congratulations Lab Friends!

IFP ANNOUNCES 2010 IFP/CANNES PRODUCERS NETWORK FELLOWS

2010-04-05T11:33:00.000-04:00

As the sole U.S. Partner Organization for the Cannes Producer’s Network, IFP is pleased to announce its 2010 IFP Cannes Producer’s Network Fellows:

Howard Gertler (Shortbus), Paul Miller (Snow Angels), Anita Ondine & Lance Weiler (Head Trauma), Mike Ryan (Choke), Susan Stover (Laurel Canyon), and Ron Simons (Night Catches Us).

IFP annually selects and sponsors attendance for up to six independent producers to participate in the Producer’s Network’s prestigious week-long immersion program. Running concurrently with Cannes International Film Festival, the Producer’s Network is held May 13-19, 2010 and is specifically designed to build up the international networks and share expertise on the international production, financing and packaging marketplace.

“Through this initiative, IFP is proud to partner with Cannes Producer’s Network to continue to provide vital opportunities for talented U.S. and international producers to collaborate,” says Amy Dotson, Deputy Director.

“Applications to this Fellowship were up 50% from previous years and we were thrilled to receive so many applications from talented IFP members across the country.”

For further opportunities for U.S. producers: Call for Entry is open for IFP’s No Borders Co-Production Market. Please see www.independentfilmweek.com for criteria, applications and more information.

Narrative Lab Deadline Extended to April 2!

2010-03-30T11:02:00.000-04:00

IFP’s Independent Filmmaker Labs is the only program in the country that supports emerging independent filmmakers with projects in post-production through the completion, marketing and distribution of their first feature film.

This free, year-long mentoring fellowship supports ten narrative projects each year, providing them with the technical, creative and strategic tools necessary to launch their films – and their careers.

If you're a first-time narrative feature director with a project in assembly, rough or fine cut, this is the program to help you get your film into shape.

Beginning with the five-day intensive in New York (June 7-11), selected projects gain editorial feedback, assess strategic partnerships & marketing opportunities, and evaluate their options for maximizing the reach of their film via festivals, traditional theatrical roll-outs or through innovative, DIY distribution methods. Filmmakers also meet with cutting-edge technologists to build their brands, as well as explore the myriad of modern web and promotional tools necessary to build engaged audiences for their projects.

The year following the Narrative Lab includes continued mentorship, collaborating on a distribution strategy specific to your film, and participation in IFP's Independent Film Week: Emerging Narrative program.

Past Narrative Lab Alumni have premiered at Slamdance (The Guatemalan Handshake; The New Year Parade), Sundance (The Imperialists Are Still Alive!; Half-Life), SXSW (Jumping Off Bridges; Older Than America; Rainbow Around the Sun; Sorry, Thanks; St. Nick; The Wedding Bros.; Woodpecker), Toronto (The Real Shaolin), and Venice (Zero Bridge).

Deadline for Narrative works-in-progress just extended to April 2!
More info and applications at http://Labs.ifp.org

IFP Alum PUTTY HILL take on Austin!

2010-03-22T15:00:00.001-04:00

The Putty Hill gang, getting chicken and waffles: Marc, Steve, Joyce, Jeremy, Matt, Amy, Eric, Rachael, Jordan

Last Saturday I departed a wet and blustery Baltimore for SxSW with Putty Hill director Matt Porterfield, editor Marc Vives, and our friend Amy Belk. As soon as we stepped out of the airport into Austin's perfect, sunny, 77 degree weather, we knew immediately that it would be an amazing trip. We drove with the windows down just because we could, looked out in awe of the new landscape, and psyched ourselves out for the delicious meals to be had with every BBQ and taco joint we passed.

We arrived at the charming house we'd be renting for the week, just over a mile outside downtown Austin, and couldn't resist relaxing outside for a while just to take it all in. When we finally went to pick up our badges at the Austin Convention Center, the hub of SxSW, we were overwhelmed. As we made our way through a sea of film and interactive attendees and volunteers, we passed the trade show over here, promotional stands and panel rooms over there, and hundreds of posters hanging up everywhere. There was no doubt that this festival, in true Texan spirit, was huge.

On Sunday evening, the whole Putty Hill family got together: Myself, Matt, Marc, Amy, Jeremy Saulnier (cinematographer), Eric Bannat (producer), Steve Holmgren (producer), and Rachael Rakes (publicist). Even our producer and co-writer Jordan Mintzer flew in from Paris and spent less than 24 hours in Austin just to make the premiere. We met up at a food truck on E. 6th St called Lucky J's to enjoy some pre-North American premiere chicken and waffle tacos, which, I might add, were delicious and are highly recommended.

Our premiere was at the Alamo Lamar, one of the bigger theaters at the festival. There were some minor issues with the image quality of our projection, but no one seemed to mind as the film was very well received by our audience. One woman even commented that Putty Hill was the most authentic film she has ever seen(!)... does it get better than that? Following our North American premiere, in true Putty fashion the team went to local dive bar The Liberty for a modest but memorable celebration. We don't remember what happened next.

Our two remaining screenings were at the Alamo Ritz, in the heart of downtown on 6th street. This theater was smaller but a nice size; more intimate, and very well-suited for our film. Matt, Marc, Amy and I all sat through the final screening last night, and we were glad we did because it was an interesting experience watching the film with an American audience after our premiere last month in Berlin. I enjoyed hearing laughter at certain nuances and moments of humor in the film, which I think were missed in our screenings in Germany. The projection looked perfect, and again we had a really wonderful Q&A with people who were enthusiastic about the film and asked thoughtful questions.

Q and A session

Aside from the beautiful weather, friendly atmosphere of Austin, and our successful screenings, I can't forget to mention another highlight of this trip... the FOOD. I love the food truck culture in Austin and my favorite was Chi'lantro, which served up Korean-Mexican fusion. The Al Pastor plate from Al Pastor restaurant, as introduced by SxSW Manager/Programmer Jarod Neece, was a delicious deal. We even ventured out to Driftwood, TX to eat at the famous Salt Lick, which was easily the best BBQ I've ever had.
Salt Lick BBQ

After all these eats it's likely I'm returning home 20 pounds heavier, but I'm also returning 20 pounds happier. Overall, it's been an amazing trip. We've met some wonderful filmmakers, made new fans and friends, all the while accumulating some great press – and it's just the beginning! In April alone, Putty Hill will screen at BAFICI (Buenos Aires), CPH PIX (Copenhagen), Atlanta, and IFF Boston. If you haven't seen the film yet, what are you waiting for? Matt will be attending all of these festivals, so please come out to say hi! I, in the meantime, will hang back in Baltimore to work off these tacos...

Watch IFP's SCRIPT TO SCREEN CONFERENCE this weekend on UStream!

2010-03-19T18:03:00.000-04:00

In a historic first for IFP, we will be streaming 6 out of the 11 panels of this weekend's SCRIPT TO SCREEN CONFERENCE on our Ustream.tv Channel here or in the middle of our homepage.

So even if you're away from the city, you can still see Terry George (HOTEL RWANDA), Steve Bodow (THE DAILY SHOW), Lena Dunham (TINY FURNITURE) and numerous others talk about making a career in independent film.

The streamed panels will be:
SATURDAY, MARCH 20th

Networking & Notice Workshops, Contests & Competitions | 11-12 PM
Moderated by Rachel Chanoff, SUNDANCE SCREENWRITERS' LAB
Featuring Gordy Hoffman, BLUECAT SCREENWRITING COMPETITION; Tamir Muhammad, Director, TRIBECA ALL ACCESS; David Nugent, Director of Programming, HAMPTONS INTERNATIONAL FILM FESTIVAL; and Paul Rachman, Co-Founder, SLAMDANCE FILM FESTIVAL

Conversation With Steve Bodow, Head Writer, THE DAILY SHOW | 12-1 PM
Moderated by Jason Guerrasio, Managing Editor, FILMMAKER MAGAZINE

Double Duty: Directing Your Own Script | 3:30-4:30 PM
Moderated by Brandon Harris, Contributing Editor, FILMMAKER MAGAZINE

Featuring Debra Granick, DOWN TO THE BONE, WINTER'S BONE; Ry Russo-Young, YOU WON'T MISS ME, ORPHANS; Tze Chun, CHILDREN OF INVENTION, WINDOWBREAKER

Sunday, March 21

Conversation With Terry George, HOTEL RWANDA | 2-3PM
Moderated by Scott Macaulay, Editor in Chief, FILMMAKER MAGAZINE.

Writing for a New Landscape: New Media & Cross-Platform Opportunities 3-4PM
Moderated by Christian Vesper, Senior Vice President, Acquisitions, Program Planning and Scheduling, SUNDANCE CHANNEL
Featuring Keith Bunin, Writer, IN TREATMENT; Lena Dunham, Writer/Director, TIGHT SHOTS, DELUSIONAL DOWNTOWN DIVAS; Ryan Bilsborrow-Koo and Zack Lieberman, Writers/Directors/Producers, THE WEST SIDE

Conversation with Brian Koppelman, SOLITARY MAN | 5-6PM

Moderated by Elvis Mitchell, Film Critic

Rebecca Richman Cohen, IFP Alum/Director of WAR DON DON, blogs from Tamale-land

2010-03-16T16:20:00.000-04:00

Left to right Daniel Chalfen, Francisco Bello, Rebecca Richman Cohen, and David Menschel

Hi blog readers,

I’m the director of War Don Don – a feature length documentary premièring in competition at SXSW. I’m totally bleary-eyed, but also still giddy from excitement of bringing the film into the world. It’s been a whirlwind few days between screenings and barbeque and meetings and breakfast tacos and parties and superb guacamole. I have not gone hungry in this city, and while I’m keen to write some restaurant reviews, I’ll keep my blogging to the cinema.

I’ve found Austin audiences to be as warm and lovely as Austin weather - and both our screenings were well-received, followed by engaged and thoughtful questions at Q&A. The festival has been in excellent order and things have moved seamlessly. It’s been busy, but I’ve had time to see some other films – and there are some very very good ones out there. NY Export: Opus Jazz and Marwencol were two that I found captivating. The Canal Street Madam had an excellent audience response. When things quiet down after tomorrow, I’ll see more.

SXSW really feels like a place where things are moving and shaking in exciting ways. The interactive part of the festival seems to be generating a lot of exciting new ideas, and dare I say: toys. I’m game to explore some of that tomorrow! But for now, I’m off to do whatever it is that we filmmakers do. And I’m hoping that it includes tamales like last night...

5 IFP Alumni Win a Chance to Pitch at the Script to Screen Conference

2010-03-16T12:48:00.001-04:00

Five lucky IFP Program alumni have won a free pass to this weekend's Script to Screen Conference, based on the strength of their one-sentence pitches. The five filmmakers and their projects are:

Brian Iglesias, THE MESSIAH
Shari Carpenter, SATURDAY'S CHILD
Josh Hyde, MOUNTAINTOP
Colin Spoelman, THE DEPOSED SHEIK AND ESTEE LAUDER
Andrew Gori, MY THIRTY YEAR WAR.

The five winners will be able to pitch to the following panel:
Mike Ryan, Producer, JUNEBUG, PALINDROMES; Johnathan Dorfman, Producer, CHOKE, JOSHUA, SAVAGE GRACE; Ryan Kampe; Sales Agent/Partner, VISIT FILMS; Annie Marter, Director of Production and Acquisitions, OVERTURE FILMS
on Saturday, March 20th at 1:30 pm.

To see what the winning pitches are, and how these filmmakers fare, purchase your weekend pass now!

SXSW Update: Mostly Film Marketing

2010-03-16T10:30:00.000-04:00

Good morning from SXSW! I’ve got just over a full day left at the fest, and I’m starting it with screenings of two IFP films in competition – Miao Wang’s Beijing Taxi and Cameron Yates’ The Canal Street Madam. Both have had outstanding marketing schemes at the fest. At the Beijing Taxi party – Beijinger 80s-style punkrock bands playing in a Mexican bar – Miao (with her parents as assistant marketers) sold t-shirts and one-of-a-kind flipbooks showing scenes from the film. The Canal Street Madam branded condoms, including their screening times, were a huge hit at all the parties. Looking forward to seeing both films at the Alamo Lamar today. I am in love with that theater chain (thou I am certainly not their only suitor) – there’s nothing quite like being served pizza, beer, and a chocolate peanut butter milkshake during a film.

SXSW has have commissioned a series of 30-second intro reels, magical realism hazards of filmmaking, from filmmaker David Lowery (his St. Nick is a Narrative Lab alum and premiered at SXSW 09). SXSW's originality has made the filmmakers here step up their game. Life 2.0 had a Q&A via Second Life, the Happy Poet team parked the vegetarian food cart that is the center of the film in front of the theater (I'm pressing them to put recipes on their website), and to my glee, everyone seems to have clever 1/2" buttons with images from their films.

Yesterday I was a Programmer in one of SXSW’s Mentor Sessions. I’ve only ever been on the producing side of this event, so it was fun to have my own speed dating table and meet new filmmakers working on great projects.

The SXSW jury awards presentation is tonight - fingers crossed for our films in competition!

-Rose Vincelli, IFP Program Manager

Robin Wilby, IFP Alum, World Premieres LOOP PLANES at SXSW

2010-03-15T12:10:00.000-04:00

Yesterday was a momentous day of firsts: my first time in Austin, TX; the first time I've ever seen a film I directed play at a "real" festival; and the world-premiere of my short film LOOP PLANES.

My producer (Julie) and I began our adventure to the SXSW Festival in the midst of a horrible NYC rainstorm and a delayed flight. There was quite a bit of terrifying turbulence, but I got to watch UP IN THE AIR, so it wasn't so bad. We were welcomed into Austin by beautiful 70 degree weather and met up with "Loop Planes" Co-Writer (Austen) and her Fiance (Jason), who had flown in from LA. I immediately fell in love with Austin, it's such a beautiful city, brimming with exciting and positive energy. The Festival itself is enormous and includes: Film, Interactive Media, and Music. The number of attendees, as well as the number of volunteers that run the Festival is overwhelming, and the vibe is amazing.

The first film we attempted to see was GREENLIT. Even though we arrived really early, the theater was packed and there were no seats left. So, we opted to go bowling instead. It turns out I'm terrible at bowling, but it was a lot of fun. Outside the theater was an insanely long line for "The People vs. George Lucas." I'm serious, the line was insane, and complete with people dressed as Darth Vader and Storm Troopers. (We couldn't resist a photo op.)

That night was the world premiere of LOOP PLANES. It played in front of a great feature documentary called HIS AND HERS, which follows 70 female characters from an infant to a woman in her 90s. It explores these women's relationships with men: fathers, boyfriends, husbands, and sons. I have mixed feelings about being paired with a feature, especially one so different from our short. LOOP PLANES
explores gender in a totally unconventional way (you'll have to watch the film to find out more), while "His & Hers" reinforces conventional gender roles. So, on the one hand because people were there to see the feature and the audience was the opposite of the target audience for our film, I'm not entirely sure whether anyone there totally "got"it; but on the other hand, I hope this film opened people's mind a little or introduced them to material they would otherwise not be exposed to.

Because this was the first time LOOP PLANES seen anything I directed show at a "real" festival, I was nervous and excited all week. What if there was some huge glaring error we somehow missed? What if no one liked it? As the opening image appeared on the screen, my first and only thought was pretty much, "omg the picture is huge!" I was still unable to see the film objectively, but overall I think it looked good, sounded good, and the story came across. People clapped when it ended and there were a few murmurs of "good job." So, I would say that it went pretty well. Of course there are small things I noticed here and there that I wish I could change, but as everyone reminds me, "an artist's work is never done." (There was one big glaring error though, and I'm unsure of what happened, but the end credits got all messed up. We're definitely going to have to address this for future festivals.)

After our screening, Julie and Austen and I got our pictures taken in front of SXSW's "red carpet" -- another first, and incredibly surreal. Then we went to a little tex-mex restaurant, and I had probably the most amazing burrito ever.

The weather and the energy of the Festival continues to be amazing. There is a tremendous turnout, so much so, that we were turned away from another screening because of lack of seating. The film is called DIRTY PICTURES, a documentary about a chemist (Dr. Alexander) who discovered the effects of Ecstasy and over 200 other mind-altering drugs, using himself and his wife as test subjects -- super bummed I missed it, but I got to see Dr. Alexander walk into the theater ;)

I'm a graduate student at Columbia University and because several other Columbia University students have films showing here, we're all going out tonight to celebrate! I can't wait to see more amazing films and perhaps get into a few panels and enjoy the beautiful weather for the rest of my time here.

IFP' Script to Screen Conference Final Winner Announced

2010-03-13T14:09:00.000-05:00

The lucky winner of the Script to Screen Conference pass is Indian Cowboy. According to Twitter, "Indian Cowboy's" real name is Nikhil Kamkolkar and he is a filmmaker/actor/writer from New York. Nikhil will get to ask the following tweeted question to writer Peter Hedges (WHAT'S EATING GILBERT GRAPE?, ABOUT A BOY, PIECES OF APRIL) in person.

@#IFPS2S Is writing your second script a harder challenge? Do you or not focus the second script to be more "commercially" viable?

For more information about the contest, read the previous blog post.

To buy tickets and find out more about the Conference: click here.

IFP's Script to Screen Day Two Twinner Announced

2010-03-12T10:41:00.001-05:00

The lucky winner of the Script to Screen Conference pass is Jae Choe. Jae will get to ask the following tweeted question to writer Peter Hedges (WHAT'S EATING GILBERT GRAPE?, ABOUT A BOY, PIECES OF APRIL) in person.

#IFPS2S Do you make a concerted effort to avoid being pigeonholed or build on what got you noticed a la genre or subject matter?

For more information about the contest, read the previous blog post.

To buy tickets and find out more about the Conference: click here.

First Day's SCRIPT TO SCREEN Winner Announced Below!

2010-03-11T13:44:00.000-05:00

As promised, IFP is selecting one lucky Tweeter/winner (Twinner) to attend the upcoming Script to Screen Conference in person, and ask Pete Hedges a question. The lucky winner of yesterday's incarnation (the contest lasts for 3 days) is: circlesoffire. According to Twitter, this is one Emily Millay Haddad . The winning question:

circlesoffire: @ifpfilm How do we stay flexible as writers for screens as small as your thumb and as big as a palace? #IFPS2S

Again, to win a pass:

Read about the panel:
Workshop #2: Now What? Sustaining A Screenwriting Career
You’ve found success by winning a screenwriting contest, selling your first script, finding representation or even making your first film – but now what? How do you leverage this success and continue to sustain a career as a writer or writer/director? What are the steps to take to ensure you get your next project off the ground and continue to stand out in an increasingly competitive creative environment?

Moderated by Adam Brooks, Writer,DEFINITELY, MAYBE; BRIDGET JONES: THE EDGE OF REASON; Featuring Peter Hedges, WHAT'S EATING GILBERT GRAPE?, ABOUT A BOY, PIECES OF APRIL

2. On March 10th, March 11th, and March 12th - Tweet Your Question

Tweet your question for Peter Hedges at IFP's Twitter Page.

Make sure to include hashtag #IFPS2S.

3. See if you've won and attend the Conference
A winner will be picked and blogged about each day at The Independent Filmmaker Project Blog. The winner will win a weekend pass to the Conference, and get to ask their question in person!

Saturday and Sunday
March 20th and 21st at 92Y Tribeca (200 Hudson Street)

For more information and to buy tickets, click here.

IFP Joins Forces with Shooting People and NYWIFT for first ever U.S. Delegation to Hot Docs

2010-03-10T17:56:00.000-05:00

IFP is delighted to announce that, together with our partner organizations NYWIFT and Shooting People, we are helming the first-ever U.S. Delegation to Hot Docs, North America's largest documentary film festival. For a huge $400 off the normal price, our members who choose to attend will gain full access to the Toronto Documentary Forum (May 5 & 6) , International Co-Production Day (May 3) , and be featured in the Digital Doc Shop market.

ONLY MEMBERS OF IFP, SHOOTING PEOPLE, and NYWIFT CAN TAKE ADVANTAGE OF THIS HISTORIC OFFER.

Additionally, the delegation will get access to the rest of the festival: all 255 screenings, the Doc Shop digital market screening library, all Hot Docs Conference sessions and programmes, including Hot Docs Talks, Kickstart panels, CoffeeTalks and Micro Meetings, The annual Hot Docs Awards Presentation, a full roster of parties and receptions, and much more more. The delegates will join the ranks of over 1,900 registered documentary professionals from more than 25 countries, over 300 international broadcasters, film foundation representatives and acquisitions executives representing the world’s key broadcast markets, and over 400 accredited media representatives.

This is not only an exciting opportunity for all of our nonfiction producing members, but also a historic one.

The offer for the very discounted rate of $577.00 Canadian dollars, ends NEXT TUESDAY, March 16th. Don't miss an incredible opportunity! Read more about all eight of the delegations here. For more info on how to buy your discounted pass, click here.

IFP Alum Wins Oscar, and Unlikely Kanye West-style Drama ensues!

2010-03-08T11:48:00.001-05:00

When Roger Ross Williams's documentary film MUSIC BY PRUDENCE (an alumnus of Independent Film Week's Spotlight on Documentaries), was announced as the Winner of the Academy Award for "Best Documentary Short", my expectations were for a suitably humble and hopefully short acceptance speech. Boy was I - and the dozens of people I watched with at DCTV's firehouse headquarters in Chinatown - surprised. Just a couple of seconds into William's grateful speech, he was rudely interrupted and completely overtaken by a loud woman with a very large sense of entitlement. It took only a few minutes for the Kanye West comparisons to begin, and just a few more for Salon.com to get to the bottom of the brouhaha.

We at IFP have nothing but congratulations for Williams and his film. And Williams has done nothing but return the love. Check out his testimonial about IFP on our new homepage. He writes: "When I boarded a plane two years ago, headed for Zimbabwe armed with nothing more than a camera, I never thought it would lead me to an Academy Award nomination. The 2008 Independent Film Week – Spotlight on Documentaries section and IFP’s Fiscal Sponsorship program helped get me there by providing the concrete support and the connections I needed to get my funding in place."

Free Financial Advice for Filmmakers Tomorrow!

2010-03-05T15:36:00.000-05:00

I was alerted to this incredible free opportunity by Esther Robinson, founder of ArtHome and filmmaker extraordinaire. Since most of us HAVE used credit cards to fund a project (or even our rent), this is the perfect opportunity to start the steps of reigning in one's financial chaos.

Here's the blurb: Have you used credit cards to fund a project and can’t seem to pay them down? Are you looking for free, objective, one-on-one financial advice? Join the Department of Cultural Affairs and Department of Consumer Affairs Office of Financial Empowerment for a day of FREE one-on-one financial counseling and workshops designed to help working artists and arts administrators in all disciplines, as well as independent workers reduce debt and manage credit. Details are here.

It takes place tomorrow, March 6th from between 12-5 pm at the Dwyer Cultural Center. 258 St. Nicholas Avenue (at 123rd Street)

IFP Alum Kim Reed Blogs about PRODIGAL SON's opening day!

2010-03-04T13:50:00.000-05:00

It’s hard to describe the anxiety surrounding the opening day of a film’s theatrical release. After three years of making PRODIGAL SONS, where so many elements are in your control, or at least within your ability to respond to surprises, on opening day there are so many things out of your control — the dark science of ads, the slippery impact of media coverage, the Wild West of reviews.

Then you wake up on opening day and look out the window to see the biggest snowflakes you’ve ever seen, and they’re piling up into the fourth largest snowstorm in New York City history.

It’s probably good that we didn’t know at the beginning how bad the storm would be. We had too much work to do, including many calls to Delta airlines to get my mother Carol and aunt Kathy, two subjects of PRODIGAL SONS, into town for the premiere and Q&A sessions.

We were reassured by a NY Times Critics’ Pick, a New York Magazine Critics’ Pick, and a glimpse at the script of At The Movies (the Ebert “Thumbs Up” show) that told us we’d get “See It!” exhortations from A.O. Scott and Michael Phillips. And Outreach Producer Pamela Cohn had lined up great opening day co-hosts (including IFP/Filmmaker Magazine!). But on opening day one becomes acutely aware of how hard it is to translate critical acclaim and community outreach into lines in front of the theater. We even had the surreal, unimaginable exposure of a full hour on the Oprah show behind us, but our producing team (comprised of Israel Ehrisman and Jason Evans) was still hitting the snowy ground the morning of opening day. We left postcards in high traffic spots, and tossed carpenters a ten dollar bill to let us hang posters in the windows of a business under construction.

The first Q&A I did was smack dab in the middle of the heaviest part of the storm, and I’d be lying if I said I wasn’t disappointed in the turnout. Then I realized that I recognized two people in the tiny crowd — David Duchovny and Téa Leoni, and they were asking great questions, not to mention generous with their praise. PRODGIAL SONS is a very emotional and personal journey, and after a year and a half of festival circuit Q&As I’m used to the emotional, personal connections our film inspires. But I don’t think anything could have prepared me for the intimacy of that first Q&A, during the heaviest part of the worst storm in the snowiest NYC February ever. This little Cinema Village snowglobe made for a nice microcosm of the documentary film world: a small percentage of discerning film lovers, harboring away from the noisy Hollywood Movie storm, riding someone else’s emotional rollercoaster for an hour and a half, then bonding with strangers over how they’ve all been moved. Moved. It’s such a wonderful idea, that we can walk into a cinema as one person, and walk out someone different. That’ll keep you trudging through the snow to hand postcards to strangers — who knows who might actually come to your next screening?

Kimberly Reed
Director/Producer, Prodigal Sons

Epilogue:
How did the rest of opening day go? PRODIGAL SONS sold out the two opening night screenings, had a great Q&A session with Rick Moody (author of The Ice Storm), and got held over for a second week at Cinema Village. A national rollout starts this weekend, with San Francisco, Berkeley, and Seattle.
For more information visit www.prodigalsonsfilm.com
Upcoming screenings listed at http://prodigalsonsfilm.com/drupal/see-film

Watch the Sold Out Panel!: IFP Industry Connect at the New School: Funding Your Film

2010-03-04T12:38:00.000-05:00

Getting funding is the great holy grail of independent filmmaking, so it makes sense that our February 22nd Industry Connect funding panel was filled to capacity. For those of you who missed it, watch the whole thing here! The panel featured moderator Sarah Lash, (Head of Acquisitions, ATO Pictures), and panelists Jason Orans (Producer, NIGHT CATCHES US), Milton Tabbot (Senior Director of Programming, IFP), Adella Ladjevardi (Grants Manager, Cinereach), and Yancey Strickler (Co-Founder, Kickstarter).

IFP Will Help Selected Producers (IFP Members Only) Get to Cannes!

2010-02-25T12:46:00.000-05:00

IFP, through its partnership with Festival du Cannes Producers Network, will select five American independent producers to participate in the 2010 Cannes Producers Network Fellowship program. The Fellowship will cover the cost of full program registration fees for the selected producers.

Launched in 2004, the Producers Network is a week-long program which runs concurrently with the Festival du Cannes. Conceived to boost international co-productions, the Producers Network welcomes a select group of 550 producers from all over the world, offering many formal and informal networking opportunities to assist producers in finding partners for their projects and expanding their international contacts .

Applicants should have at least one fiction feature-film producing credit and be a current IFP member.

Those interested in consideration for the program should apply with a one-page letter of interest describing the project(s) that would be presented at the Producer’s Network and a resume to Amy Dotson, Deputy Director, IFP, at adotson@ifp.org by Wednesday, March 10th.

Finnish Metal Doc Released as an iPhone Application

2010-02-24T11:12:00.000-05:00

This morning, in our partner Shooting People.org's daily newsletter, a member's post caught my eye. "Our film, called "Promised Land of Heavy Metal" is an HD documentary app available now for the iPhone and iPod Touch. The feature film investigates the history and philosophy of Finland's prominent, and world reknowned, Heavy Metal music scene. This is the first indie-film App released in the world." I am not one who can vouch for the validity of that statement (Lance Weiler? Scott Kirsner? anyone care to weigh in?), however it's still interesting. As the filmmakers who posted noted: "With over 50 Million iPhone and iPod Touch users in the world, and over 7 Million Applications downloaded each day, the App Store is sure to become an important distribution/promotion medium for video and music content producers around the world. The app store eliminates many of the distribution barriers facing independent filmmakers and makes it easy to get their films into regions outside the country of origin. This new way of distribution doesn't "compete" with the traditional TV or DVD distribution, but helps to advertise and spread the message about the film." It will be interesting to see how successful this is. As an added bonus, the filmmakers off to help others create their own Film Apps. You can check out the App here.

Matt Porterfield Sums Up His First Berlinale

2010-02-23T10:55:00.000-05:00

I received a prescient email from Ray Carney earlier this week. It said:

“Do the deed of darkness. Break a leg! Kill! Knock 'em dead. Survive the hype. Resist the bullshit. Ignore the glitter. Hate the glitterati. Hold onto your soul. Fasten your seatbelt......tight, tight, tight. But enjoy the parties!“

Immediately after our sold‐out press screening we received a number of festival invitations from all over world. We were on top of it. But the next morning we received our first review, a pan from Peter Brunette in The Hollywood Reporter. It stung, but we tried to shake it off, as it seemed almost personal his disdain for the film was so strong.

There is something that occurs in the face of public criticism, or praise, a kind of personal realignment that takes place when you’re showing your work to audiences and critics on this scale. I’m sure it’s different for everyone, but in order to manage I feel myself turning into something more monstrous every day. In the morning, a man I’ve never met calls me “inept” and “pretentious” in print, thousands read it,and that evening I have to share my film for the very first time with an audience and talk about it after. In order to get through this day, I find myself devouring everything around me, which leaves me isolated and afraid. Seeing the film with an audience for the first time conjures a mix of emotions. I fear my anxious energy will exit my body and enter the atmosphere of the room, somehow changing the experience for others; I sense the audience and know when they’re with my movie and when they’re not; I see lots of little things I want to change. I wonder if my movie’s really bad and THR was right.

Thankfully, our screenings only got better as the week went on. I didn’t attend the second, but the Q&A afterward was wonderful. I sat with Marc Vives, my editor, through our Saturday night screening at the Delphi, a beautiful old moviehouse in which Putty Hill felt right at home. The projection was perfect and Mark Perenson of Cinemascope moderated an excellent Q&A. The German and Austrian press loved PUTTY HILL and over the course of the week, we received lots of enthusiastic feedback in support of the project.

As for parties, we threw one for PUTTY HILL at Ausland, and it blew up. Jason Forrest, Christoph Linder, and Sick Girls played tons of Baltimore Club. I jumped up for a quick set. Lots of our friends attended, new and old, plus press and Forum staff, EFM folk, and programmers and distributers from around the world.

Throughout the week, there were interviews and meetings. There was also a city to explore. It was hard to catch films, but I saw a few. My favorites were Sharon Lockhart’s DOUBLE TIDE, LA BELLE VISITE by Jean‐François Caissy, and from the reparatory, Glauber Rocha’s ANTONIO DAS MUERTES. I walked out of THE KILLER INSIDE ME as Jessica Alba was getting beaten to a pulp.

On the whole, the Berlinale was a great success. It afforded my collaborators and me an opportunity to share our film on an international scale. Plus, the European Film Market provided a platform for us to access foreign agents and distribution companies and make some sales. Already, in just one week, it feels like more people have seen PUTTY HILL in Berlin than saw my first feature HAMILTON in its entire festival run. And this is just the beginning. Next, we look toward SXSW, which I’m confident will be a great North American premiere. I’m pleased to report we doubled our projected goal on Kickstarter, so we’ll be able to go into Austin strong
by paying off our debts, and begin saving money for a 35mm print.

Till then…

Industry News: B-Side Shuts Down

2010-02-22T10:44:00.000-05:00

As Filmmaker Magazine reports , B-Side Entertainment the distribution and technology company based in Austin, Texas, announced that, due to lack of financing (venture capital fund Valhalla Partners pulled out in late 2009), will close its doors. Launched in 2005 by Chris Hyams, the company has laid off the majority of its staff already, and is currently looking for a home for the films it distributes, as well as the festival scheduling service, Festival Genius, that was used by IFP to schedule the Independent Filmmaker Conference. For more details on the story, see Scott Macaulay's post at the Filmmaker Magazine blog.

Matt Porterfield, IFP Alum and director of PUTTY HILL, blogs about his first Berlinale

2010-02-16T13:13:00.000-05:00

Director Matt Porterfield, whose film, PUTTY HILL, took part in Independent Film Week 2008, will be updating us all about his first time at the Berlinale. Stay tuned, and make sure to check out the film's Kickstarter page. http://www.kickstarter.com/projects/puttyhill/putty-hill

I arrived in Berlin on Saturday with my producer Joyce Kim, after a long flight and an even longer layover. The snowdrifts in Baltimore were over 8 feet high, so the ice‐packed streets of Potsdamer Platz presented no challenge at all. We decided to plow through the day, working on 48 and 72 hours, respectively (though Joyce took a quick nap in the closet when we checked into our hotel).

Coproducer Steve Holmgren, and our publicist Thessa Mooij, had hit the ground running two days prior, so when we checked into the Forum Office we found that word‐of‐mouth had spread and the streets were talking, at least among the Berlinale
crowd. Of course, we were both overwhelmed: the scale of everything here is huge and the professionalism is unparalleled, yet everyone at the Forum had watched our film and had something pointed and thoughtful to say in support of it. We felt honored and appreciated instantly. It was obvious that this was a festival that loved film.

Jordan Mintzer, producer and co‐writer, arrived from Paris the next day and gave us a tour of the European Film Market. This, too, was a major culture shock – working in Baltimore in relative obscurity, one forgets that the cinema is a commodity; but at a market, where companies sell films like vegetables, you realize how small and blemished you are.
We haven’t screened yet, though our team has now assembled: Joyce, Steve, Jordan, Eric Bannat (producer), Jeremy Saulnier (DP), Marc Vives (editor), Devon Deimler (script), Sophie Toporkoff (production design), and me, director. Our press screening is tomorrow, we throw a party Wednesday, and our premiere is on Thursday; then we screen four times before the festival ends. The theatres are so big: 400, 600, 700 capacity! I can’t imagine how we’ll fill them. And, if we do, where my heart will be afterwards.

What else? Beer. Schnitzel. Kabob. Coffee. We thrive on free meals and screenings, and nap when we can.

I saw Claire Denis speak to the Talent Campus today and knew I was in the right place. To quote: “Retain the essential. Script and budget work parallel – otherwise there is always frustration. Organize one’s self mentally, to need things you can afford and to keep what you feel the film will be made of – your secret story, what you really want, what you can do in case your budget is in danger: a little secret of your own.”

Coincidentally, I talked to Amos Poe this morning and then watched him in a film tonight (BLANK CITY). Nick Zedd was in it, too. And John Waters. What does this mean? We’re all connected, those of us who work outside the system. And the strong ones survive, despite the incredible odds. That’s what the Forum’s all about,supporting new visions and new talent, and establishing a venue where even little films and independent filmmakers have access to the world’s stage.

IFP Alum Kim Reed Featured on Oprah Tomorrow

2010-02-09T16:01:00.000-05:00

Filmmaker Kim Reed, whose remarkable documentary PRODIGAL SONS is an alumnus of Independent Film Week's Spotlight on Documentaries program, will be featured on the world's most famous talk show this Thursday. Congrats to Kim and her whole team; we are sure she'll be fantastic.

IFP Alumni Recieve Documentary Oscar Nominations

2010-02-02T12:51:00.000-05:00

Two alumni of Independent Film Week's Spotlight on Documentaries program were honored with Academy Award nominations this morning:

The Most Dangerous Man in America: Daniel Ellsberg and the Pentagon Papers is among the 5 nominees for Documentary Feature. Directors Judith Ehrlich and Rick Goldsmith brought the film to Spotlight on Documentaries in 2007. It is currently being distributed by First Run Features; it screens in New York City at Cinema Village, and elsewhere around the country.

Roger Ross Williams' Music By Prudence is a Documentary Short nominee. It is being distributed by HBO Documentary Films, who met with Williams when the film was at Independent Film Week in 2008. HBO2 will broadcast it May 12. Music By Prudence also participates in IFP's Fiscal Sponsorship program.

Other documentary nominees include friends of IFP like Lab mentor Julia Reichert's film The Last Truck.

Congratulations to all the nominees! We wish you all the best - we're voting for you in our Oscar pools!

IFP Alum Jasmine Dellal on the Premiere of UTOPIA IN FOUR MOVEMENTS at Sundance

2010-02-02T11:29:00.000-05:00

BLOG – utopia: (January 25, 2010)

I’m in this snowy winter wonderland as a producer on Utopia in Four Movements a ‘live film’ by Sam Green and Dave Cerf.

This ‘live film’ thing is unusual, but it sounds pretty simple – images on screen, a director narrating with a mic, someone DJ’ing the soundtrack from his laptop, and a few musicians playing along. However, it turns out that there’s some technical stuff that has to happen for this to work out. And most festivals are more used to projecting a film (or tape) without live accompaniment so this is a bit of a challenge – but that’s why we’re in the “New Frontiers” section, and they’re really accommodating about our requests.

And today, we had our first show at the Yarrow....

But first I’ll tell you a bit about the past couple of days in Utah.

Like most indie filmmakers, our posse arrived here quite tired, yet I was ready to hit the streets (and slopes) with a giant bundle of postcards and schmooze to bring in the buyers and the press. So, Carrie Lozano (my fellow producer) and I have been doing the ‘hard work’ of attending parties, watching movies, and talking about our film....

Meanwhile, back at the ranch, our condo is ebbing with 9am-9pm rehearsals. One of the advantages (and nightmares) about doing a live performance film is that you can practice up until the last minute. There’s a bit of video tweaking to tinker with... but mostly, this is the first chance for Sam and Dave to practice with the Brooklyn-based musicians – T. Griffin, Catherine MacCrae and Dennis Cronin (aka the Quavers). It’s truly thrilling to see everyone buckling down to really focused work all day and night with a simple common goal of making the best art they possibly can. But it’s terrifying too! They must have enough sleep to function, but they must also have enough hours to practice...

Anyway, by the time of today’s show, we were all quite nervous. This is live! Sam is going to stand there in front of the audience, without a script, and with a little remote control to click through still images and Quicktime movies. And we don’t want the audience to be distracted by the technicalities. This is a philosophical personal essay on utopia – many people have pitched in to make it happen, and quite a few of them are here (including Sam’s proud parents).... Sam said afterwards that he’d feared he might get hit by lightning or Tourette’s in the middle of the show. Luckily, he looked so calm that I never would have known.

I’m happy to report, that all went brilliantly. The audience laughed and stopped to have long discussions afterwards – maybe this is a jumping off point for each of us to ask ourselves what we are doing (or not) to improve the world we live in. If audiences leave having this kind of discussion, then I think the work is doing it’s job.

And as for the producer’s job – a live film can’t be pitched to the normal places. For now, we’re straddling the film and art worlds – booking shows in festivals and museum performance spaces. We filmed this show (Adrian Belic and Bennett Cerf showed up to shoot for us), so maybe we’ll have something we can show to people soon. I suspect that eventually there will be a full DVD of the work.

For now, it’s interesting to think about alternative means of distribution... Nobody knows how all our films will be distributed in the near future, but everyone agrees it’s changing. There are panels at Sundance and Slamdance about new distribution methods – and I’ve bumped into various panelists who are fascinated by a project like ours. Anything that breaks the mold is food for thought these days — fingers crossed for all of us!

Mark Claywell, Director of AMERICAN JIHADIST (IFP's Spotlight on Docs Alum), Blogs about His Slamdance Premiere

2010-01-27T09:41:00.000-05:00

(Karin Hayes, Slamdance, stands by as Mark Claywell, director, and Jody Jenkins, co-producer, answer questions) (The filmmakers and Slamdance team).

We had a great first screening last night. Could not have gone better I believe. We were competing against the annual clothing optional Slamdance Hot Tub party and still had a full house.

I was a little nervous and jittery that no one would show up for our screening so I made it clothing optional as well. It was dark so i don't know if anyone took me up on that.,

Q and A was great fun. I was concerned about that as well considering we are pushing a lot of buttons in this film. Lots of on target questions. Very smart audience. No yelling or screaming! Looking forward to our second screening on Wednesday. Clothing optional.

A day later, here are some more reflections and details:
The Q and A mostly revolved around some of the major questions we bring up during the film... how does Isa Ali travel so easily from Bosnia to the States... (he has never been charged with a crime), We talked about the possibilities of Ali working for the US Government... (we have asked that questions of course and Ali has admitted that the CIA and FBI have tried to recruit him even while publicly calling him a terrorist.) Good to know the audience is picking up on the some of the major themes and elements of the films which deal with easy labels and stereotypes. What were once freedom fighters are now evil doers.

We also got a few inquiries about turning the film into a dramatic feature. (We optioned the rights to Ali's story so hoping to move that rock forward very soon.)

Beyond that we have had several meetings with potential distributors and online VOD/Streaming people. Not in a rush but excited about the possibilities and wading through the mine field of what the next paradigm will be....

Back at it tomorrow. Second screening at 12:30pm.