Filmmaker Valerie Weiss presents the first in a series about the making of her first feature Losing Control.August 19th, 2009 | Valerie Weiss
In The Independent's new series Film Journal: The Making of an Independent Feature, filmmaker Valerie Weiss will share her experiences of financing, making, and marketing her first independent feature film Losing Control. Here, she discusses her inspiration for making the film and her method of fundraising.
Filmmaker Valerie Weiss will share her experiences of financing, making, and marketing her first independent feature film Losing Control in this monthly film journal.
Three independent filmmakers discuss how they succeeded in marketing their films.July 31st, 2009 | Dante A. Ciampaglia
Completing a film is a Herculean task—especially for independent filmmakers. So it’s tempting to feel that once the film is in the can and ready to be shown, the hard work is over. But getting a film ready to be seen is only half the battle; one of the biggest filmmaking challenges still lies ahead: marketing your movie. This month, The Independent takes a look at three filmmakers who took different approaches to marketing their films: Gadi Harel, co-director of Deadgirl (view the trailer here); Sterlin Harjo, director of Barking Water (view the trailer here); and Bill Daniel, director of Who is Bozo Texino?(view the trailer here).
Independent filmmakers don’t have the luxury of the publicity divisions employed by studios. Yet smart filmmaker know that a film’s marketing is crucial to its success or failure—and doing it well requires an enormous amount of time and effort.
From freelance work to virtual tip jars, The Independent examines the different ways that filmmakers can put their creativity to use for financial survival.June 29th, 2009 | Sean Jones
The Independent's Sean Jones investigates some innovative and useful ideas to help cash-strapped filmmakers survive through difficult times. From free distribution for films to virtual tip jars, The Independent examines the different ways that filmmakers can put their creativity to use for financial survival during the recession.
As the recession continues to cast a shadow on the American economy, Hollywood studios are emerging as one of the few success stories. Audiences seeking an entertaining reprieve from layoffs and pay cuts are bringing theaters increased ticket sales and revenue and giving the film industry a "recession proof" reputation.
In this economy, "filmmakers have to stop being afraid of the money side," says Carole Dean of From the Heart Productions.April 24th, 2009 | Peter Hoy
The recession presents an interesting paradox for independent filmmakers: While tough times often inspire creative projects, funding and distribution resources are much harder to come by even for established filmmakers. The Independent's Peter Hoy approached a broad cross-section of the independent-film community to cover the ramifications of the current economic situation from all angles. Hear the opinions of Becky Smith, director of the award-winning film 16 to Life (view the trailer here), Tribeca Film Festial executive director Nancy Schafer, a recent film school graduate, and others, as they consider the fate of future projects—not to mention their own income—in this challenging environment.
A weak economy is often said to be good for Hollywood. Movie going is cheap entertainment, so ticket sales typically rise in a recession. But what about the world of independent film? Film festivals are scaling back, indie directors are being forced to do more with even less than usual, and producers are finding that grant-giving institutions are strapped for cash.
Independent filmmakers band together after being publicly rejected by the Sarasota Film Festival.April 16th, 2009 | Dante A. Ciampaglia
You spend years writing a script, story boarding, filming and editing -- putting all of your blood, sweat and money into a film, and finally sending it out to festivals in the hope that friends, family and the public will get a chance to see what your hard work and talent has created, but next thing you know, you've been rejected in front of hundreds of your peers. Sounds like a nightmare, but it happened to more than 350 filmmakers who applied to the Sarasota Film Festival this year. But, instead of letting it get to them, they went ahead and made the best out of a bad situation, creating their own Facebook group, laurels and even a fringe festival. The Independent's Dante A. Ciampaglia talks to several filmmakers that were part of the 350 and gets their opinion on what went down with Sarasota.
“I don’t think we should see each other anymore.” “It’s not you, it’s me.” “I just want to be friends.” “Thanks, but no thanks.”
How the Internet is changing the way independent films are seen and distributed.March 17th, 2009 | Sarah Morgan
These days you can do just about everything online: pay a parking ticket, shop for Christmas presents or take out a loan. So, it's no surprise that film festivals are finding their place on the Web, with emerging outlets like Haydenfilms, Babelgum, and the former Independent Lens Online Shorts Festival, filmmakers are finding alternative outlets that are sometimes more conducive to short-format films and new filmmakers. But, online festivals are beginning to evolve as well, pairing up with traditional festivals to give filmmakers the networking opportunities that they may otherwise miss out when they submit through solely online festivals. Very soon, with prestigious festivals like Sundance partnering with IFC On-Demand (read more about it here), we may be seeing a lot more big festivals brought to the small screen.
When Deborah Wallwork first started out as a filmmaker in the early 1980s, her goal was to get her work onto one of North Dakota’s four TV channels, and the editing process was all analog. Then the technology changed. She started doing DOS-based computer editing.
“You had to learn programming language to edit,” she says.
Independent filmmaker, Ari Sandel, talks about the night he found himself walking the red carpet and the projects he's been working on since then.January 26th, 2009 | John McMahon
Ari Sandel, director of West Bank Story (view the trailer here), shares with Independent writer John McMahon, the path that led an independent filmmaker to walk the red carpet at the 78th Annual Academy Awards, where he won the Oscar for Best Short Film, Live Action. He talks about the projects he's taken on since then, including feature-length documentary Vince Vaughn’s Wild West Comedy Show and the script Brad Cutter Ruined My Life…Again which will be a film through Fox Atomic.
Ari Sandel was nervous and excited when he arrived at the Kodak Theatre in Hollywood on the evening of March 5th, 2006 for the 78th Academy Awards that, for a moment, he forgot to breathe.
The Independent Television Service, or ITVS, is one of the most prestigious sources for film funding in the United States. But some filmmakers complain it's abusing its power.December 9th, 2008 | Michele Meek
The creation of the Independent Television Service in the mid-1990s as a source of funding for independent filmmakers was seen at the time as one of the great successes in the independent film movement. Today, the organization has a budget exceeding $12 million, and provides key funding to hundreds of films each year, including approving many outright grants in the six-figure range. All ITVS projects are supposed to completed and groomed for public television—but, in fact, one in three films funded by ITVS do not make to a major PBS series. Why is that? In more than a dozen interviews with filmmakers and people familiar with ITVS, some complaints emerge: namely, that ITVS is an overbearing funding partner that deploys "bulldog" lawyers and shrouds the funding process in secrecy. The Independent's Michele Meek takes a look at the organization and the independent filmmakers who rely on it, to find out what's going on.
In 2007, filmmaker Joanna Rudnick learned that her application for funding from the Independent Television Service (ITVS) had been accepted. Rudnick, a first-time director, had applied for ITVS funding to finance the completion of her documentary In the Family, a look at women who are aware they carry a genetic predisposition to breast or ovarian cancer.
For the first time, the organization publishes some of the controversial clauses from its lengthy contracts with filmmakers.December 9th, 2008 | Michele Meek
At The Independent’s request, ITVS agreed to publish its standard contract details for the first time. Some of the terms are fixed across all projects. For example, because the ITVS mandate is for each film to air on public television, the contract prioritizes those broadcasts ahead of community screenings or film festivals.
A look at how the DC Shorts, Teaneck and Slamdance film festivals got their start.November 24th, 2008 | Jericho Parms
We all love film festivals, but do we really know what goes into getting a festival up and running? The Independent takes a look at three young fests to see how they got their start, from the passion behind the festival to the funds that got them on the map.
Earlier this year, on a self-described “quixotic whim,” Oscar-winner Tilda Swinton rented an old Victorian ballroom named the Ballerina and set out to bring a film festival—complete with a quirky sense of imagination, beanbag chairs, and an unconventional lineup—to the seaside town of Nairn in the North East of Scotland.