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Challenges Facing Independent Filmmakers

Independent is the only true form of art; nobody doubts of an independent ballerina, writer, or sculptor, but when it comes to an independent film studio, the concept of independence seems to be unusual. To be independent in the film industry you need to be free from something, commonly the matrix of companies that dominate the production and distribution of film production in America. Most of the productions are made in Hollywood, a multi-million dollar business; and anyone who produces a film outside of this exclusive factory has to call itself  “independent” to be distinguished from the suit; however, as long as a film is screened in commercial theaters, or aired on pay or network TV, “independent” is a relative term.

It is not a secret for anybody that film industry is not as healthy and successful as it used to be. Hollywood is certainly thriving, and the future of the industry is bounded to the success of independent filmmaking, where the majority of personnel of Hollywood got their start. Unfortunately, independent filmmakers face several challenges, most of them have existed for decades, while others have recently appeared due to new technologies in the industry. The best way to face these challenges is by taking advantage of them, in order to use the weaknesses in our favor, though it might seem to be absurd.

Challenges Facing Independent Filmmakers:

Money and Financing

The majority of independent producers will agree that the most difficult task is raising money to pay for the production. The truth is that raising money is the key to any independent film, regardless of the position, experience, and past credits of the people involved. To choose the method that will fit better with the production is important to consider factors such as the type and subject of the film and the experience behind the cast and crew involved in the project. It is common to use crowdfunding platforms to raise money or to secure increasingly elusive government grants for short films. In fact, “the most beneficial situation for the filmmaker would be to receive 100% of the film costs from an equity sale in exchange for substantially less than 100% of the income” in a range of 25-50% according to “The Independent Filmmaker’s Law and Business Guide: Financing, Shooting, and Distributing Independent and Digital Films”. Even though filmmaking should be commercially viable without the need for public funding, is important to remember that people or organizations invest in the films to make profits out of them; therefore film budgets need to stand the scrutiny of investors seeking cost-effective production, as well as a reasonable rate of return.

 

 

Digital Revolution

Digital revolution has transformed the film industry, including production, editing, post-production, marketing, and distribution processes. These technological innovations have forced film studios, rather independent or not, to respond to the popularity of the internet and the success of new digital platforms guided by a potential for profit. In fact, the widespread use of digital media technologies has resulted in considerable cost reductions, which have helped create more product than buyers. Additionally, the affordability of making films on digital media has increased competition. Several filmmakers fear bankruptcy; however, the challenge to filmmakers is to make unique genre-specific movies using digital technology. The genre is the only way that a film buyer and the marketing manager of a distribution company can quickly visualize the movie poster, trailer, and marketing campaign.  The industry is changing into a more consumer-centric one, nowadays consumers can enjoy podcasts, web shows, and can access them by downloading or streaming the product. It is important to focus on the benefits that the digital revolution has brought such as worldwide distribution and instant access to the final product.

 

Decline of Innovative Storytelling

Nowadays is more frequent to see sequels and remakes of stories we loved instead of new stories to enjoy.  It seems like the industry has reached a point of fatigue in which lack of ideas is the common denominator, resulting in low expectations among audiences; additionally, the gaming industry, which breeds on digital technology, has been influencing storytelling in the film industry. In fact, the incorporation of gaming techniques in terms of storytelling and visualization will make movies stronger; it is mandatory for independent film studios to focus their efforts on unique storytelling, these new ideas will stand out more than they have in the past.

 

Creative Control

In Hollywood, everybody has a specific role to accomplish, and there is a budget for that, but in the independent filmmaking industry is common to have limited resources. A low budget makes people assume multiple roles in order for a film to be produced at the lowest cost possible, as director Benjamin Dickinson said: The biggest challenge that I had making the film was just that I was wearing too many hats. This de-emphasis on specialization means individuals are less likely to develop the specialized skills that Hollywood and large film agencies demand. Ultimately, it is a hit or a miss, depending on the director’s ability to wear multiple hats.

Essentiality of Social Media

Social media is becoming an essential part of a film’s package, that is why it is necessary to adopt a robust social media strategy in order to evaluate what is making an impact. Nowadays, we have more access to data than ever before that can help filmmakers to understand the audience they are trying to reach,  and create not only awareness but stronger loyalty and engagement for the long term; unfortunately, filmmakers are not collecting and analyzing efficiently their data. As an example, ‘Paranormal Activity’ may have cost a mere $15,000 to make. What Paramount bought was not the film, but the social media strategy that the filmmaker Orin Pelli developed around his film.

Film Distribution

The traditional film distribution model has been working good for big budget films, but for many other mid-, small- and micro-budget films it is almost impossible to achieve the results desired. Additionally, independent filmmakers end up competing against each other for limited attention and fragmented audiences due to the fact that there are too many films being made. At a movie theater, independent films face several challenges more than a regular film. First, they need to put in the effort of distinguishing themselves from the other independent films that are opening at the same time. Secondly, they need to invest in identifying their audience efficient. And thirdly, they need to be worthy for the audience that will pay for the ticket. Independent filmmakers are beginning to explore Video On Demand  (VOD) as a distribution method. Thus it allows filmmakers to reach larger audiences with relative ease, streaming services don’t provide nearly the same return as physical sales of DVDs; therefore, many independent filmmakers fear that this technology may lead them to go bankrupt if they are not able to attract the same volume as larger Hollywood films that garner millions of viewer. To overcome this issue, independent filmmakers often develop a hybrid distribution strategy that encompasses traditional releases with online distribution in platforms like Netflix and Amazon Prime.

Conclusion

The independent film industry is full of challenges as summarized in this article. Film studios normally face issues raising money to pay for the production, making unique genre-specific movies using digital technology, incorporating gaming techniques in terms of storytelling and visualization to make
movies stronger, assuming multiple roles in a film to reduce costs as much as possible, understanding the audience they are trying to reach, and distributing the final product through different channels. Although these are challenges that can be recognized easily, the solutions seem to be far away whether for the companies themselves or those public sector agencies which support the industry. Unfortunately, the structure and economics of independent film productions are not well suited to build sustainable companies which leads to a  number of serious challenges that threaten to limit filmmakers’ creativity and push the industry even further into the shadows. It is important that the industry focuses on finding solutions to these pressing issues. As viewers, we just enjoy the final product without understanding all the challenges that filmmakers faced behind the scenes. We need to internalize that making a great movie goes above working extremely hard, and having luck; the truth is that it needs love, passion, commitment, and tons of patience, especially if we are talking about independent films.

 

Is Zach Braff Selling Out Kickstarter?

Dude, I am not famous enough to be a sell-out
Dude, I am not famous enough to be a sell-out

Zach Braff was once an up and coming indie filmaker, who directed and starred in 2004’s hit that nobody saw coming, Garden State. Every studio shark in LA turned down that script, and were it not for a lone angel investor (who happened to be an overzealous Scrubs fan), it would still be  in Hollywood purgatory.

 Ten years later, Braff is looking to finance a “sequel in tone” titled Wish I was Here. This time, Scrubs is a nationally and internationally syndicated show, his bank account is loaded, and he’s got a name that gets invited to all the right parties. Funding should be easier to accrue this time around, right? So why is he on Kickstarter, a crowd-funding platform resourced by starving artists with t-shirts to offer, who operate out of garages and basements, and use hockey sticks for boom poles?  The short answer would be because it only took him two days to reach his goal of two million dollars. But we can’t end it there, not when the internet makes it so easy to criticize.

 Critics, like Emmy-award winning screenwriter Ken Levine, have opened the floodgates of hate,  accusing Braff of typical Hollywood exploitation. Levine writes on his blog.

“The idea – and it’s a great one – is that Kickstarter allows filmmakers who otherwise would have NO access to Hollywood and NO access to serious investors to scrounge up enough money to make their movies. Zach Braff has contacts. Zach Braff has a name. Zach Braff has a track record. Zach Braff has residuals.  He can get in a room with money people. He is represented by a major talent agency. But the poor schmoe in Mobile, Alabama or Walla Walla, Washington has none of those advantages. ”

 

Braff plays some lockdown defense against his critics (here) and (here). He points out that if it were about making money, he’d go back to doing television, where he made millions.

 

“This isn’t a money-making endeavor … Making a tiny art film is not where people go to make money. This is a passion project,” he says. “I’m making this movie for you and, ostensibly, with you. You’re coming along on the ride, you’re going to be a little GoPro camera on my shoulder experiencing how an independent movie is made … I owe [the fans] everything.”

 

Levine  fails to recognize that Braff isn’t holding anyone at gunpoint here. Just because he’s a celebrity with a Kickstarter campaign doesn’t mean people lose their autonomy to CHOOSE where they donate their money. These people want what he’s selling. In fact, Braff (who has over a million followers on Twitter) attracted over eighteen thousand first-time investors to Kickstarter. Many will stick around, peruse through other campaigns, and donate accordingly, so in essence, Braff’s celebrity endorsement will trickle down to the more obscure artists and entrepreneurs.

He’ also putting an “ass-ton” of his own money into the project, so the Kickstarter funds would only supplement the film’s budget. It’s not fair to ostracize him for doing what every other entrepreneur does: find ways to avoid spending his own money. Even billionaires get other rich people to fund their projects.

Braff also points out that his “fame” doesn’t necessarily translate to easy funding, particularly because his tenure on Scrubs, doesn’t get factored into the algorithms investors use to predict overseas success. In fact, he’s still at the mercy of the same barriers that confronted him years ago, and then some (such as the time that his “star” bailed on him because his wife didn’t want him working in the summer). Accepting money from the usual suspects would require him to make casting and plot sacrifices that could undermine his vision.  Isn’t it worth celebrating that, in an age of remakes and recycled narrative formulas, there are still people in Hollywood who genuinely want to tell the best story they can without compromising their artistic integrity to the hand that feeds?

Who is anyone to impose limits on what crowd funding should be? Kickstarter’s own mission welcomes projects “big and small.” It’s an organic, pliable platform. Saying it should be reserved for the pauper is no different than saying only rich people should play golf.

Showtime’s Dexter Creates a Viral Beehive with season 7 Teaser

Sorry, guys I couldn't resist. But it's in your best interest to forgive me.

 

Showtime’s dearly demented ratings darling, Dexter has released a viral locust plague throughout the social media universe. The upcoming seventh season about a Miami PD forensics expert who moonlights as a serial killer of those who’ve escaped justice is due to premier September, 30, and Showtime just played a cruel joke on its fans in the form of a “Sneak Peak” trailer released on Youtube and Facebook.

Who among us could resist the temptation to play it! At long last, we’d finally get a glimpse of life after Deb’s gruesome discovery.

Except what followed was a six second cluster of random yet tempting frames with no discernible content. Check it out below!

http://youtu.be/aq8PI_rw7u0

Talk about releasing the trolls. It garnered nine thousand “Likes” and three thousand comments within thirty five minutes! Tell me this doesn’t just beckon you to peruse through it frame by frame, dissect every image, and talk about it with friends and fans alike. The buzz is already flammable. While we hate being teased, we’ve got to tip our hats to Showtime for a brilliant marketing strategy that doesn’t rely on the archaic method of just slapping a trailer on Youtube. They have their fans doing their bidding at hardly any cost. Bravo.

How A Youtube Sensation Leapfrogged the Audition Process

How a Youtube Sensation Leapfrogged the Audition Process

He looks like a clone of Tom Cruise, has a Harvard education, and is single handedly reinventing the Hollywood dream. And it all started from being afraid.

Miles Fisher ironically admits that his greatest fear as an aspiring actor was standing in front of a casting director. Can you blame him? Hollywood can qualify for Dante’s tenth circle of hell, a purgatory for thousands of servers and bartenders waiting for a break that will likely never come.

Conventional wisdom tells us to lower our heads and confront our fears. Miles had a better idea. Why not save time and energy and avoid them altogether?

Appearing on Mashable’s Revolution with Brian Solis, the Harvard grad breaks down how he used the ubiquitous nature of social media to broadcast his music and get his face recognized. The strategy has resulted in roles on shows such as Mad Men and Gossip Girl, as well as, a meaty supporting role in Final Destination 5, an unforgettable Tom Cruise impersonation in Superhero Movie, and a chance to work with Clint Eastwood in the upcoming J Edgar.

Miles treats his career as a brand ( a notion that may not endear him to his more snobbish “acting should be pure “ contemporaries), and he understands that the best products (or talent) don’t always get the most exposure because modern humans are drowning in content. As a result, time is a currency worth more than gold, and to get people to invest it, you have to “prove that you’re worth watching.”

His take on the Talking Heads classic “This Must be the Place” molds the song’s lyrics into a parody of American Psycho, with Miles doing a spot on Patrick Bateman impersonation. Its production value is more polished than the standard viral content most people produce; consequently, the videos are released less frequently but create a buzz of anticipation, making them an “event.”

Below is a promotional video for Final Destination 5 funded by Warner Brothers after Miles convinced them of its potential to reach a new audience for the franchise. They rebuilt the entire set from Saved by the Bell, a nineties classic many Youtubers may not even remember, and got the entire cast from the movie to play different characters from the show. What follows is a laugh out loud parody of pandemonious gore to the tune of Fisher’s own “New Romance. “ This video gets it. It exploits the potential of viral marketing and demonstrates that simply putting your film’s trailer on Youtube is already considered an archaic marketing strategy.

In a world where everyone can create content, the trick is to engage the creators.

That’s right kids: Never let your parents tell you that Youtube is a waste of time. It can make you a star. Viral is the wild west and as Miles says “ In any emerging platform, it’s really important to not only take risks but be an awesome consumer. Know the conversation and what other people are talking about.”

The entire interview is a bit lengthy, but worth the watch as it is filled with great revelations on the direction of film, media, and human culture.

Click Here to watch:

http://mashable.com/2012/05/24/revolution-miles-fisher/

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