Dive into the archives.
- 5>50 - Who gets it in new distribution?
Recently I was honoured to be part of a list made by Brian Newman of 20 media people under the age of 40 whom he felt were leaders. What’s interesting to me is the frequency that I hear people who are young (on the list and otherwise) saying how older people “just don’t get it” and by virtue of their age, they will naturally be left behind in any digital revolution.
Even having crossed the big-3-oh-mark, I can feel a little anecdotal truth to the notion that the youth have a more natural, ingrained facility with technology and… [more]
- Copyright, docs, Lessig, licenses
Recently in The National Republic, Lawrence Lessig addressed the issue of copyright in documentaries and how it is keeping classic films like Eyes on the Prize out of commercial circulation. The problem is that filmmakers must clear copyright for archival elements in their work such as television clips and music, and generally the licenses for these clips is for a limited time period like 10 or 20 years. After that time, the filmmaker would need to clear (i.e. re-license) all of the archivals again in order to sell the work.
For most docs, this can be extremely onerous… [more]
- Sundance New Frontier’s Ian Calderon on Indie Digital
Interviewed by CinemaTech’s Scott Kirsner:
New Directions for Independent Cinema: Ian Calderon from Scott Kirsner on Vimeo.… [more]
- What is the DVR of Indie Film?
On his Blog Maverick site, Mark Cuban addresses the illogic behind opposition of the DVR by big media companies like Viacom and Disney.
For some reason they want to kill off the DVR… Do you not realize that the DVR is the one device that can save all things traditional and holy to your business and stock price?… Let me ask a simple question, if everyone had a DVR that could record any and every series they liked, enabling them to watch the shows they missed immediately, why would they go to Hulu ever again?
When new technologies come along… [more]
- Will the MPAA destroy theatrical? Selective Output Control and the FCC
News from Washington- the MPAA filed with the FCC to encourage the approval of technology that would allow Hollywood studios to transmit theatrical films directly to consumers hi-def before their video or broadcast windows begins. Called Selective Output Control (SOC), this would compete with piracy but would supplement or undercut theatrical runs depending on your viewpoint. A take on this seems to be that this will destroy the theatrical system and put exhibitors out of business.
I’m not one to defend the MPAA, but this seems a little silly in a number of ways. For one thing, theatrical… [more]
- MoMA Indie Summit: Major players, making the future
A major cadre of players from the independent distribution world net up on Friday to discuss the state of things, primarily in relation to how the new tools and technology are shaping the future of the industry. (Disclaimer- my company was a part of the MoMA conversation, though I was not in attendance).
Among the players there are some significant gaps in approach and experience, ranging from the technology-forward Magnolia and IFC to very traditional players. The resource differences among the attendees were also marked, ranging from tiny to well-capitalized. Producers and distributors were in attendance.
What strikes… [more]
- The Free North- Fun stuff from TIFF
Some cool stuff from the Toronto International Film Festival last week:
Liesl Copland, formerly of Netflix and now with William Morris Endeavor’s Global Finance & Distribution Group, gave a keynote at the Doc Conference about the state of digital and what it means for the industry. The takewaway: theatrical still has life; filmmakers need to learn about metrics; crowdsourcing is the new focus group.
Ted Hope, as captured by indieWIRE’s Eugene Hernandez, about Hope’s Doing It With Others (DIWO) philosophy. The takeaway: Blog, tweet, Facebook your whole life- or at least your projects and… [more]
- I want to rock and roll all night (and wake up in the gutter)
Ben from Shooting People was weighing the piracy issue a couple of weeks ago and its impact on independent filmmakers. The first dilemma is whether independent filmmakers can transition in the way indie bands have to be able to make money in other ways besides money for product transactions. In theory, this seems like it is the wave of the future- Robert Greenwald or Four Eyed Monsters-style. Filmmakers can, in theory, sell events versus selling DVDs, and potentially can make some money. No doubt touring in a bus is not as easy as having… [more]
- Distribution for a New Era: Hot Docs panel action
If you’re at Hot Docs next month, you’re welcome to check out this panel on ‘The New Distribution’ I’ll be on. It’s Tuesday, May 5th at the Rogers Industry Centre and will concern:
As commissioning budgets shrink, distribution bucks the trend with acquisition and sales windfalls. Is it a sign of the times, or the ebb and flow of the market? Join our international sales and distribution powerbrokers’ status report on their theatrical, broadcast, DVD and online media ventures. Find out how they are working for filmmakers and adapting sales techniques to the new economy.
Not sure if there’s… [more]
- RiP, Snag, Friends, and Followers: Quick Hits
Some recent news of note:
RiP: A Remix Manifesto premiered at SXSW and has been ‘picked up’ in the US by B-Side, whose DIY model will presumably avert some of the bigger copyright issues that might be a problem for regular distributors.
Snag! Films has made a deal with Hulu to place films on that site. This begs the question for filmmakers of whether, when they license their film to one online market, they are permitting that company to resell their film elsewhere (presumably cutting into whatever revenue there might be). It’s probably a good idea… [more]
