Anyone else out there launching good new ideas to improve the non-dependent film ecosystem? Let me know if you want to talk further on them. As Keri, points out, we really need to shine a light on them.
I love this post! It's right at the center of the solution (by at least naming the problems) for what could a revival of independent film.
I have been putting out a series of videos as part of my funding and publicity campaign for my current movie where I outline how I envision a completely different model of filmmaking (from script to distribution). If you're interested, you can watch the videos here: https://seedandspark.com/fund/some-call-it-luck#updates
This is a fantastic article Ted. Chock full of great links and ideas. I love Lela and Barbara's passion and energy and I think "The Popcorn List" is brilliant. What about doing an annual "Popcorn List" film festival? In addition to screenings, you could do live readings of the screenplays. This could shine attention on them. I run a non-profit theatre in Los Angeles and could help produce this.
I love this conversation! Thanks to Lela and Barbara for so thoughtfully weaving data and passion to yield this initiative, and to Ted for shining a light on it.
I'll be blunt: I love what these ladies are doing but offering a 'list' of undistributed movies as an answer of the current state of cinema is like saying: we're dying of hunger, let's make a list of our dream food. Trying to fix the system is not the answer.
The only possibility of a change is at the source. It's the 'spirit' that has to change, meaning our understanding of what movies are and how we create them needs to change - btw AI gives us a wonderful opportunity to do this so everything is pointing in that direction.
I believe you focus way too much on the end-process: the distribution, making a living as a producer, etc. which keeps you entrenched in 'the old way of making movies'.
Change will come with people able to imagine something else entirely. A new system will emerge because the ideas at the base of the creative act are new.
Thanks for being blunt, Estelle. We need that. I think it is not an either/or but really the "both, and...". I have a hard time getting behind the projects I am most passionate about when I don't see a way that it really works. And I don't think this next era will be defined by a single change or even a handful. I think we need the boatload of many small things that can work in unison. I still think we are at the very beginning of cinema and we haven't run out of ideas. We are stuck in a rut.
We'll be stuck in a rut as long as we think along the old lines. I am now producing and directing a second narrative feature and will use it as a tool to reflect on this. Since there is no hope for distribution or exhibition down the line, I feel very free to question both the medium and the industry context. I'll try to post about this on my Substack.
These are the best interviews to-date. We went through this decades ago. I would definitely like to talk to Barbara and Lela. When we formed FAN (Film Artists Network) composed of about 600 filmmakers around the world, we were able to get most of our films distributed, but in those days most of the distributors of these low budget, independent films were either dishonest or not very professional. As our filmmakers were disappointed in the money they were receiving, making it difficult to fund their next film, we decided to form FAD (Film Artists Distribution) "What's In Is In" and we distributed our films around the world. We had offices at Cannes on the French Riviera, at the AFM, NATPE and other markets around the world.
We were the most talked about and hated distribution company in the business, because we would train our filmmakers in the Sales and Marketing of their films and if they made the sale, they would receive 100% of the profits, no distribution fees, and if they sold another filmmaker's film, they would get 10% of the profits on that film. We were forcing other distributors to lower their percentage take. They thought we would just disappear after a year or two, but we kept going year after year after year, for 11 years before we called it a day. Now, we are thinking of reactivating FAD, but we need young blood and young ideas from people like Barbara and Lela, to make it work today.
You address many of the most important issues we face as writers, filmmakers and artists. Thank you for your insights and your enthusiasm for improving the world of cinema.
Anyone else out there launching good new ideas to improve the non-dependent film ecosystem? Let me know if you want to talk further on them. As Keri, points out, we really need to shine a light on them.
I love this post! It's right at the center of the solution (by at least naming the problems) for what could a revival of independent film.
I have been putting out a series of videos as part of my funding and publicity campaign for my current movie where I outline how I envision a completely different model of filmmaking (from script to distribution). If you're interested, you can watch the videos here: https://seedandspark.com/fund/some-call-it-luck#updates
LOVE the idea of The Popcorn List! Can't wait to see it launch. Kudos!
This is a fantastic article Ted. Chock full of great links and ideas. I love Lela and Barbara's passion and energy and I think "The Popcorn List" is brilliant. What about doing an annual "Popcorn List" film festival? In addition to screenings, you could do live readings of the screenplays. This could shine attention on them. I run a non-profit theatre in Los Angeles and could help produce this.
What's your theatre, Johnny?
Hi Hope, thanks for your interest. it’s called Vs. Theatre. www.vstheatre.org
I love this conversation! Thanks to Lela and Barbara for so thoughtfully weaving data and passion to yield this initiative, and to Ted for shining a light on it.
So happy to see our organizations given voice here Ted! Gratitude!
Wonderful to hear all these promising ideas from amazing indie film people. Thanks for sharing, Ted.
I'll be blunt: I love what these ladies are doing but offering a 'list' of undistributed movies as an answer of the current state of cinema is like saying: we're dying of hunger, let's make a list of our dream food. Trying to fix the system is not the answer.
The only possibility of a change is at the source. It's the 'spirit' that has to change, meaning our understanding of what movies are and how we create them needs to change - btw AI gives us a wonderful opportunity to do this so everything is pointing in that direction.
I believe you focus way too much on the end-process: the distribution, making a living as a producer, etc. which keeps you entrenched in 'the old way of making movies'.
Change will come with people able to imagine something else entirely. A new system will emerge because the ideas at the base of the creative act are new.
I'm optimistic.
Thanks for being blunt, Estelle. We need that. I think it is not an either/or but really the "both, and...". I have a hard time getting behind the projects I am most passionate about when I don't see a way that it really works. And I don't think this next era will be defined by a single change or even a handful. I think we need the boatload of many small things that can work in unison. I still think we are at the very beginning of cinema and we haven't run out of ideas. We are stuck in a rut.
We'll be stuck in a rut as long as we think along the old lines. I am now producing and directing a second narrative feature and will use it as a tool to reflect on this. Since there is no hope for distribution or exhibition down the line, I feel very free to question both the medium and the industry context. I'll try to post about this on my Substack.
Please do. I look forward to reading!
These are the best interviews to-date. We went through this decades ago. I would definitely like to talk to Barbara and Lela. When we formed FAN (Film Artists Network) composed of about 600 filmmakers around the world, we were able to get most of our films distributed, but in those days most of the distributors of these low budget, independent films were either dishonest or not very professional. As our filmmakers were disappointed in the money they were receiving, making it difficult to fund their next film, we decided to form FAD (Film Artists Distribution) "What's In Is In" and we distributed our films around the world. We had offices at Cannes on the French Riviera, at the AFM, NATPE and other markets around the world.
We were the most talked about and hated distribution company in the business, because we would train our filmmakers in the Sales and Marketing of their films and if they made the sale, they would receive 100% of the profits, no distribution fees, and if they sold another filmmaker's film, they would get 10% of the profits on that film. We were forcing other distributors to lower their percentage take. They thought we would just disappear after a year or two, but we kept going year after year after year, for 11 years before we called it a day. Now, we are thinking of reactivating FAD, but we need young blood and young ideas from people like Barbara and Lela, to make it work today.
This was a fantastic article - really insightful and gave me some hope for the future. Thanks!
Ted,
You address many of the most important issues we face as writers, filmmakers and artists. Thank you for your insights and your enthusiasm for improving the world of cinema.
Scott