There used to be a time when content was valuable. If you managed to complete a feature film, provided money was spent judiciously during production, it could be sold for a profit — even if it was junk. The reel of film could be marketed, regardless of its intrinsic merits. I cannot help thinking of
When you want to buy something, you have a very clear idea of how much you want to spend on it. You can buy a car for $1000, $50,000 or $500,000 — these options are all legitimate, but they are not equivalent. You are not indifferent to the options: you know exactly which category is
(I wrote this post after attending the interview at the Rome Film Festival on October 24th, 2007.) “Terrence Malick is extremely shy and you must not attempt to make direct contact with him. You must pretend you are eavesdropping on a private conversation.” I am sitting in the middle of the front row in the
Here is how it used to work: folks would watch MTV. MTV played music videos. The music videos gave you light entertainment and some eye candy. (Sometimes they were truly inspiring works of art.) In return for that you would listen to the music. If you liked it, you went out and bought a CD.
Before the RED camera was invented the only viable options for high-end movie production were film (celluloid) and high-definition cameras like the F900 or the Viper. The problem was that the footage produced by these “high-end” HD cameras looked very much like video, particularly in its rendition of highlights. Most disappointingly, the motion was too
Here are my notes on “Casting the Net”, the third and final seminar I attended at the Palm Springs International Festival of Short Films. The panel was composed by three Casting Directors, including the incredibly on-the-ball Deanna Brigidi-Stewart, and focused on the role that Casting Directors can play in packaging an independent feature film. 1.
This post is my write-up of another seminar I attended at the Palm Springs International Festival of Short Films. This seminar took place on the same day as the one about film publicity. The panel in this seminar was composed by an independent film director, an Executive Vice President of a distribution company, an independent
I attended the “No publicity really is bad publicity” seminar at the Palm Springs International Short film Festival and this is a concise write-up of some of the main points made by the publicists who participated. The panel was moderated by Kathleen McInnis, who was unit publicist on the movie “Surveillance”, among others. In accordance
In the late seventies James Cameron was told by a friend that a consortium of investors was interested in financing a movie for tax-shelter purposes. James Cameron shot a quick 16mm teaser and the investors liked it, giving him a further $20,000 to produce a short demo in order to raise money from a group