If you are in anyway associated with the film industry, you know without a doubt: making a movie is hard. Besides money, ideas and resources, one of the most important ingredients to have to be successful is creativity. And if you have no confidence in your creative abilities? Well, get ready to make a hard task even more impossible. Need a confidence boost? Check out No Film School’s list of ways to get your creative mojo back. From owning your failures to joining a community, there’s always a way to get your groove back!
Over the past couple of decades, Kevin Smith has worked hard to become a powerful indie film legend in his own right. But what if you could harness that power and use it to help self-distribute lower budget films from some of the best up-and-comers you’ve never heard of? Well, this is what Smith is trying to do - find new ways of financing, self-promoting, touring and distributing his own films as well as the films of others. He spoke with Indiewire this week to talk about the state of the film industry, how his relationship with the business has changed, and how he hopes to move beyond just creating his own films in the future in order to help champion the voice’s of others and bring their films to the masses. Read the full interview here.
Since 1998, Filmmaker Magazine has graced us with an annual list that is absolutely worth checking out every year. Something they have declared their most “celebrated feature of the year”, their “25 New Faces of Independent Film” articles have come to show us a list of impressive up-and-comers in the industry that are worthy of all the praised bestowed upon them. The 25 lucky people are the result of Filmmaker Magazine digging deep to find the pulse of what’s new within the indie film community this year - new storytelling forms, new stories to tell, new ways of impacting an audience. With that, the 2016 list has been released and Indie Street was absolutely thrilled and colored rainbow hues of surprised to see Livia Ungur and Sherng-Lee Huang of Hotel Dallas on the list. Hotel Dallas, a hybrid experimental doc telling the story of the TV show “Dallas” in 1980s communist Romania, was one of our most exciting doc feature selections at our inaugural Indie Street Film Festival last month. Read more about the married collaborative duo here and make sure to check out the rest of the list of newcomers making names for themselves within the industry!
When filmmaker Jim Cummings created his latest film "Thunder Road", he didn't imagine it would ever get into Sundance, let alone win a top prize. And now, not only has his widely successful and lovably hilarious short film gone on to gain him exposure and amazing opportunities, he can also claim it has gained him a favor from "The Boss" himself. Cummings recently wrote an open letter to Bruce Springsteen regarding the cost of rights to his song "Thunder Road" - a song that makes up the very fabric of his film. Without the song, there's essentially no film. But with a 50K price tag on the rights to the song, it was looking likely the film would never make it online at Vimeo for free, as was Cummings' intentions. However, thanks to hard work and a touch of sheer luck, Sony has granted him digital rights to the classic Springstreen track. Festival wins, notoriety, an awesome film and now a favor from a musical legend. Not bad. Read here for more info on the one shot short that could! And be on the lookout for "Thunder Road" when it hits the Indie Street Film Festival in Red Bank this July!
IndieWire's Ani Simon-Kennedy reflected upon her experiences getting to partake in the Cine Qua Non Lab Screenwriting Residency in Mexico last summer. Spending two weeks in a tiny town called Tzintzuntzan and working on her script, she was surrounded by a diverse, international roster of other talented filmmaking veterans and beginners. This year the lab runs August 7-20, 2016. The deadline is this weekend, so if you’re interested, check out Simon-Kennedy’s account of her experience and read here for more info on applying.
Ah, the short film. A creative, bite size piece of media that has become all the rage on digital platforms, social media, and everywhere in between. But what about short films that are winning on the festival circuit, at bigger festivals like SXSW or Sundance? As the visual, moving image calling cards of the privileged few, where can these filmmakers find a balance between exposure and profit with their shorts? Indiewire recently sat down with a dozen directors of 2016 festival favorites to find out the secrets behind the short film market. The interview is an interesting look at the different options popping up and the advantage of putting your content out there for free. Interview also features friend of Indie Street, the collective Ornana! Check it out!
Even if you’re an emerging or already established documentary filmmaker, you’re probably always looking for ways to sharpen and hone your filmmaking skills. Good news: The UnionDocs Centre for Documentary Arts has a new opportunity (or two!) open for applications. With an already strong reputation throughout the film industry, UnionDocs will be offering two collaborative labs: The Collaborative Studio and the Summer Documentary Intensive. These labs are open to both domestic and international applicants with application submissions due at the end of March/beginning of April. Read here for more details on what each program offers along with their costs. Winners have gone on to screen at numerous highly respected documentary film festivals worldwide. If you think you have what it takes and are interested, you can apply now over at the UnionDocs site.
Following the success of its inaugural year, the Financial Times and OppenheimerFunds recently announced the launch of their second annual Emerging Voices Awards, an initiative to recognize talent within emerging nations. Focused on three categories, including art, fiction and film, winners of the 2016 awards will be accounced in September and will receive prizes ranging from $5,000 to $40,000.The competition is only open to residents or passport holders of emerging-market nations, including Africa, Asia-Pacific, Latin America and the Caribbean.For more information on the global initiative and awards scheme, get onboard and read here.
Interviews with an underground NYC music legend, Milo Z, and his budding jazz saxophonist (Steven Frieder) give our creative community some insight on different ways to manage the ever-changing creative ecosystem.
A rainy afternoon in the early 1980s: Soft rain acts the snare as a group of young boys add the kick drum on their leaps from truck top to truck top. Right behind CBGBs is where the old U-Haul trucks used to line up tight, and that is where the bright eyed young stompers would play their games and talk of the unknown. This is where the young boys would undoubtedly stumble upon some mischief that might just turn them into young men. In general these were the days when kids went out to play for the whole day without checking in ‘til the street lights came on.
Milo Z was one of these boys, free to explore the East Village with no need to digitally check in or post a quick selfie to announce whereabouts. Humans were happy to share memories with a select few, but Milo still dreamt of big days ahead. It was one of the first days this particular group of boys had graduated from truck hopping to cab looting when the now local icon found an old practice drum set. Milo dragged that drum set home, and the rest is as Milo would say, is Razzamofunk!
This past week, I had the chance to interview two musicians in different stages of their careers, different stages of their lives, and from different eras of the music scene. Even stemming from two unique ideological generations, these talents share the stage, perform together, and inspire each other in the types of ways that make crowds gather on Indie Street. Both Milo Z and the young jazz saxophonist Steven Frieder had lots to share about their values, their music, and their paths as independent artists.
A total professional, Milo Z sings, dances, conducts, orchestrates, and interacts with the crowd, all the while dressing and grooving in a style that is unique and all his own.. Showcasing his talent in NYC for decades, now 5 albums deep, Milo has the experience and grit that produces some truly authentic music and lyrics. His appreciation for originality is pretty obvious considering he has created his own music genre Razzamofunk (a blend of Rap, Rock, Rythym & Blues, Jazz and Funk).
Steven is only 24, but some consider him a sort of jazz prodigy. His saxophone will transport you back to a day of funky soul from before you were born, or may have forgot existed. Steven wales on the sax with Milo Z and a variety of other bands, and released his first album as a leader last year.
Steven and Milo seem to have a natural synergy with each other. Not just a student-teacher relationship, but one where both realize the great benefits of the others presence regardless of age or experience. The young generation has a lot to learn from the toughness and persistence of those who succeeded in the past, but now more than ever, older generations must keep an open ear to the young street for new ways to swing and sling in the market.
The two will be traveling with the rest of the Milo Z band to spread the funk in Greece later this month. Milo Z loves bringing in and bringing up young musicians, who he admits at times end up on even bigger stages than his. He becomes enlivened from the youthful vigor and reconfirmed by challenging Steven and others to perform at their highest level. Steven looks to Milo a leader who expects the most of himself and his band while committing himself to his craft and his crowd.
Distribution & Self Promotion
New School – Steven Frieder
The simple act of referring to this young talented musician “new school” is probably an injustice because his musical soul and spirit are from a different generation. In any case, his physical age is of the digital era, so we asked him about the new tools for getting out there. For the most part, Steven believes it is very different from musician to musician depending on their priorities, but he did reveal what he believes to be the most intriguing new digital concepts:
“I think that one of the most powerful social media phenomenas is that of the viral video. Do you remember this video of the subway street performers that went huge last year? It’s this trio with Bari Sax, Trumpet and percussion. Too Many Zooz. I know the horn players, good friends of mine that I went to college with. That video went viral overnight because someone posted it on reddit. Now, they are touring all over, playing in Europe and all over the west coast. I couldn’t be happier for them, cats that went to a major jazz conservatory, and got big playing “Brass-House” as they call it. It’s some great stuff.”
Old School – Milo Z
As an old school cat at heart, Milo Z (and many other humans on the planet) feel that the social networking and digital media have started a trend toward shameless self promotion:
“Nowadays everybody is a star, everyone is taking their selfies. There is no shame. It seems now the old expression there is no bad press has reached a new height.”
Lyrics from Milo Z song, “Bitch (for the camera)”:
“Nobody cares if they’re comin’ off wrong or right, as long as their name in the paper gets spelled right.
Even for artists who have some hostility toward youtube stars and the year of the selfie, there are still many ways to hit the avenues while still creating art. Milo Z for example, is taking advantage of his creative drive and rich childhood to write his first book.
“It's a coming of age story of a kid growing up in NYC and the (Lower East Side) in a time when the L.E.S. in particular was a very different place, a rough place that was untamed and untrendy. I’m exploring a different way to be creative and i'm excited about the process. Maybe I can drop my next album when the book comes out and one thing can cross pollinate the other, than who knows.”
We School – What can other cooperative artists learn
It seems the takeaway is that being genuine in your marketing is what matters. Even if you don’t want to write a whole book, you can tell your story without it being shameless self-promotion. Cross marketing, collaborating, and finding new ways to reach the audience is part of surviving for an entrepreneurial artist. Artists have always been entrepreneurial by necessity, and new tools like viral videos, social networking, and crowd funding, (while making it more complicated), do give more ways for creative to think a bit more about business.
Old School - Milo Z
When I asked Milo Z if he ever considered using a Kickstarter or Indiegogo crowd funding campaign, he was a bit taken aback. “Passing the can around just doesn’t feel right for some reason.” If you are from an era like Milo Z and myself where you feel weird to ask your friends and family for some extra scratch, then the odds are that they may think it a little awkward too if they are of similar age and upbringing. Crowd funding can alienate your core audience if your audience doesn’t think its cool.
New School – Steven Freider
Steven used IndieGogo to help finance his first album, After Time (Produced by Jake Hertzog, feat. Bob Meyer, Luke Franco, & Peter Brendler) and had this to say.
“I think crowd funding is a great idea for independent artist to finance their project. How much you can raise definitely comes down to your strategy and your audience. My audience was mostly friends, family, my fellow musicians, and people who kept asking about when I was going to make a CD! I kept the project within my limits, and still paid for most of it out of pocket.”
We School – What can other cooperative artists learn
If you have grown up in the age of crowd funding and to your knowledge your circles support the idea or would really enjoy your rewards, than what is the harm in going for it? Even if all your friends and family don’t have much dough, they can spread the word to others in similar circles so you can grow your audience (even if you don’t raise millions). There may be one new fan you get who may have some serious connects or a huge network of followers themselves. On the other hand, be honest about who your core audience is. If you think they would be offended by asking for donations, than maybe look toward other avenues of financing your next project. We have not used crowd funding yet directly for IndieStreet, but thre is surely value in it: some of our filmmakers have raised a good amount of money, as well as increased awareness for their projects.
Creation – The School of the Insane Now
When I asked both of these unique artists why they made music, I got answers far from the realm of digital, all of the words were lined with human passion and grace. So rather than me go on about why they create, I chose a few of the most telling quotes from my talks with each of these talented musical creators:
Milo Z: I make music because I have to. If I wasn’t making music I would lose my mind. I think we are all a little bit crazy and what keeps us sane is our outlet.
Steven: My mother played and taught classical piano, played guitar and sang. She passed away when I was 17, and it is very much because of her that I play music today.
Milo Z: What has changed for me in the last few years is that I'm a father now and that now my daughter Sierra is the most important thing to me, even more than my art! If I never did another show I still be her dad so the rest Is gravy.
Steven: One of the greatest truths for any art, is that there is always more to learn, no matter what level you have achieved…
Milo Z and Steven Frieder are innately insane artists from different schools, but they both really live by the same code. Don’t fight the human need to create, don’t stop learning, create with your heart, and be authentic. The actual creation of art and its motives do not seem to change too much from generation to generation. No technology can stop our primal emotions and releases. No technology can truly engage a human audience without a human story behind it. Milo is building on his already rich story, and Steven is just starting to write his.
If Indie Street can help harvest discussion and keep the most talented (and by Milo Z’s definition the most insane) creators with sustainable outlets, then we can all stay a bit more connected to our human roots. By getting creative with technology and sharing the experience of truly unique individuals, the world gets to hear more great music, watch more great films, and keep some really awesome people from going insane.
-Jay Webb, Indie Street
Check out more and keep informed on Steven and Milo Z at the links below:
Is there an idea for an incredible film banging on the walls of your brain and begging to come out? If so, San Fran-based tutorial website Creative Live and Film Riot founder Ryan Connolly are offering an immersion into envisioning, shooting, and producing films – with any gear on any budget. Check out the class and while you're at it you may want to sign up for other offerings, including a crash course in KickStarter; might come in handy when you are done!
IndieStreet believes that 2014 is the year the cracks widen in the film distribution system. These cracks will make room for entrepreneurial artists to take back deserved revenue generated from their own content. In 2014, Filmmakers will begin to eliminate middlemen, customers will support more creative talent directly, and at least one studio will fall due to its lack of preparation for the cooperative artist revolution. By nature, an artist who looks to distribute their work is an individual with an ego. Someone with a unique vision who feels passionately that other humans will be impacted by looking at the world through their lens. This inner confidence is the artist’s, “Creation Ego”, and it’s surely prevalent in Indie filmmakers. This ego is not only healthy in an artist or filmmaker, it is actually necessary to maximize creative potential. If you did not think that your vision as an artist was special or worthy you would not take the necessary risks that make you shine creatively. The creation ego must be preserved and celebrated in the artists of our time, but it should be contained to the process of creation. When looking to distribute, we urge Independent artists to acknowledge this ego, but then temper and separate it when it comes time to distribute your beautiful story to the world. Creation is a time of solitude, distribution needs to be a time for connection and togetherness. This is true now more than ever for the Independent Artist who lives in a dynamic age of social networking. It has always been difficult for artists to find a balance between the creation & distribution ego, always searching to maintain artistic integrity but also maximize number of eyes on the product. In the past, channels were in place that stimulated a competitive (kill or be killed) philosophy between professional independents, but we now have the technological resources and platforms that can maximize audiences without fighting amongst ourselves and without giving up as much control our artistic forefathers. Here are three things to remember when reinventing your “Distribution Ego”. 1.Unique Vision does not mean your audience is only yours. Unless you have invented a whole new form of media, it is likely that people that have consumed other stories or enjoyed other art might also like yours. Consumers of creative products typically don’t pick one creator and stay faithful only to their works. Even the most die-hard David Lynch fans have still at least checked out a Christopher Nolan film, no matter how traditional or mainstream his stories may feel in comparison. Honest acceptance that audiences are overlapping and must be shared between artists (whether you cooperate or not) is your first step to separating your egos. 2.Be proud of your work, enough to put it along side of other talented creators. As an artist you are undoubtedly a fan of other artists out there. Some of them have larger networks than you, some have smaller ones. Regardless they are most likely a fan of talented story tellers as you are. Sending your film to other filmmakers you admire or to a group platform like IndieStreet can start your exploration on what you can do to promote the works of others and what they might be able to do to help get your stories in front of more eyeballs. No matter how you slice it, when you start cooperating with another filmmaker you are creating a sort of brand. There are thousands of sites that are either social networking or film related or both who are grouping and recommending filmmakers based on their audiences. Why not use these social groups of fans to find other filmmakers like you as well. Your film deserves your additional effort to put it along side of other great films, making your film stronger and making it easier for your audience to find similar impactful stories. 3.Staying flexible, supportive, & long term. Group Distribution needs to be a philosophy that is adopted for the long term but declaring a dedication to cooperating does not mean that any filmmaker in a group of Independents would be expected to turn down a great third party deal if presented. Being incredibly flexible is something an artist would never accept during creation, but it can free us during distribution to see that options are not limited to a black and white choice between “studio” or “alone”. Finding other artists in any creative industry to support in a group can open up your distribution and marketing plans to a number of hybrid efforts across communities. At the end of the day most of us want the same thing: For innovative filmmakers to keep making films. For this to happen their films have to reach interested audience members in ways that the creators can have sustainable careers. And everyone in the film community should want at least that for other talented filmmakers. Even if one of your film projects gets picked up by Fox Searchlight with a huge advance, that is no time to abandon your new group mentality. Just because this film was marketable, be honest with yourself. Do you think that all the amazingly beautiful and risk-taking stories buried deep in your mind will all be so marketable? Use your personal success as an opportunity to help your group and brand of storytelling, even if it is in incremental ways. It will further fuel the collective approach and will come back to you in the future for less mainstream products. And other artists in a distribution support group need to check their egos as well if one group member decides to go with a larger company for one film project. Be elated for them, as their success can only be good for your group brand’s awareness and reach. By combining the networks of a multiple artists & staying flexible, the overall support of your personal creation ego will also be an inevitable side effect. More aggregate eyeballs for your work means some of those eyeballs will be in the investment, grant, or fundraising space. As many of you reading this are Indie artists or professionals in the creative world, we urge you to join this resolution and embrace the new distribution ego that can ultimately lead all you wonderfully innovative individuals to preserving your creation egos that make your work so remarkable. IndieStreet 2014 “The year Artists Unite” Jay Webb www.indiestreet.com @indiest_films