StudioFest is a first-of-its-kind film festival, offering the winners a chance to make their debut feature film, backed and supported by experienced industry professionals. Five directors and five screenwriters will be selected to attend the festival for a weekend of film screenings, script readings, and mingling with like-minded creatives and industry professionals. At the end of the weekend, one filmmaker and one screenwriter will be given the opportunity to partner with StudioFest to create their debut feature film. The 2019 festival will take place Friday September 20 through Sunday September 22 in Ojai, California. Finalists' room and board will be fully covered and flight costs will be reimbursed up to $300.
It’s a disgrace that she is discriminating against people that are white and/or male. Her view is a common identity politics mental error based on fixating on the makeup of the .1%. Guess what, 99.9% of white people and males are also not getting their films seen. There are something around 10,000 independent films made a year and you hear about almost none of them. It’s similar to the pathological patriarchy delusion. 99.9% of men are also not at the top of hierarchies. It’s a divisive, erroneous way of looking at the world. White people and males are ultimately just consciousnesses just like this woman or anyone else and 99.9% need just as much help as everyone else does. They’ve worked just as hard and are as passionate and dreaming the same dreams. This woman is ahead of 99.9% white male independent filmmakers. It’s sickening to focus on the micro few that make it and punish the rest who haven’t because they look like them.
I’ll share a secret here that should help illuminate the reality of the situation. Every independent film project by every Producer I know attached a Sales Agent BEFORE going into production. Making a deal with the Sales Agent provides an advance that pays for a significant amount of the budget. After this deal is in place the Producer leverages it to attract cast and crew and to acquire more investment and close the gap in finance. Producers repeat this loop. That is how these films are getting made and getting solid distribution.
Wow Yeeeeah, more Ppl shud see RU-vid video pod casters, as the total LAME Geeks that they are, for real !!! @StephenSpeilberg. @GeorgeLucas. @QuintinnTarantino
Where does the money come from to travel the world? The part that's over looked is the wealth some filmmakers already have access to. Not everyone can afford entry into tier 1 festivals never mind flights.
They're describing windowing on this video. The windows are THEATERS>TVOD>SVOD>AVOD Transactional ($6.99 to watch it etc) Subscription (Netflix etc) Advertising (Funded by ads like Tubi or RU-vid) Never under estimate RU-vid as it's the worlds biggest AVOD platform. NB BluRay/DvD come under TVOD
Anyone insisting selling their vision, and their art etc etc will never make any money. If you can make a statement like I don't care about money you must be rich. Find out what sells and make that. Do your art within those confines. It's called show business, don't forget the business.
I stumbled across The Wanting Mare on Amazon a few months back and loved the film. It does remind you that magic is real love is the key to unlock miracles and in our material 3D lives if we just remember that we are all just source energy (LOVE) that if we give in to that experience dreams do come true and this film shows that with the hard work that was put into manifesting it into the 3D space as well as its message. Great interview.
I started noticing this shift before I discover Jim Cummings with another filmmaker Danny Gevirtz. Jim is more from Hollywood to DIY, and Danny is more RU-vid to DIY. They both ran fund raisers, they both got funded by fans, friends, and investors, they both are saying, screw it, I'm making a movie. So Screw it.... I'm making a short film. My video job at a marketing company is fun n all.... but I can feel it in me bones. I'm supposed to be making movies. (Should've figured that out looking back when I was a kid making Lego and action figure movies on my parent's VHS recorder with no computer. Editing.... within the camera. Just for fun.)
Stumbled upon this video by accident when I was searching for Jim Cummings (the voice actor who plays Disney’s Winnie the Pooh) and the thumbnail for this video caught my eye. Really glad I decided to watch it. It was really informative and inspiring. Thank you for sharing this with the world ❤
Bellflower rules. Ive been waiting for Canary for years. That teaser on RU-vid from years ago has me super intrigued. Hell, I dont care whats next. I just want more Evan/Coatwolf films or whatever.
SERENITY Pictures has released a full-length feature film as an NFT on Cardano Easter Sunday 2022. Mint - make popcorn - click Play in your wallet and watch 88 min in high res.
I never realized how competitive film making was. I've been wanting to learn how to properly do it so that I could tell my own story, and maybe someday get some distribution. I figured if you came up with a good heartfelt story, any festival would be dying to get their hands on it. Looks like this may just be a personal project.
Just watched episode 1 and I can only say massive thank you! I am based in London, UK. Just started a small production company a year ago and managed to get our first documentary to win a London film Festival + a few international selections, which is opening doors and allowing more space for us to create and grow. We are now producing several short films and documentaries that have been planned for a while and the information here is gold for what we are trying to do. Again, thank you for this and we will definitely participate in your festival.
I’m a filmmaker who also works in distribution. Would love to talk to you guys. I agree with many things she says but also think she’s missing a big piece of the picture on the distribution side. I also have an answer as to how we level the playing field as independent filmmakers. There IS money to be made and this is a time of incredible opportunity!
Begs the question of what happens to the crew’s acknowledgment in making a film since the NFT owner can do whatever they want with it including deleting/changing the credits/IMDB.
The question that’s always arisen with film NFTs is does it preclude you from assigning rights to a distributor? Do the NFT owners actually own the rights? Also, is your income limited to whatever you set the share price to? Royalties on subsequent sales sure, but that’s dependent on people selling their shares. It’s cool how the rules are being written now, but also tough to figure out how to integrate with the existing system!
Pretty much with distribution you sell the rights of the film NFT like how you would sell your movie to a distributor only thing is you would get royalties and track it as its sold down the line.
@@nexgenfilms5727 Smart contract keeps it all incorruptable and royalties guaranteed even if its resold, assigned etc. With streaming avod digital media becoming what it is, this is the distribution of the near future.
Naomi makes some very interesting and valid points, but I have to be honest. I'm sick and tired of hearing how women and minorities are getting the shaft and only white men have the opportunities. I can tell you that I'm a white cis-gender male and every woman in my orbit is extremely successful (6 digit incomes+). Whatever faults you have in your life that prevent you from being successful is not "me". If anything, I'm trying to tread water like the rest. I'm not interested in finger pointing or lowering the bar for anyone. Why should anyone except that. That's like saying your work is not good enough to compete with a man (or a big studio). Which I know for a fact is bullshit. You just aren't willing to play the game as its standards are set. With that being said, I also agree that the big bubba's have made it impossible to make a profitable indie film because of the game they control. I also agree that its high time to create a disruptive market that will accomodate indie filmmakers. I'm actually proposing a "co-op" distribution model where by all filmmakers join the co-op to build the library and sell to their local theaters. This way, while they have the ear of the decision maker / purchaser, they can present a wide range of titles not just their own. I would also suggest that the co-op set aside money for a aggressive advertising campaign which not only promote the films to be watched, but to point out that these films are independent. "Our films have the mental and emotional nutrients your soul is craving". On a final note, as Naomi mentioned, Covid really fucked things up. But that doesn't mean all is lost as a matter of fact I think it could be used as a tool to help local theaters get back on their feet. Because you are not a high-dollar distributor, these films cost less to license leaving a larger profit margin for the theater owner. That's all I have to contribute. Let's hope something changes for the better.
You gotta love Jim Cummings! The man actually DM'd someone who basically insulted him, & he tried to help them finance their film. There's no way I would have turned him down. I wish every great blessing for him & all his future filmmaking endeavors.
Yeah, that hurt my fuckin soul when he said that… like, no joke, I got super sick to my stomach hearing him tell that story. If Jim Cummings approached me like that I would apologize profusely, thank him nonstop, and just sob in remorse for being a jerk… and then I’d make an amazing film with him.
Super sobering. Definitely enjoyed the perspective of needing to understand business and be fluent in business strategies to protect the role of an artist.
@@StudioFestOfficial In the mid 90s I started my career with a development deal with Barbara Di Fina/Scorsese and man, did I think I was on a successful path. Years later, after making films and having written for over 30 companies and producers, mostly indie, the world was not my lobster, but is fraught with booby-traps. I once asked Barbara, around the same period, if she could get Taxi Driver made then, she smiled wryly and replied, "Probably not." How far down the razors edge our beloved industry has been sliced since then.
@@maxmyers4424 Wow, you've seen it! We definitely feel that. Booby-traps at every turn, and it's 'accepted' within the industry. Something has to change.
@@StudioFestOfficial Sure but the cold, hard, truth remains that, as it ever was, so it shall be that the film industry has no desire to work with experienced writers/directors. In the early 2000s, suddenly music video directors became the rage and studios and agents wanted only the flavor of the moment. They found out very quickly and to their financial cost that directing pretty faces within the art form of music vids, does not mean that will innately translate to narrative filmmaking; completely different animal. Today, it's even worse in that if you're over 35 as a writer/producer/director/actor and you don't have a hit film or series, you start to become invisible very quickly.
