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We have an obligation to film what is vanishing. And by that logic all filmmakers should begin packing their snow gear.
I was on a panel awhile back bemoaning the loss of the NEA back in the 80′s, and how short sighted I thought it was not to have government funding for the arts, particularly film.
I am on the jury and will be be doing another panel up at the Woodstock Film Festival this weekend. I am completely impressed with the films in competition. They’ve done a great job curating. And they’ve done a great job programming too.
IS IT SAFE? With the closure of many of the studio specialty divisions and the reported financial troubles of many of the independents, has “indie film distribution” come to an end, or is this just the end of the world, as we know it? What does the “falling sky” really signify for the independent film sector? Were these companies right to turn their backs or were they just spending too much? Should you make films these days without some form of distribution? And most importantly, who, what or where is the great future hope for indies (and is it all online?)?
Join this esteemed panel of experts straight from the front lines of indie distribution and learn where the light is at the end of the tunnel.
We interrupt our discussion on the films themselves, for a brief journey into the business of it all. Here at LMBFilms I (and I want that to be a “we”) want to focus on the movies and not the industry, but until I (hopefully “we”) launch the better business site, please pardon the interruption…
“It’s the consistent relationship [with a critic] that gets people to go to these movies,” said Mr. Bernard. “[Editors] felt they should get critics that connect to that younger audience that’s getting its news online, but they’re not looking at how the box office is affected when the critic changes.”