Archives for VR

Creativity, Covid & Digital Detox

Every Summer, since 2010, I take the month of August as a break from all social media, and I take the latter two weeks of it and into Labor Day as a Holiday from email and any phone calls except from my immediate family (or emergencies). It’s always the most creative time of my life. I take all the time I would be spending on social media and put it into something creative, and I’ve learned that even in those times when I might be staring at the wall, or the floor of the subway (oh, to do that again), I’m allowing my brain to get the little vacations it needs in order to be more creative. I’m about to do this again, and I am suggesting some of you might want to experiment with doing the same. (Got no interest in that idea? Click here to skip to the news.)
 

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Quarantine Questions

McCarthy in Deadline

Some questions on my mind these past few days of quarantine, in no particular order.

What’s Up With Online Film Festival Timing? – While CPH:DOX had a seemingly successful online festival (see below), I have serious questions as to how this works for other fests. But my number one question remains – in a virtual world, why are all of these online festivals taking place at different time periods, dictated by old systems built to avoid conflict, when they could all take place at the same time and amplify their message? Most of them are showing the same films anyway, and even with their idiosyncrasies built in, it seems to me that it would be better to move your dates, slow down a bit and explore the power of collaboration and joint-marketing instead of just plowing ahead. 

Whither the Trifecta/Fall Festivals? – I’ve heard rumors that the Trifecta (Venice, Telluride and Toronto) Festivals plan to take place in some form this September, along with many regional Fall film festivals. But I give you one quote: “There have been 10 influenza pandemics in the past 250-plus years—two started in the northern hemisphere winter, three in the spring, two in the summer and three in the fall. All had a peak second wave approximately six months after emergence of the virus in the human population, regardless of what initial introduction occurred.” (emphasis mine), This comes from the National Academies of Sciences, Engineering, and Medicine‘s expertly named report – Rapid Expert Consultation on SARS-CoV-2 Survival in Relation to Temperature and Humidity and Potential for Seasonality for the COVID-19 Pandemic (April 7, 2020). Let’s do the math: March+6=September. So either these festivals get cancelled or we show up there and risk dying. That math doesn’t work – and your potential attendees know it, even if you and your board don’t, Fall festival folks.

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Sundance and BrandStorytelling quick takes.

Park City in January. Again. This was my 21st year attending Sundance/Slamdance, so I was old enough to drink…damn that Dry-January though! And for the past several years, I’ve also been attending Brand Storytelling, up in Deer Valley, which has become a must-attend event for those who dabble in anything to do with brands and content. Many in the industry complain about attending Sundance each year, or express joy when they can skip it, but I consider it a privilege to be so lucky as to be able to work in an industry that allows me to attend, even if it can be ridiculous at times. Anyway, here’s my quick takeaway’s (QuiTa’s in Quibi speak) from Park City 2020 (no film reviews here, as I didn’t see enough films to comment):

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Surviving Sundance Notification Time

Short newsletter this week due to the US Holiday. It’s that time of year again – when filmmakers and their colleagues pretend to enjoy Turkey over Thanksgiving while waiting for the notification from Sundance on whether they are accepted or rejected. Literally every film person I know is waiting to hear. Some heard already – mainly no’s but a few yes’s, but most people tend to hear over Thanksgiving weekend if they were accepted, and just after if not. 

This year, I am somehow attached to about ten projects stuck in this limbo – from a mix of clients to personal projects, both indie films and branded content, and let me tell you – the wait sucks. There’s no getting around it. Even filmmakers who won’t truly have a good cut until February, 2020 (after Sundance) or later usually submitted anyway just in case (I don’t like this strategy, but it’s common). And while they’ve called everyone they know and tried to position their films with sales agents or whoever, it basically comes down to the taste of a small group of programmers, and you don’t have much control over that process.

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It’s time for Branded Content to Break the Rules

I wrote another guest post this week for BrandStorytelling – check out the full article there, but here’s a teaser:

As more brands move into long form branded content – meaning feature length documentary or narrative films around 90 minutes – brands increasingly have the same plan – to premiere at Sundance or another top festival and then “get onto Netflix”. These are worthy goals to be sure, and I’ve sold multiple brand client films to Netflix and other distributors. But this is just one strategy for distribution, and I keep hoping more brands will wake up to the reality that maybe they don’t need to follow “the rules” and go down this path to distribute their films. Perhaps it could be better to break the rules of the old-school film world and forge their own paths.

This might seem counterintuitive, but if part of the goal of premiering at Sundance/SXSW and then landing on Netflix is to show prestige and break through the noise, you might be picking the most crowded path of all.

Read the Full Post here. And in case you’re wondering – yes, this applies to indie filmmakers as well, but brands are better capitalized to take control of their distribution. And no, I’m not saying you shouldn’t keep in mind the realities of the marketplace, or best practices, but I am saying that a lot of those aren’t working anymore, and we can explore new models, especially if you are a brand with a loyal following and marketing know-how.

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Get While the Gettin’s: Or the Vicissitudes of this Market

Frothy Waters

A short one this week, as I’ve been on deadline for another article running soon elsewhere. It is a plumb crazy time in the film business – not unlike the financial markets, or our daily news.

On the one hand, this moment in the film business reminds me of a quote I read from Ray McKinnon in Garden & Gun: “ I always said that if you couldn’t get a role in In the Heat of the Night in those days, if you were an Atlanta actor, you should strongly reconsider your career choice. I actually played a crack dealer one year and got killed, and came back as the town newspaper editor.” Point is, the gettin’ was good for actors back then (and now).

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Netflix vs. Theaters…again

via Variety

Owen Gleiberman penned an “upper decker” of a review/slam of Scorsese’s The Irishman and Netflix’s release strategy this week in Variety when he wrote “Netflix, You Have a Problem: ‘The Irishman’ Is Too Good,” arguing that the film demanded a longer theatrical release before it hits streaming.

His entire argument can be summed up by his last paragraph:

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Perception vs. Reality & Other Sub-Genre news for Sept.26.2019

This week, the NYT reported that Female Artists made little progress in Museums, based on research from ArtNet. The study showed that while the perception is one of growing gender equity in the art world, the reality is that just 11% of museum acquisitions were of female artists in the last decade. And women artists make up just 2% of the global auction market.

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CES Quick-takes and more Sub-Genre news for Jan 11

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Sub-Genre News, Sept 13: NY Indie Guy Retrospective, Camden Film Fest & More

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On not Submitting to Sundance next week, and other post-vacation news

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En El Septimo Dia, U-2, Mind Control and More

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