February 7, 2009
(Disclosure: I’m a member of Women in Film and Video. WIFV is a chapter of Women in Film & Television International (WIFTI), a network of nearly 40 chapters around the world. Our members are new to the industry and media moguls. Men are eligible for membership.)
While Hollywood and New York lead the way in production of narrative features, our nation’s capitol is also the capital of production in the US for non-fiction media. Two upcoming events can help you break into the Washington, DC film and TV scene:
On February 9, get your resume reviewed by leading industry experts at the WIFV resume swap.
Then on March 7, take your new and improved resume to the WIFV Media Job Fair. More details are forthcoming. In the meantime, you can register and do some homework on the exhibiting companies.
October 2, 2008
I’m back from taking some time off from work and blogging and facebooking and twittering and MySpacing and virtually everything else. It felt good to unplug and get away for a while, and enjoy the beauty and quiet of nature during the unfolding of Autumn in New England.
Now it feels good to dive back in.
If by chance you haven’t yet read this wonderful 2-part article from IndieWire that discusses film distribution in the old world vs. the new world, I urge you to take the time to do so: part 1 and part 2.
August 21, 2008
An indie filmmaker named Susan IM’d me yesterday on my meebo chat widget, saying she was looking for a producer’s rep, but was hesitant to blindly respond to listings on the Web, and asked if I had any recommendations. Unfortunately, she signed off from chat before I could finish composing my response.
My answer is that I totally understand the hesitance to blindly pick a producer’s rep. The relationship between filmmaker and producer’s rep is very critical. Even though it’s a professional relationship, personal preferences do come into play. it’s very important that the parties share a vision about the filmmaker’s project, that they work well together. It’s a very indidualized relationship, and for that reason, I don’t offer recommendations. Instead, I encourage filmmakers who are searching for producer’s reps to reach out to their colleagues, other directors and producers, and ask for their feedback on who they’ve been happy with in representing them.
There are lots of places on the web where filmmakers congregate to network, exchange ideas, and generally support each other and the craft. One of my favorites, FILMCOMMUNITY.COM, is a good place to seek opinions from filmmakers on options and recommendations for producer’s reps.
August 19, 2008
Fergus Falls, Minnesota — apparently it’s hard out here for a filmmaker to make a movie, even when he offers to pay the city $10,000. Dav Kaufman wanted to shoot some scenes for his psycho-thriller at a former treatment center that is scheduled to be redeveloped into a college. The campus developers didn’t like the idea, saying the film would bring negative publicity and give the school a bad reputation. They convinced the city fathers to reject the filmmaker’s offer.
A pity. Not to mention a bit shortsighted on the part of the developers and city council. How cool would it be to be able to say, when marketing the new college to potential students, that a psycho-thriller was filmed there? It could have been a great opportunity for potential partnerships to market the school and the movie, and perhaps even put Fergus Falls on the map. Not to mention adding a few quid to the city coffers.
July 17, 2008
Eugene Hernandez has penned a letter to readers of indieWire about the sale to Ted Leonsis‘s new company, SnagFilms. Read the rest of this entry »