With “Pines,” because I was telling a linear story and it was all about these people living in this same place, the city of Schenectady, New York, very early on Sean Bobbitt and I decided that it would be a unified vision, that we weren’t going to deal stylistically with different worlds. So in terms of the aesthetic approach of the film, in terms of formats, in terms of how we approached our scenes, we wanted to make a film that was more about echoes of the past and the repetition of actions and the consequence of those actions. And so we decided to shoot it all in the same kind of visual language, and the only thing that’s different, that changes, is the location, because this movie is also about class, social structures that people are born into.
Miles Davis covered in blood after an altercation with police
"Altercation" sounds so polite, like it was a mutual thing and not one man getting assaulted by the police. Miles got beat up by the police.
The cops assaulted Miles because he was black. He was standing outside Birdland where he just performed and was taking a break. His name was on the marquee. They saw him escort a white female friend from the club into a taxi and then they approached him after as he was taking a smoke break. The cops told him to “move on”. Miles said he was playing at the club and was on break. They weren’t hearing any of that. One cop then punched him in the stomach, while another one cracked him on the head with a nightstick. That’s why he’s covered in blood. He was a victim of police brutality.
Three decades later, in the autobiography he co-wrote with Quincy Troupe, Davis still couldn’t get over the outrage that “changed my whole life and my whole attitude again, made me bitter and cynical again when I was really starting to feel good about the things that had changed in this country.”
His arrest was later ruled illegal and a “travesty of justice” by a three-judge panel.
Jonathan Richman - That Summer Feeling Live
One of my new favorite’s…
According to the National Drought Mitigation Center, more than 81% of California is in an “extreme drought.”
The state has been battling a drought that has become increasingly severe and costly over the past few years. California is now “short more than one year’s worth of reservoir water,” according to an NDMC report and residents can be fined up to $500 for excessively watering their lawns.
All images July 20, 2011, vs. Aug. 19, 2014, unless otherwise specified.
Indies Should Consider Digital Premieres Prior To Theatrical Release
via Ted Hope
Indie filmmakers must change how they do things. Too many filmmakers’ actions are predicated on antiquated business practices. These old ways limit a filmmaker’s ability to build audiences and earn revenue. It is time for a serious change.
We now live in an era of cultural abundance and all of our practices need to take this into account. Audiences are overwhelmed with demands and options on their leisure time. It is harder than ever to get people to commit to doing anything. If you accept this is a reality why would you take your film to a film festival (other than the five leading market ones) without having your next steps well planned?
How are you going to build word of mouth for your film? How are you going to do that on timely basis so it does not seem like an old hat by the time audiences can access it? You need to manufacture desire for your film. And you want that desire to infect a forever enlarging community.
Filmmakers need to identify audiences that will most likely react positively to their work. They need those audiences to be aggregated and ideally already developed into a community that shares and discusses films and/or issues. Filmmakers need to think through how they can incite that community to engage, act, and spread.
Studios have long employed two key traditional techniques to refine their marketing and spread interest in a film: test screenings and word-of-mouth screenings. They spend heavily for each of these services, with test screenings costing over $50,000/each and word of mouth screenings as much as $10,000/per. A test screening often involves detailed questionnaires as well as a focus group. Word of mouth screenings are often a challenge to get the right audience to the screening and hence the high cost.
Digital communities offer both studios and independents a way to economically utilize both test screenings and word of mouth screenings. The internet allows us to target specific demographics as well as monitor their behavior while viewing (did they pause? where? and for how long?). Geo-blocking allows for specific regions to be focused on. When the digital community already has a built in video player a screening can easily be accommodated.
I suspect we are not very far away when savvy filmmakers will follow a festival premiere with a one day only digital premiere for a pre-selected audience. They will then follow with more regional festival screenings and corresponding digital screenings. They will utilize those festivals as hosts for digital transactional premieres. They will use the digital community to help proselytize the film. They will bring their film to the local art house armed with an engaged community of fans that will help make sure their friends prioritize the theatrical release on their busy schedules.
I will be participating on an “Industry Dialogue”panel tomorrow at TIFF14 (Toronto) at 330P EDT “FTP: Festivals / Theatrical / Platforms” where we will discuss this and other new practices.